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we’ve all heard about the gender gap in tech. women simply thriving in one of the most promising fields in the united states and not for lack of talent. and the truth: not solely a problem for women. a problem for men, too. in just five years, there will be a million unfilled computer jobs in the united states, which according to our calculations could amount to a $500 billion opportunity cost. tech companies are producing jobs three times faster than the u.s. is producing computer scientists. there are incredible opportunities here. we need women to help fill these jobs, and we need them now.
the reasons why women and people of color are not pursuing computer science jobs are complicated. thought a lot about this over the past 16 months, as directed my documentary on the subject, code: debugging the gender gap, and i believe there are four main reasons women thrive in tech. here they are:
1. culture
first and foremost, this is a culture problem. the stereotype of a software engineer is a 25-year-old, dude who wears glasses, is antisocial, and loves to hack strings of code in the basement of his parents’ home, eating stale pizza and drinking red bull until 3 or 4am. as with all stereotypes, some truth here, and not the most image for a young woman. old movies like war games contributed to the stereotype, while the image of the male geek genius is perpetuated in modern pop culture with television shows such as silicon valley and the big bang theory.
2. few role models
which leads me to another huge reason we have a gender imbalance: tech is basically devoid of female role models. the old adage “you cannot be what you cannot see” is true here. young girls and people of color have very few role models in tech. megan smith is the chief technology officer of the united states, but hardly a household name. we need more female role models, many more.
3. poor pipeline
at most universities, few women make it past the 101, computer science class that should welcome all students, regardless of their prior knowledge of the subject. instead, women entering this class too often suffer from negative ambient belonging. from the first day there, they perceive that the men in the class know much more about programming than they do. and they are often right. in part, i blame this on the gaming industry. gaming has traditionally been marketed to boys, so by the time these boys get to college, the ones who enter classes have likely been gaming for over 10 years. through finding cheats and discovering the inner workings of games such as call of duty and v, gamers can develop an understanding of the fundamentals of programming. with the recent explosion of mobile games, there exists an enormous opportunity to design games that appeal to girls and young women and create more familiarity with code.
4. sexism
then there is the issue of plain, old-fashioned sexism. like it or not, present in the nuances in startup culture, in the good ol’ boys corporations of the south, and even in the classrooms and administration of educational system. sexism might not present itself as it did in the mad men era; instead it is latent, subtle, but still very present. things like not being heard in a meeting or a classroom discussion. the assumption that if you are the woman in the meeting, you are the admin, or you brought the coffee. being interrupted. not being given the chance to prove yourself.
so what now?
so what do women do about these challenges? i talked to countless women in the course of working on the code documentary. certain common solutions have surfaced time and again: women need to be more assertive; we should stop apologizing all the time. we should ask for raises and believe we are worthy of that raise. younger women should find a sponsor not just a mentor, but a true sponsor who will go to bat for their career.
above all else, women need to support women. we often have to work harder than men to prove our worth in the workplace and this means that sometimes we look up from our desks in order to reach out and support a co-worker. got to stop.
and finally, we need male allies, because we need each other in the workplace. teams with women are more productive, have a higher collective iq, and achieve more. teams with women have a broader perspective that results in the creation of products that serve a greater breadth of humanity. women offer diversity, and diversity drives innovation.
“a true male ally,” one woman said to me recently, “is a man who is willing to defend women when there are no women in the room.” so men, stand up and be counted. it will help us all. | we’ve* ɔl hərd əˈbaʊt ðə ˈʤɛndər gæp ɪn tɛk. ˈwɪmən ˈsɪmpli θˈraɪvɪŋ ɪn wən əv ðə moʊst ˈprɑməsɪŋ fildz ɪn ðə juˈnaɪtɪd steɪts ənd nɑt fər læk əv ˈtælənt. ənd ðə truθ: nɑt ˈsoʊəli ə ˈprɑbləm fər ˈwɪmən. ə ˈprɑbləm fər mɛn, tu. ɪn ʤɪst faɪv jɪrz, ðɛr wɪl bi ə ˈmɪljən ənˈfɪld kəmˈpjutər ʤɑbz ɪn ðə juˈnaɪtɪd steɪts, wɪʧ əˈkɔrdɪŋ tɪ ɑr ˌkælkjəˈleɪʃənz kʊd əˈmaʊnt tɪ ə 500 ˈbɪljən ˌɑpərˈtunəti kɔst. tɛk ˈkəmpəˌniz ər prəˈdusɪŋ ʤɑbz θri taɪmz ˈfæstər ðən ðə juz. ɪz prəˈdusɪŋ kəmˈpjutər ˈsaɪəntɪsts. ðɛr ər ˌɪnˈkrɛdəbəl ˌɑpərˈtunətiz hir. wi nid ˈwɪmən tɪ hɛlp fɪl ðiz ʤɑbz, ənd wi nid ðɛm naʊ. ðə ˈrizənz waɪ ˈwɪmən ənd ˈpipəl əv ˈkələr ər nɑt pərˈsuɪŋ kəmˈpjutər saɪəns ʤɑbz ər ˈkɑmpləˌkeɪtəd. θɔt ə lɔt əˈbaʊt ðɪs ˈoʊvər ðə pæst 16 mənθs, ɛz dɪˈrɛktɪd maɪ ˌdɑkjəˈmɛnəri ɔn ðə ˈsəbʤɪkt, koʊd: diˈbəgɪŋ ðə ˈʤɛndər gæp, ənd aɪ bɪˈliv ðɛr ər fɔr meɪn ˈrizənz ˈwɪmən θraɪv ɪn tɛk. hir ðeɪ ər: 1 ˈkəlʧər fərst ənd ˈfɔrˌmoʊst, ðɪs ɪz ə ˈkəlʧər ˈprɑbləm. ðə ˈstɛrioʊˌtaɪp əv ə ˈsɔfˌwɛr ˈɛnʤəˈnɪr ɪz ə 25-year-old*, dud hu wɛrz ˈglæsɪz, ɪz ˌæntɪˈsoʊʃəl, ənd ləvz tɪ hæk strɪŋz əv koʊd ɪn ðə ˈbeɪsmənt əv hɪz parents’*’ hoʊm, ˈitɪŋ steɪl ˈpitsə ənd ˈdrɪŋkɪŋ rɛd bʊl ənˈtɪl 3 ər 4am*. ɛz wɪθ ɔl ˈstɛrioʊˌtaɪps, səm truθ hir, ənd nɑt ðə moʊst ˈɪmɪʤ fər ə jəŋ ˈwʊmən. oʊld ˈmuviz laɪk wɔr geɪmz kənˈtrɪbjutɪd tɪ ðə ˈstɛrioʊˌtaɪp, waɪl ðə ˈɪmɪʤ əv ðə meɪl gik ˈʤinjəs ɪz pərˈpɛʧəˌweɪtɪd ɪn ˈmɑdərn pɑp ˈkəlʧər wɪθ ˈtɛləˌvɪʒən ʃoʊz səʧ ɛz ˈsɪləkən ˈvæli ənd ðə bɪg bæŋ ˈθɪri. 2 fju roʊl ˈmɑdəlz wɪʧ lidz mi tɪ əˈnəðər juʤ ˈrizən wi hæv ə ˈʤɛndər ɪmˈbæləns: tɛk ɪz ˈbeɪsɪkli dɪˈvɔɪd əv ˈfiˌmeɪl roʊl ˈmɑdəlz. ðə oʊld ˈædəʤ ˈkænɑt bi wət ju ˈkænɑt see”*” ɪz tru hir. jəŋ gərlz ənd ˈpipəl əv ˈkələr hæv ˈvɛri fju roʊl ˈmɑdəlz ɪn tɛk. ˈmeɪgən smɪθ ɪz ðə ʧif tɛkˈnɑləʤi ˈɔfɪsər əv ðə juˈnaɪtɪd steɪts, bət ˈhɑrdli ə ˈhaʊsˌhoʊld neɪm. wi nid mɔr ˈfiˌmeɪl roʊl ˈmɑdəlz, ˈmɛni mɔr. 3 pur ˈpaɪˌplaɪn æt moʊst ˌjunəˈvərsətiz, fju ˈwɪmən meɪk ɪt pæst ðə 101 kəmˈpjutər saɪəns klæs ðət ʃʊd ˈwɛlkəm ɔl ˈstudənts, rəˈgɑrdləs əv ðɛr praɪər ˈnɑlɪʤ əv ðə ˈsəbʤɪkt. ˌɪnˈstɛd, ˈwɪmən ˈɛnərɪŋ ðɪs klæs tu ˈɔfən ˈsəfər frəm ˈnɛgətɪv ˈæmbiənt bɪˈlɔŋɪŋ. frəm ðə fərst deɪ ðɛr, ðeɪ pərˈsiv ðət ðə mɛn ɪn ðə klæs noʊ məʧ mɔr əˈbaʊt ˈproʊˌgræmɪŋ ðən ðeɪ du. ənd ðeɪ ər ˈɔfən raɪt. ɪn pɑrt, aɪ bleɪm ðɪs ɔn ðə ˈgeɪmɪŋ ˈɪndəstri. ˈgeɪmɪŋ həz trəˈdɪʃənəli bɪn ˈmɑrkətɪd tɪ bɔɪz, soʊ baɪ ðə taɪm ðiz bɔɪz gɪt tɪ ˈkɑlɪʤ, ðə wənz hu ˈɛnər ˈklæsɪz hæv ˈlaɪkli bɪn ˈgeɪmɪŋ fər ˈoʊvər 10 jɪrz. θru ˈfaɪndɪŋ ʧits ənd dɪˈskəvərɪŋ ðə ˈɪnər ˈwərkɪŋz əv geɪmz səʧ ɛz kɔl əv ˈduti ənd vi, ˈgeɪmərz kən dɪˈvɛləp ən ˌəndərˈstændɪŋ əv ðə ˌfəndəˈmɛnəlz əv ˈproʊˌgræmɪŋ. wɪθ ðə ˈrisənt ɪkˈsploʊʒən əv ˈmoʊbəl geɪmz, ðɛr ɪgˈzɪsts ən ɪˈnɔrmɪs ˌɑpərˈtunəti tɪ dɪˈzaɪn geɪmz ðət əˈpil tɪ gərlz ənd jəŋ ˈwɪmən ənd kriˈeɪt mɔr fəˌmɪˈljɛrəti wɪθ koʊd. 4 ˈsɛksɪzəm ðɛn ðɛr ɪz ðə ˈɪʃu əv pleɪn, ˌoʊldˈfæʃənd ˈsɛksɪzəm. laɪk ɪt ər nɑt, ˈprɛzənt ɪn ðə ˈnuɑnsɪz ɪn ˈstɑrˌtəp ˈkəlʧər, ɪn ðə gʊd ol’*’ bɔɪz ˌkɔrpərˈeɪʃənz əv ðə saʊθ, ənd ˈivɪn ɪn ðə ˈklæsˌrumz ənd ædˌmɪnɪˈstreɪʃən əv ˌɛʤəˈkeɪʃənəl ˈsɪstəm. ˈsɛksɪzəm maɪt nɑt ˈprɛzənt ˌɪtˈsɛlf ɛz ɪt dɪd ɪn ðə mæd mɛn ˈɪrə; ˌɪnˈstɛd ɪt ɪz ˈleɪtənt, ˈsətəl, bət stɪl ˈvɛri ˈprɛzənt. θɪŋz laɪk nɑt biɪŋ hərd ɪn ə ˈmitɪŋ ər ə ˈklæsˌrum dɪˈskəʃən. ðə əˈsəmpʃən ðət ɪf ju ər ðə ˈwʊmən ɪn ðə ˈmitɪŋ, ju ər ðə ˈædmɪn, ər ju brɔt ðə ˈkɔfi. biɪŋ ˌɪntərˈəptɪd. nɑt biɪŋ ˈgɪvɪn ðə ʧæns tɪ pruv ˈjɔrsɛlf. soʊ wət naʊ? soʊ wət du ˈwɪmən du əˈbaʊt ðiz ˈʧælənʤɪz? aɪ tɔkt tɪ ˈkaʊntləs ˈwɪmən ɪn ðə kɔrs əv ˈwərkɪŋ ɔn ðə koʊd ˌdɑkjəˈmɛnəri. ˈsərtən ˈkɑmən səˈluʃənz hæv ˈsərfɪst taɪm ənd əˈgɛn: ˈwɪmən nid tɪ bi mɔr əˈsərtɪv; wi ʃʊd stɑp əˈpɑləˌʤaɪzɪŋ ɔl ðə taɪm. wi ʃʊd æsk fər ˈreɪzɪz ənd bɪˈliv wi ər ˈwərði əv ðət reɪz. ˈjəŋgər ˈwɪmən ʃʊd faɪnd ə ˈspɑnsər nɑt ʤɪst ə ˈmɛnˌtɔr, bət ə tru ˈspɑnsər hu wɪl goʊ tɪ bæt fər ðɛr kərɪr. əˈbəv ɔl ɛls, ˈwɪmən nid tɪ səˈpɔrt ˈwɪmən. wi ˈɔfən hæv tɪ wərk ˈhɑrdər ðən mɛn tɪ pruv ɑr wərθ ɪn ðə ˈwərkˌpleɪs ənd ðɪs minz ðət ˈsəmˌtaɪmz wi lʊk əp frəm ɑr dɛsks ɪn ˈɔrdər tɪ riʧ aʊt ənd səˈpɔrt ə ˈkoʊˈwərkər. gɑt tɪ stɑp. ənd ˈfaɪnəli, wi nid meɪl ˈælaɪz, bɪˈkəz wi nid iʧ ˈəðər ɪn ðə ˈwərkˌpleɪs. timz wɪθ ˈwɪmən ər mɔr pərˈdəktɪv, hæv ə haɪər kəˈlɛktɪv ˈaɪˈkju, ənd əˈʧiv mɔr. timz wɪθ ˈwɪmən hæv ə ˈbrɔdər pərˈspɛktɪv ðət rɪˈzəlts ɪn ðə kriˈeɪʃən əv ˈprɑdəkts ðət sərv ə ˈgreɪtər brɛdθ əv juˈmænɪti. ˈwɪmən ˈɔfər dɪˈvərsɪti, ənd dɪˈvərsɪti draɪvz ˌɪnəˈveɪʃən. tru meɪl ally,”*,” wən ˈwʊmən sɛd tɪ mi ˈrisəntli, ə mæn hu ɪz ˈwɪlɪŋ tɪ dɪˈfɛnd ˈwɪmən wɪn ðɛr ər noʊ ˈwɪmən ɪn ðə room.”*.” soʊ mɛn, stænd əp ənd bi ˈkaʊntɪd. ɪt wɪl hɛlp ˈjuˈɛs ɔl. |
kyrie irving was the #1 pick of the 2011 draft and had the weight of cleveland on his shoulders as the new franchise player that ...(read more)
isaiah thomas outscores irving in 44 point win over the
kyrie irving was the #1 pick of the 2011 draft and had the weight of cleveland on his shoulders as the new franchise player that will make fans forget about lebron. isaiah thomas went to the kings with the last pick (#60) of the 2011 draft and the only thing on his shoulder was a chip. a massive chip for the small (5’10”) point guard out of washington who watched guards like (#31), mack (#34), charles jenkins (#44), (#46), travis leslie (#47), liggins (#53) and moore (#55) get drafted before him when his game was as big as lottery pick guards like brandon knight and irving.
last night in the kings 44 point win over the, thomas showed why his name belongs with the top guards of the 2011 draft class and any other class in the nba when he scored 26 points including 15 in the half against irving. irving only scored 7 points on 3 of 14 shooting and some of his fans would probably just say it was just one of those nights for him and the but that logic be contributed to thomas’ success because been this good all year long with a season average of points and assists and 20+ points in 8 of the kings last 10 games.
let’s hope last game opened up a few more eyes and reminded others that the “shortest” the “last” mean you play the biggest and be at the top. | kyrie* ˈərvɪŋ wɑz ðə 1 pɪk əv ðə 2011 dræft ənd hæd ðə weɪt əv ˈklivlənd ɔn hɪz ˈʃoʊldərz ɛz ðə nu ˈfrænˌʧaɪz pleɪər ðət ...(rɛd mɔr) ˌaɪˈzeɪə ˈtɑməs aʊtˈskɔrz ˈərvɪŋ ɪn 44 pɔɪnt wɪn ˈoʊvər ðə ˈərvɪŋ wɑz ðə 1 pɪk əv ðə 2011 dræft ənd hæd ðə weɪt əv ˈklivlənd ɔn hɪz ˈʃoʊldərz ɛz ðə nu ˈfrænˌʧaɪz pleɪər ðət wɪl meɪk fænz fərˈgɛt əˈbaʊt ˈlɛbrən. ˌaɪˈzeɪə ˈtɑməs wɛnt tɪ ðə kɪŋz wɪθ ðə læst pɪk 60 əv ðə 2011 dræft ənd ðə ˈoʊnli θɪŋ ɔn hɪz ˈʃoʊldər wɑz ə ʧɪp. ə ˈmæsɪv ʧɪp fər ðə smɔl pɔɪnt gɑrd aʊt əv ˈwɔʃɪŋtən hu wɔʧt gɑrdz laɪk 31 mæk 34 ˈʧɑrəlz ˈʤɛŋkɪnz 44 46 ˈtrævɪs ˈlɛsli 47 ˈlɪgɪnz 53 ənd mʊr 55 gɪt ˈdræftɪd ˌbiˈfɔr ɪm wɪn hɪz geɪm wɑz ɛz bɪg ɛz ˈlɑtəri pɪk gɑrdz laɪk ˈbrændən naɪt ənd ˈərvɪŋ. læst naɪt ɪn ðə kɪŋz 44 pɔɪnt wɪn ˈoʊvər ðə, ˈtɑməs ʃoʊd waɪ hɪz neɪm bɪˈlɔŋz wɪθ ðə tɔp gɑrdz əv ðə 2011 dræft klæs ənd ˈɛni ˈəðər klæs ɪn ðə ˈɛnˌbiˈeɪ wɪn hi skɔrd 26 pɔɪnts ˌɪnˈkludɪŋ 15 ɪn ðə hæf əˈgɛnst ˈərvɪŋ. ˈərvɪŋ ˈoʊnli skɔrd 7 pɔɪnts ɔn 3 əv 14 ˈʃutɪŋ ənd səm əv hɪz fænz wʊd ˈprɑbəˌbli ʤɪst seɪ ɪt wɑz ʤɪst wən əv ðoʊz naɪts fər ɪm ənd ðə bət ðət ˈlɑʤɪk bi kənˈtrɪbjutɪd tɪ thomas’*’ səkˈsɛs bɪˈkəz bɪn ðɪs gʊd ɔl jɪr lɔŋ wɪθ ə ˈsizən ˈævərɪʤ əv pɔɪnts ənd əˈsɪsts ənd 20 pɔɪnts ɪn 8 əv ðə kɪŋz læst 10 geɪmz. hoʊp læst geɪm ˈoʊpənd əp ə fju mɔr aɪz ənd riˈmaɪndɪd ˈəðərz ðət ðə ““shortest”*” ðə ““last”*” min ju pleɪ ðə ˈbɪgəst ənd bi æt ðə tɔp. |
they may be good for the environment, but photovoltaic solar panels are not really something go out of your way to visit and admire.
so in a bid to make solar power more appealing to young people, one chinese company has ditched the traditional approach of filling fields with uninspiring rows of panels, instead building its solar plants in the shape of giant pandas.
image:
green pandas
the above image is an impression of hong panda green energy group's first panda solar plant, which began generating electricity in june. the reality, so far at least, is a little different.
image: china
located in northern province, the panda power plant is a giant solar array spread across 100 hectares. it is the first plant to be built under a scheme agreed by the united nations development program (undp) and panda green major shareholder, china merchants new energy.
as well as building solar plants, the agreement also supports three initiatives aimed at promoting green energy among young chinese.
these are: an open design challenge encouraging young people to design solutions for sustainable development; summer camps at the panda plant on innovation in science and technology; and a youth exchange programme helping “marginalized” chinese youths to go overseas.
solar superpower
some might question whether china really needs to invest in promoting solar power at all: it is by some distance the world leader when it comes both the manufacture and installation of panels.
image:
according to data published by, at the end of 2016 china had of solar installed, representing more than a quarter of the global total.
china also dominates when it comes to building new solar plants, adding last year. this accounted for 46% of all new solar power plants across the planet in 2016.
while a second panda power plant is planned for, panda green energy mission to promote green energy includes an ambition to expand into other countries.
image: panda green energy group limited
earlier this year the prime minister of fiji, bainimarama, said he hoped the planned construction of a panda power plant on the south pacific island would start soon.
solar theme park
while panda green energy solar power plants are striking, they are not the first installations to attempt to represent animals with silicon panels.
us utility duke energy last year revealed its reedy creek solar plant in florida had taken the form of mickey mouse.
image: duke energy
the facility comprises solar panels occupying 9 hectares near walt disney world resort, helping to meet the electricity needs of the theme park and nearby hotels.
the mickey mouse solar plant began operating in what was a record year for solar installations in the us.
according to renewable energy group, for the first time ever, solar represented the leading source of new generating capacity.
more than of capacity almost double the installations in 2015 was brought online in 2016, representing a fifth of all solar capacity installed globally. | ðeɪ meɪ bi gʊd fər ðə ɪnˈvaɪrənmənt, bət ˌfoʊtəˌvoʊlˈteɪɪk ˈsoʊlər ˈpænəlz ər nɑt ˈrɪli ˈsəmθɪŋ goʊ aʊt əv jʊr weɪ tɪ ˈvɪzɪt ənd ædˈmaɪr. soʊ ɪn ə bɪd tɪ meɪk ˈsoʊlər paʊər mɔr əˈpilɪŋ tɪ jəŋ ˈpipəl, wən ʧaɪˈniz ˈkəmpəˌni həz dɪʧt ðə trəˈdɪʃənəl əˈproʊʧ əv ˈfɪlɪŋ fildz wɪθ ənɪnˈspaɪrɪŋ roʊz əv ˈpænəlz, ˌɪnˈstɛd ˈbɪldɪŋ ɪts ˈsoʊlər plænts ɪn ðə ʃeɪp əv ʤaɪənt ˈpændəz. ˈɪmɪʤ: grin ˈpændəz ðə əˈbəv ˈɪmɪʤ ɪz ən ˌɪmˈprɛʃən əv hɔŋ ˈpændə grin ˈɛnərʤi grups fərst ˈpændə ˈsoʊlər plænt, wɪʧ bɪˈgæn ˈʤɛnərˌeɪtɪŋ ɪˌlɛkˈtrɪsəti ɪn ʤun. ðə ˌriˈæləˌti, soʊ fɑr æt list, ɪz ə ˈlɪtəl ˈdɪfərənt. ˈɪmɪʤ: ˈʧaɪnə ˈloʊˌkeɪtəd ɪn ˈnɔrðərn ˈprɑvɪns, ðə ˈpændə paʊər plænt ɪz ə ʤaɪənt ˈsoʊlər əreɪ sprɛd əˈkrɔs 100 ˈhɛkˌtɑrz. ɪt ɪz ðə fərst plænt tɪ bi bɪlt ˈəndər ə skim əˈgrid baɪ ðə juˈnaɪtɪd ˈneɪʃənz dɪˈvɛləpmənt ˈproʊˌgræm (undp*) ənd ˈpændə grin ˈmeɪʤər ˈʃɛˌrhoʊldər, ˈʧaɪnə ˈmərʧənts nu ˈɛnərʤi. ɛz wɛl ɛz ˈbɪldɪŋ ˈsoʊlər plænts, ðə əˈgrimənt ˈɔlsoʊ səˈpɔrts θri ˌɪˈnɪʃətɪvz eɪmd æt prəˈmoʊtɪŋ grin ˈɛnərʤi əˈməŋ jəŋ ʧaɪˈniz. ðiz ər: ən ˈoʊpən dɪˈzaɪn ˈʧælənʤ ɪnˈkərəʤɪŋ jəŋ ˈpipəl tɪ dɪˈzaɪn səˈluʃənz fər səˈsteɪnəbəl dɪˈvɛləpmənt; ˈsəmər kæmps æt ðə ˈpændə plænt ɔn ˌɪnəˈveɪʃən ɪn saɪəns ənd tɛkˈnɑləʤi; ənd ə juθ ɪksˈʧeɪnʤ ˈproʊˌgræm ˈhɛlpɪŋ ““marginalized”*” ʧaɪˈniz juθs tɪ goʊ ˈoʊvərˈsiz. ˈsoʊlər ˌsupərˈpaʊər səm maɪt kˈwɛʃən ˈwɛðər ˈʧaɪnə ˈrɪli nidz tɪ ˌɪnˈvɛst ɪn prəˈmoʊtɪŋ ˈsoʊlər paʊər æt ɔl: ɪt ɪz baɪ səm ˈdɪstəns ðə wərld ˈlidər wɪn ɪt kəmz boʊθ ðə ˌmænjəˈfækʧər ənd ˌɪnstəˈleɪʃən əv ˈpænəlz. ˈɪmɪʤ: əˈkɔrdɪŋ tɪ ˈdætə ˈpəblɪʃt baɪ æt ðə ɛnd əv 2016 ˈʧaɪnə hæd əv ˈsoʊlər ˌɪnˈstɔld, ˌrɛprɪˈzɛnɪŋ mɔr ðən ə kˈwɔrtər əv ðə ˈgloʊbəl ˈtoʊtəl. ˈʧaɪnə ˈɔlsoʊ ˈdɑməˌneɪts wɪn ɪt kəmz tɪ ˈbɪldɪŋ nu ˈsoʊlər plænts, ˈædɪŋ læst jɪr. ðɪs əˈkaʊntɪd fər 46 əv ɔl nu ˈsoʊlər paʊər plænts əˈkrɔs ðə ˈplænət ɪn 2016 waɪl ə ˈsɛkənd ˈpændə paʊər plænt ɪz plænd fər, ˈpændə grin ˈɛnərʤi ˈmɪʃən tɪ prəˈmoʊt grin ˈɛnərʤi ˌɪnˈkludz ən æmˈbɪʃən tɪ ɪkˈspænd ˈɪntu ˈəðər ˈkəntriz. ˈɪmɪʤ: ˈpændə grin ˈɛnərʤi grup ˈlɪmɪtɪd ˈərliər ðɪs jɪr ðə praɪm ˈmɪnɪstər əv ˈfiʤi, bainimarama*, sɛd hi hoʊpt ðə plænd kənˈstrəkʃən əv ə ˈpændə paʊər plænt ɔn ðə saʊθ pəˈsɪfɪk ˈaɪlənd wʊd stɑrt sun. ˈsoʊlər θim pɑrk waɪl ˈpændə grin ˈɛnərʤi ˈsoʊlər paʊər plænts ər ˈstraɪkɪŋ, ðeɪ ər nɑt ðə fərst ˌɪnstəˈleɪʃənz tɪ əˈtɛmpt tɪ ˌrɛprɪˈzɛnt ˈænəməlz wɪθ ˈsɪləkən ˈpænəlz. ˈjuˈɛs juˈtɪləti duk ˈɛnərʤi læst jɪr rɪˈvild ɪts ˈridi krik ˈsoʊlər plænt ɪn ˈflɔrɪdə hæd ˈteɪkən ðə fɔrm əv ˈmɪki maʊs. ˈɪmɪʤ: duk ˈɛnərʤi ðə fəˈsɪlɪti kəmˈpraɪzɪz ˈsoʊlər ˈpænəlz ˈɑkjəˌpaɪɪŋ 9 ˈhɛkˌtɑrz nɪr wɔlt ˈdɪzni wərld rɪˈzɔrt, ˈhɛlpɪŋ tɪ mit ðə ɪˌlɛkˈtrɪsəti nidz əv ðə θim pɑrk ənd ˈnɪrˈbaɪ hoʊˈtɛlz. ðə ˈmɪki maʊs ˈsoʊlər plænt bɪˈgæn ˈɔpərˌeɪtɪŋ ɪn wət wɑz ə ˈrɛkərd jɪr fər ˈsoʊlər ˌɪnstəˈleɪʃənz ɪn ðə ˈjuˈɛs. əˈkɔrdɪŋ tɪ riˈnuəbəl ˈɛnərʤi grup fər ðə fərst taɪm ˈɛvər, ˈsoʊlər ˌrɛprɪˈzɛnɪd ðə ˈlidɪŋ sɔrs əv nu ˈʤɛnərˌeɪtɪŋ kəˈpæsɪti. mɔr ðən əv kəˈpæsɪti ˈɔlˌmoʊst ˈdəbəl ðə ˌɪnstəˈleɪʃənz ɪn 2015 wɑz brɔt ˈɔnˌlaɪn ɪn 2016 ˌrɛprɪˈzɛnɪŋ ə fɪθ əv ɔl ˈsoʊlər kəˈpæsɪti ˌɪnˈstɔld ˈgloʊbəli. |
she’s famed for her vegetarianism, having penned seven veggie cookbooks, and been at the pinnacle of the london food scene. counted sir paul mccartney, annie lennox and prince charles among her clients.
but these days nadine is more likely to be down on a burger than a brussels sprout.
the chef and author followed a strict diet for 29 years after an incident when she was that shocked her into a lifestyle.
“i was at uni and i remember walking past a shop in the north of england in 1976 and a truck pulled up with a whole dead cow in the back. it was obliterated. i just took one look at it and was completely horrified,” nadine says. “so i became vegetarian overnight.”
looking back now, however, nadine says her food choices during those almost three decades were misguided.
“i can honestly say that for every single day of those 29 years i felt unwell and i was in complete denial about it because i assumed, like everyone else did, that i was on a healthy diet. i ate lots of vegetables.”
nadine’s food journey began early. born in casablanca to parents, her paternal grandparents arrived in morocco on foot in 1917 following the collapse of the ottoman empire.
nadine’s mother came from a long line of spanish jews, gone to morocco from their home country following the spanish inquisition.
“(my family are) really, really sophisticated and varied and brilliant cooks. every single one of them was a brilliant cook. so i saw a lot as a child.”
in and morocco, wealthy families often had servants, so nadine would have people cooking for her during her early years. yet when she stepped into the kitchen herself, she says it came naturally.
“it was in my blood,” she remembers. “when i started cooking i just knew how. i never had to have a lesson or go and train with anybody.
“it was just in there.”
and it still is, despite her drive to break free of her cooking pigeonhole.
“people would say to me: ‘oh, such a brilliant cook’, and i would bristle because so much more than that. it used to really upset me. so when i came to australia i was determined to do something else.”
on the trail of the late spiritual leader barry long, whose teachings she had closely followed for years, nadine arrived in australia in 2000.
“(barry long) taught everything that now has become so commonplace, like meditation and what we now call mindfulness, which is just a euphemism for meditation.”
yet move go quite as smoothly as planned. she contracted whooping cough, an illness that would plague her for seven months and resist five courses of antibiotics.
“i just got sicker and sicker and sicker,” she says.
“one morning i woke up and said: ‘i want a beef burger.’ so i went to a restaurant in and i ordered the organic beef burger and i said: ‘no chips, no bread.’ the guy looked at me and said: ‘well you have much to eat then.’
“i took one mouthful and it was like every pore that was in my body just lapped it up. then i went back three days in a row and ordered the same beef burger and by the end of the third day, i have whooping cough anymore.”
as a “born again meat eater”, it took nadine some time to move on from her years of strict vegetarianism.
“i resisted it. buy a piece of salmon or a piece of chicken that was already cut and just sort of tip it out of the tray without touching it because i was so grossed out. it took me years to surrender to the fact that, actually, i felt 100 per cent better when i ate meat and poultry and fish.”
what triggered latest personal food revolution was a (or scarring) diagnosis. an disorder that destroys hair follicles and replaces them with scar tissue, in some cases hair loss is gradual, without noticeable symptoms, and may go unnoticed for some time. i
“i got to my wits end about it, so i decided i had to do something,” she says.
so she took to her diary, listing all of the foods she felt no longer agreed with her body.
“then, two days later by complete fluke, somebody wrote to me and mentioned aip. i googled it and found ‘auto-immune protocol’. and, i mean, you could have made a carbon copy of my diary pages, it was exactly the same thing. and i knew i had to do this.”
now focused on a diet of meat, fish, poultry, vegetables, sweet potatoes, pumpkin and “zero sugar, zero dairy, zero pulses, zero nuts, zero seeds”, nadine says never felt better.
“people often talk about the sense of deprivation, but i feel remotely deprived. i feel liberated from my addiction to sugar, which i loved. i was the biggest on the planet.”
once a cooking teacher, nadine now prefers to hold monthly local events, and for the past nine years has focused on her art piece gallery.
it’s where her love of all things creative comes together, and food is never far from
the focus.
when painter james guppy exhibited at the space, and due to the dark and gothic nature of his work, nadine held a themed dinner to complement an artist talk, which she catered herself.
“we turned the whole gallery into a medieval banquet and ate off stone plates and the waitresses dressed up as medieval kind of wenches,” she chuckles. “it was absolutely fantastic.”
“people look at me like crazy, like having an art gallery in, i must be nuts. but they have no idea who pulls up outside. i had princess mary in here last year.”
seems even holing up in stop the twinkle of foodie fame from following nadine. | she’s* feɪmd fər hər ˌvɛʤəˈtɛˌriəˌnɪzəm, ˈhævɪŋ pɛnd ˈsɛvən ˈvɛʤi ˈkʊkˌbʊks, ənd bɪn æt ðə ˈpɪnəkəl əv ðə ˈləndən fud sin. ˈkaʊntɪd sər pɔl məˈkɑrtni, ˈæni ˈlɛnəks ənd prɪns ˈʧɑrəlz əˈməŋ hər klaɪənts. bət ðiz deɪz nəˈdin ɪz mɔr ˈlaɪkli tɪ bi daʊn ɔn ə ˈbərgər ðən ə ˈbrəsəlz spraʊt. ðə ʃɛf ənd ˈɔθər ˈfɑloʊd ə strɪkt daɪət fər 29 jɪrz ˈæftər ən ˈɪnsədənt wɪn ʃi wɑz ðət ʃɑkt hər ˈɪntu ə ˈlaɪfˌstaɪl. wɑz æt ˈjuni ənd aɪ rɪˈmɛmbər ˈwɔkɪŋ pæst ə ʃɑp ɪn ðə nɔrθ əv ˈɪŋglənd ɪn 1976 ənd ə trək pʊld əp wɪθ ə hoʊl dɛd kaʊ ɪn ðə bæk. ɪt wɑz əˈblɪtərˌeɪtɪd. aɪ ʤɪst tʊk wən lʊk æt ɪt ənd wɑz kəmˈplitli horrified,”*,” nəˈdin sɪz. aɪ bɪˈkeɪm ˌvɛʤəˈtɛˌriən overnight.”*.” ˈlʊkɪŋ bæk naʊ, ˌhaʊˈɛvər, nəˈdin sɪz hər fud ˈʧɔɪsɪz ˈdʊrɪŋ ðoʊz ˈɔlˌmoʊst θri ˈdɛkeɪdz wər mɪsˈgaɪdɪd. kən ˈɑnəstli seɪ ðət fər ˈɛvəri ˈsɪŋgəl deɪ əv ðoʊz 29 jɪrz aɪ fɛlt ənˈwɛl ənd aɪ wɑz ɪn kəmˈplit dɪˈnaɪəl əˈbaʊt ɪt bɪˈkəz aɪ əˈsumd, laɪk ˈɛvriˌwən ɛls dɪd, ðət aɪ wɑz ɔn ə ˈhɛlθi daɪət. aɪ eɪt lɑts əv vegetables.”*.” fud ˈʤərni bɪˈgæn ˈərli. bɔrn ɪn ˌkæsəˈblæŋkə tɪ ˈpɛrənts, hər pəˈtərnəl ˈgrændˌpɛrənts əraɪvd ɪn mərˈɑkoʊ ɔn fʊt ɪn 1917 ˈfɑloʊɪŋ ðə kəˈlæps əv ðə ˈɑtəmən ˈɛmpaɪər. ˈməðər keɪm frəm ə lɔŋ laɪn əv ˈspænɪʃ ʤuz, gɔn tɪ mərˈɑkoʊ frəm ðɛr hoʊm ˈkəntri ˈfɑloʊɪŋ ðə ˈspænɪʃ ˌɪnkwəˈzɪʃən. ˈfæməli ər) ˈrɪli, ˈrɪli səˈfɪstɪˌkeɪtəd ənd ˈvɛrid ənd ˈbrɪljənt kʊks. ˈɛvəri ˈsɪŋgəl wən əv ðɛm wɑz ə ˈbrɪljənt kʊk. soʊ aɪ sɔ ə lɔt ɛz ə child.”*.” ɪn ənd mərˈɑkoʊ, ˈwɛlθi ˈfæməliz ˈɔfən hæd ˈsərvənts, soʊ nəˈdin wʊd hæv ˈpipəl ˈkʊkɪŋ fər hər ˈdʊrɪŋ hər ˈərli jɪrz. jɛt wɪn ʃi stɛpt ˈɪntu ðə ˈkɪʧən hərˈsɛlf, ʃi sɪz ɪt keɪm ˈnæʧərəli. wɑz ɪn maɪ blood,”*,” ʃi rɪˈmɛmbərz. aɪ ˈstɑrtɪd ˈkʊkɪŋ aɪ ʤɪst nu haʊ. aɪ ˈnɛvər hæd tɪ hæv ə ˈlɛsən ər goʊ ənd treɪn wɪθ ˈɛnibədi. wɑz ʤɪst ɪn there.”*.” ənd ɪt stɪl ɪz, dɪˈspaɪt hər draɪv tɪ breɪk fri əv hər ˈkʊkɪŋ ˈpɪʤənˌhoʊl. wʊd seɪ tɪ mi: ‘‘oh*, səʧ ə ˈbrɪljənt cook’*’, ənd aɪ wʊd ˈbrɪsəl bɪˈkəz soʊ məʧ mɔr ðən ðət. ɪt juzd tɪ ˈrɪli ˈəpˌsɛt mi. soʊ wɪn aɪ keɪm tɪ ɔˈstreɪljə aɪ wɑz dɪˈtərmənd tɪ du ˈsəmθɪŋ else.”*.” ɔn ðə treɪl əv ðə leɪt ˈspɪrɪˌʧuəl ˈlidər ˈbɛri lɔŋ, huz ˈtiʧɪŋz ʃi hæd ˈkloʊsli ˈfɑloʊd fər jɪrz, nəˈdin əraɪvd ɪn ɔˈstreɪljə ɪn 2000 lɔŋ) tɔt ˈɛvriˌθɪŋ ðət naʊ həz bɪˈkəm soʊ ˈkɑmənˌpleɪs, laɪk ˌmɛdəˈteɪʃən ənd wət wi naʊ kɔl mindfulness*, wɪʧ ɪz ʤɪst ə ˈjufəˌmɪzəm fər meditation.”*.” jɛt muv goʊ kwaɪt ɛz sˈmuðli ɛz plænd. ʃi ˈkɑntræktəd ˈwupɪŋ kɔf, ən ˈɪlnəs ðət wʊd pleɪg hər fər ˈsɛvən mənθs ənd rɪˈzɪst faɪv ˈkɔrsɪz əv ˌæntibaɪˈɑtɪks. ʤɪst gɑt ˈsɪkər ənd ˈsɪkər ənd sicker,”*,” ʃi sɪz. ˈmɔrnɪŋ aɪ woʊk əp ənd sɛd: wɔnt ə bif burger.’*.’ soʊ aɪ wɛnt tɪ ə ˈrɛˌstrɑnt ɪn ənd aɪ ˈɔrdərd ðə ɔrˈgænɪk bif ˈbərgər ənd aɪ sɛd: ʧɪps, noʊ bread.’*.’ ðə gaɪ lʊkt æt mi ənd sɛd: ju hæv məʧ tɪ it then.’*.’ tʊk wən ˈmaʊθˌfʊl ənd ɪt wɑz laɪk ˈɛvəri pɔr ðət wɑz ɪn maɪ ˈbɑdi ʤɪst læpt ɪt əp. ðɛn aɪ wɛnt bæk θri deɪz ɪn ə roʊ ənd ˈɔrdərd ðə seɪm bif ˈbərgər ənd baɪ ðə ɛnd əv ðə θərd deɪ, aɪ hæv ˈwupɪŋ kɔf anymore.”*.” ɛz ə əˈgɛn mit eater”*”, ɪt tʊk nəˈdin səm taɪm tɪ muv ɔn frəm hər jɪrz əv strɪkt ˌvɛʤəˈtɛˌriəˌnɪzəm. rɪˈzɪstɪd ɪt. baɪ ə pis əv ˈsæmən ər ə pis əv ˈʧɪkən ðət wɑz ɔˈrɛdi kət ənd ʤɪst sɔrt əv tɪp ɪt aʊt əv ðə treɪ wɪˈθaʊt ˈtəʧɪŋ ɪt bɪˈkəz aɪ wɑz soʊ groʊst aʊt. ɪt tʊk mi jɪrz tɪ sərˈɛndər tɪ ðə fækt ðət, ˈæˌkʧuəli, aɪ fɛlt 100 pər sɛnt ˈbɛtər wɪn aɪ eɪt mit ənd ˈpoʊltri ənd fish.”*.” wət ˈtrɪgərd ˈleɪtəst ˈpərsɪnəl fud ˌrɛvəˈluʃən wɑz ə (ər ˈskɑrɪŋ) ˌdaɪəgˈnoʊsəs. ən dɪˈsɔrdər ðət dɪˈstrɔɪz hɛr ˈfɑlɪkəlz ənd rɪˈpleɪsɪz ðɛm wɪθ skɑr ˈtɪʃu, ɪn səm ˈkeɪsɪz hɛr lɔs ɪz ˈgræʤuəl, wɪˈθaʊt ˈnoʊtəsəbəl ˈsɪmptəmz, ənd meɪ goʊ ənˈnoʊtɪst fər səm taɪm. aɪ gɑt tɪ maɪ wɪts ɛnd əˈbaʊt ɪt, soʊ aɪ ˌdɪˈsaɪdɪd aɪ hæd tɪ du something,”*,” ʃi sɪz. soʊ ʃi tʊk tɪ hər ˈdaɪəri, ˈlɪstɪŋ ɔl əv ðə fudz ʃi fɛlt noʊ ˈlɔŋgər əˈgrid wɪθ hər ˈbɑdi. ““then*, tu deɪz ˈleɪtər baɪ kəmˈplit fluk, ˈsəmˌbɑdi roʊt tɪ mi ənd ˈmɛnʃənd aip*. aɪ ˈgugəld ɪt ənd faʊnd protocol’*’. ənd, aɪ min, ju kʊd hæv meɪd ə ˈkɑrbən ˈkɑpi əv maɪ ˈdaɪəri ˈpeɪʤɪz, ɪt wɑz ɪgˈzæktli ðə seɪm θɪŋ. ənd aɪ nu aɪ hæd tɪ du this.”*.” naʊ ˈfoʊkɪst ɔn ə daɪət əv mit, fɪʃ, ˈpoʊltri, ˈvɛʤtəbəlz, swit pəˈteɪtoʊz, ˈpəmpkɪn ənd ˈʃʊgər, ˈziroʊ ˈdɛri, ˈziroʊ ˈpəlsɪz, ˈziroʊ nəts, ˈziroʊ seeds”*”, nəˈdin sɪz ˈnɛvər fɛlt ˈbɛtər. ˈɔfən tɔk əˈbaʊt ðə sɛns əv ˌdɛprəˈveɪʃən, bət aɪ fil riˈmoʊtli dɪˈpraɪvd. aɪ fil ˈlɪˌbərˌeɪtɪd frəm maɪ əˈdɪkʃən tɪ ˈʃʊgər, wɪʧ aɪ ləvd. aɪ wɑz ðə ˈbɪgəst ɔn ðə planet.”*.” wəns ə ˈkʊkɪŋ ˈtiʧər, nəˈdin naʊ prɪˈfərz tɪ hoʊld ˈmənθli ˈloʊkəl ɪˈvɛnts, ənd fər ðə pæst naɪn jɪrz həz ˈfoʊkɪst ɔn hər ɑrt pis ˈgæləri. wɛr hər ləv əv ɔl θɪŋz kriˈeɪtɪv kəmz təˈgɛðər, ənd fud ɪz ˈnɛvər fɑr frəm ðə ˈfoʊkɪs. wɪn ˈpeɪnər ʤeɪmz ˈgəpi ɪgˈzɪbətəd æt ðə speɪs, ənd du tɪ ðə dɑrk ənd ˈgɑθɪk ˈneɪʧər əv hɪz wərk, nəˈdin hɛld ə θimd ˈdɪnər tɪ ˈkɑmpləmənt ən ˈɑrtɪst tɔk, wɪʧ ʃi ˈkeɪtərd hərˈsɛlf. tərnd ðə hoʊl ˈgæləri ˈɪntu ə mɪˈdjivəl ˈbæŋkwət ənd eɪt ɔf stoʊn pleɪts ənd ðə ˈweɪtrəsɪz drɛst əp ɛz mɪˈdjivəl kaɪnd əv wenches,”*,” ʃi ˈʧəkəlz. wɑz ˌæbsəˈlutli fantastic.”*.” lʊk æt mi laɪk ˈkreɪzi, laɪk ˈhævɪŋ ən ɑrt ˈgæləri ɪn, aɪ məst bi nəts. bət ðeɪ hæv noʊ aɪˈdiə hu pʊlz əp ˈaʊtˈsaɪd. aɪ hæd ˈprɪnsɛs ˈmɛri ɪn hir læst year.”*.” simz ˈivɪn ˈhoʊlɪŋ əp ɪn stɑp ðə tˈwɪŋkəl əv ˈfudi feɪm frəm ˈfɑloʊɪŋ nəˈdin. |
like a sloth jolted into a panicked flight response, david brooks has belatedly noticed the rancid politics of racial confrontation. the new york times’ most venerable voice of conservative moderation is here to inform you, gentle reader, that the deranged incursion of into the corridors of conservative power has transformed his beloved into “more of a white party in recent years.” he seeks to nail down the flagrantly bogus argument that the republicans had, over much of their modern career, been within the bounds of “basic decency on matters of race” via a single statistic: “a greater percentage of congressional republicans voted for the civil rights act than democrats.”
well, that a “higher percentage” of republicans meant very little, in absolute numerical terms, at the apogee of great society liberalism. yes, democrats predominated in the jim crow south, but once you controlled for that outsize regional influence, the apparent institutional commitment to civil rights within the promptly vanishes. the significant difference was geographic. in states that were part of the union cause, a higher percent of democrats than republicans voted for civil rights. and the same was true in states that were part of the confederacy. adjusting for this regional variance, “it becomes clear that democrats in the north and the south were more likely to vote for the bill than republicans from the north and south, respectively,” writes data journalist harry j. enten. “it just so happened southerners made up a larger percentage of the democratic than republican caucus, which created the initial impression than republicans were more in favor of the act.”
this point bears close parsing for the simple reason that cavalier reliance upon it permits him to overlook nearly all relevant conservative postwar history on questions of racial equality. the same year the civil rights act passed, after all, this same racially tolerant nominated barry goldwater as its presidential of the only senators from either party to vote against the civil rights act. while lyndon johnson dispatched goldwater in one of the great campaign blowouts in modern presidential history, the arizona conservative managed to carry six (heavily democratic) southern states by exploiting white racial masquerading as outraged libertarian principle. thus was born the “southern strategy,” which catapulted backlash maestro richard nixon into office in 1968, and set up the as the dominant party in the south unto this day. so at least a few of those congressional roll calls revered by brooks involved cynical party leaders already apprehending what johnson himself candidly after the ratification of the civil rights and voting rights acts: that the democrats had lost the south for a generation.
in any sane universe of political discourse, a party that in the nomination of a to the presidency would refrain from pious lectures about racial comity.
and goldwater was just the electoral face of postwar reaction. william f. national journal now revered out of all reasonable proportion by moderate trump critics on the right like a fiery pulpit of white racial hatred from the moment of its founding. while buckley partially recanted his revolting track record at the date of 2004, the damage had long been done, and inscribed into the demagogic playbook of the white american right. from ronald assaults on mythical “welfare queens” to george h.w. vile willie horton ads to donald hateful crusade, the story of modern republican politics on the national stage is a study in unrelieved and cynical baiting of white racial hatreds. indeed, in any sane universe of political discourse, a party that in the nomination of a to the presidency would refrain from pious lectures about racial comity until it had sat alone in its room and thought long and hard about what it had done.
but what am i talking about? this is a david brooks column! cue the personal anecdotage:
between 1984 and 2003 i worked at national review, the washington times, the wall street journal editorial page and the weekly standard. most of my friends were republicans. in that time, i never heard blatantly racist comments at dinner parties, and there were probably fewer than a dozen times i heard some veiled comment that could have suggested racism. to be honest, i heard more racial condescension in progressive circles than in conservative ones.
this is the very sort of bullshit social observation that launched career as a comic sociologist and no more valid in this context than in that one. to confine myself to my own anecdotal world, i have moved in much the same d.c. journalistic circles that brooks has over the lamentable past decade and a half. most of my friends are of the left, and i have heard exactly zero displays of “racial condescension” in social circles i know better than brooks does. absolutely none, anywhere. so i put it to you, mr. comic sociologist, that you are indulging in a lazy lie to make your disgraceful argument appear marginally more credible to your elite new york times readership.
but such opportunistic mendacity is nothing compared to the fairy tale brooks peddles over the remainder of his column. in this account of racial pathology on the right, there are two warring factions: reasonable and distressed “white universalists” like brooks and his companions, who endorse some vague enlightenment model of racial fair play; and “conservative white,” who peddle fables of aggrieved white oppression at the hands of an pc power elite.
but wait! the real twist here, brooks writes, taking a page from the demented rhetorical playbook of fellow culture scold mark lilla, is that the of the white right are actually the cousins of the pc left:
these white have taken the multicultural taught in schools, universities and the culture and, rightly or wrongly, have applied it to themselves. as marxism saw history through the lens of class conflict, multiculturalism sees history through the lens of racial conflict and group oppression. according to a survey from the public religion research institute, for example, about 48 percent of republicans believe there is “a lot of discrimination” against christians in america and about 43 percent believe there is a lot of discrimination against whites.
the of a theology of “group oppressions” as a runaway pathogen infecting the american body politic is so widely asserted and brazenly undocumented that it suggests the real failure of american pedagogy resides in the instruction of pundits and political theorists. just for starters, the actually existing history of academic multiculturalism involved the explicit repudiation of marxist dialectics, so brooks is committing a category error right out of the gate. a bit like asserting, again without a shred of evidence, that the trouble with the talmud is that it fails to reckon with the theology of the virgin birth.
it’s a bit like asserting that the trouble with the talmud is that it fails to reckon with the theology of the virgin birth.
beyond that, though, to insist that the sense of white grievance now the of power was somehow on the cultural left and smuggled into the staid, house of american conservatism is to ignore social reality as it actually exists in these united states. the meme of christian “oppression” has of course been a mainstay of the demagogic media for the better part of a generation. see, just for starters, the “war on christmas,” the career of rush little brother david, every other demented word out of ann mouth, etc., ad nauseam.
as for the on the right that there is now runaway “discrimination against whites,” apart from the political history brooks inexcusably distorts and ignores, a little thing called the tea party, which was funded and theorized into being by moneyed forces of white. its greatest spiritual leader, meanwhile, was sarah palin, a national political force conjured cynically into being on a cruise hosted by guardians of polite discourse at the weekly standard. to look up on the political landscape of 2017 and to marvel at the sinister cunning of the academic left in inspiring the white “identitarian” rebellion on the right is to perpetrate a big lie squarely in the rhetorical of the racist demagogue trump himself. which, come to think of it, is only fitting, since david brooks and his beloved establishment continue to sit on their fretful hands as the republican playbook of white reactionary privilege descends into its long-predicted, entirely foreseeable endgame. breeding speaks to breeding, after dishonesty to dishonesty. | laɪk ə sloʊθ ˈʤoʊltɪd ˈɪntu ə ˈpænɪkt flaɪt rɪˈspɑns, ˈdeɪvɪd brʊks həz bɪˈleɪtədli ˈnoʊtɪst ðə ˈrænsɪd ˈpɑləˌtɪks əv ˈreɪʃəl ˌkɑnfrənˈteɪʃən. ðə nu jɔrk times’*’ moʊst ˈvɛnərəbəl vɔɪs əv kənˈsərvətɪv ˌmɑdərˈeɪʃən ɪz hir tɪ ˌɪnˈfɔrm ju, ˈʤɛnəl ˈridər, ðət ðə dɪˈreɪnʤd ˌɪnˈkərʒən əv ˈɪntu ðə ˈkɔrɪdərz əv kənˈsərvətɪv paʊər həz trænsˈfɔrmd hɪz bɪˈləvəd ˈɪntu əv ə waɪt ˈpɑrti ɪn ˈrisənt years.”*.” hi siks tɪ neɪl daʊn ðə ˈfleɪgrəntli ˈboʊgəs ˈɑrgjəmənt ðət ðə rɪˈpəblɪkənz hæd, ˈoʊvər məʧ əv ðɛr ˈmɑdərn kərɪr, bɪn wɪˈθɪn ðə baʊndz əv ˈdisənsi ɔn ˈmætərz əv race”*” ˈviə ə ˈsɪŋgəl stəˈtɪstɪk: ˈgreɪtər pərˈsɛnɪʤ əv kənˈgrɛʃənəl rɪˈpəblɪkənz ˈvoʊtɪd fər ðə ˈsɪvəl raɪts ækt ðən democrats.”*.” wɛl, ðət ə percentage”*” əv rɪˈpəblɪkənz mɛnt ˈvɛri ˈlɪtəl, ɪn ˈæbsəˌlut nuˈmɛrɪkəl tərmz, æt ðə ˈæpəˌʤi əv greɪt soʊˈsaɪɪti ˈlɪˌbərəˌlɪzəm. jɛs, ˈdɛməˌkræts prɪˈdɑməˌneɪtɪd ɪn ðə ʤɪm kroʊ saʊθ, bət wəns ju kənˈtroʊld fər ðət ˈaʊtˌsaɪz ˈriʤənəl ˈɪnfluəns, ðə əˈpɛrənt ˌɪnstɪˈtuʃənəl kəˈmɪtmənt tɪ ˈsɪvəl raɪts wɪˈθɪn ðə ˈprɑmptli ˈvænɪʃɪz. ðə sɪgˈnɪfɪkənt ˈdɪfərəns wɑz ˌʤiəˈgræfɪk. ɪn steɪts ðət wər pɑrt əv ðə ˈjunjən kɔz, ə haɪər pərˈsɛnt əv ˈdɛməˌkræts ðən rɪˈpəblɪkənz ˈvoʊtɪd fər ˈsɪvəl raɪts. ənd ðə seɪm wɑz tru ɪn steɪts ðət wər pɑrt əv ðə kənˈfɛdərəsi. əˈʤəstɪŋ fər ðɪs ˈriʤənəl ˈvɛriəns, bɪˈkəmz klɪr ðət ˈdɛməˌkræts ɪn ðə nɔrθ ənd ðə saʊθ wər mɔr ˈlaɪkli tɪ voʊt fər ðə bɪl ðən rɪˈpəblɪkənz frəm ðə nɔrθ ənd saʊθ, respectively,”*,” raɪts ˈdætə ˈʤərnəlɪst ˈhɛri ʤeɪ. enten*. ʤɪst soʊ ˈhæpənd ˈsəðərnərz meɪd əp ə ˈlɑrʤər pərˈsɛnɪʤ əv ðə ˌdɛməˈkrætɪk ðən rɪˈpəblɪkən ˈkɔkəs, wɪʧ kriˈeɪtɪd ðə ˌɪˈnɪʃəl ˌɪmˈprɛʃən ðən rɪˈpəblɪkənz wər mɔr ɪn ˈfeɪvər əv ðə act.”*.” ðɪs pɔɪnt bɛrz kloʊz ˈpɑrsɪŋ fər ðə ˈsɪmpəl ˈrizən ðət ˌkævəˈlɪr rɪˈlaɪəns əˈpɑn ɪt ˈpərˌmɪts ɪm tɪ ˈoʊvərˌlʊk ˈnɪrli ɔl ˈrɛləvənt kənˈsərvətɪv ˈpoʊstˈwɔr ˈhɪstəri ɔn kˈwɛsʧənz əv ˈreɪʃəl ɪkˈwɑləti. ðə seɪm jɪr ðə ˈsɪvəl raɪts ækt pæst, ˈæftər ɔl, ðɪs seɪm ˈreɪʃəli ˈtɑlərənt ˈnɑməˌneɪtəd ˈbɛri ˈgoʊldˌwɔtər ɛz ɪts ˌprɛzɪˈdɛnʃəl əv ðə ˈoʊnli ˈsɛnətərz frəm ˈiðər ˈpɑrti tɪ voʊt əˈgɛnst ðə ˈsɪvəl raɪts ækt. waɪl ˈlɪndən ˈʤɑnsən dɪˈspæʧt ˈgoʊldˌwɔtər ɪn wən əv ðə greɪt kæmˈpeɪn bloʊaʊts ɪn ˈmɑdərn ˌprɛzɪˈdɛnʃəl ˈhɪstəri, ðə ˌɛrɪˈzoʊnə kənˈsərvətɪv ˈmænɪʤd tɪ ˈkɛri sɪks (ˈhɛvəli ˌdɛməˈkrætɪk) ˈsəðərn steɪts baɪ ˈɛkˌsplɔɪtɪŋ waɪt ˈreɪʃəl ˌmæskərˈeɪdɪŋ ɛz ˈaʊˌtreɪʤd ˌlɪˌbərˈtɛˌriən ˈprɪnsəpəl. ðəs wɑz bɔrn ðə strategy,”*,” wɪʧ ˈkætəˌpəltɪd ˈbæˌklæʃ ˈmaɪstroʊ ˈrɪʧərd ˈnɪksən ˈɪntu ˈɔfəs ɪn 1968 ənd sɛt əp ðə ɛz ðə ˈdɑmənənt ˈpɑrti ɪn ðə saʊθ ˈəntu ðɪs deɪ. soʊ æt list ə fju əv ðoʊz kənˈgrɛʃənəl roʊl kɔlz rɪˈvɪrd baɪ brʊks ˌɪnˈvɑlvd ˈsɪnɪkəl ˈpɑrti ˈlidərz ɔˈrɛdi ˌæprɪˈhɛndɪŋ wət ˈʤɑnsən hɪmˈsɛlf ˈkændɪdli ˈæftər ðə ˌrætəfəˈkeɪʃən əv ðə ˈsɪvəl raɪts ənd ˈvoʊtɪŋ raɪts ækts: ðət ðə ˈdɛməˌkræts hæd lɔst ðə saʊθ fər ə ˌʤɛnərˈeɪʃən. ɪn ˈɛni seɪn ˈjunəˌvərs əv pəˈlɪtɪkəl ˈdɪskɔrs, ə ˈpɑrti ðət ɪn ðə ˌnɑməˈneɪʃən əv ə tɪ ðə ˈprɛzɪdənsi wʊd rɪˈfreɪn frəm paɪəs ˈlɛkʧərz əˈbaʊt ˈreɪʃəl ˈkoʊmɪti. ənd ˈgoʊldˌwɔtər wɑz ʤɪst ðə ɪˈlɛktərəl feɪs əv ˈpoʊstˈwɔr riˈækʃən. ˈwɪljəm ɛf. ˈnæʃənəl ˈʤərnəl naʊ rɪˈvɪrd aʊt əv ɔl ˈrizənəbəl prəˈpɔrʃən baɪ ˈmɑdərˌeɪt trəmp ˈkrɪtɪks ɔn ðə raɪt laɪk ə ˈfaɪəri ˈpʊlpɪt əv waɪt ˈreɪʃəl ˈheɪtrəd frəm ðə ˈmoʊmənt əv ɪts ˈfaʊndɪŋ. waɪl ˈbəkli ˈpɑrʃəli riˈkæntɪd hɪz riˈvoʊltɪŋ træk ˈrɛkərd æt ðə deɪt əv 2004 ðə ˈdæmɪʤ hæd lɔŋ bɪn dən, ənd ˌɪnˈskraɪbd ˈɪntu ðə ˌdɛməˈgɑʤɪk ˈpleɪbʊk əv ðə waɪt əˈmɛrɪkən raɪt. frəm ˈrɑnəld əˈsɔlts ɔn ˈmɪθɪkəl queens”*” tɪ ʤɔrʤ h.w*. vaɪl ˈwɪli ˈhɔrtən ædz tɪ ˈdɑnəld ˈheɪtfəl kruˈseɪd, ðə ˈstɔri əv ˈmɑdərn rɪˈpəblɪkən ˈpɑləˌtɪks ɔn ðə ˈnæʃənəl steɪʤ ɪz ə ˈstədi ɪn ˌənriˈlivd ənd ˈsɪnɪkəl ˈbeɪtɪŋ əv waɪt ˈreɪʃəl ˈheɪtrədz. ˌɪnˈdid, ɪn ˈɛni seɪn ˈjunəˌvərs əv pəˈlɪtɪkəl ˈdɪskɔrs, ə ˈpɑrti ðət ɪn ðə ˌnɑməˈneɪʃən əv ə tɪ ðə ˈprɛzɪdənsi wʊd rɪˈfreɪn frəm paɪəs ˈlɛkʧərz əˈbaʊt ˈreɪʃəl ˈkoʊmɪti ənˈtɪl ɪt hæd sæt əˈloʊn ɪn ɪts rum ənd θɔt lɔŋ ənd hɑrd əˈbaʊt wət ɪt hæd dən. bət wət æm aɪ ˈtɔkɪŋ əˈbaʊt? ðɪs ɪz ə ˈdeɪvɪd brʊks ˈkɑləm! kju ðə ˈpərsɪnəl anecdotage*: bɪtˈwin 1984 ənd 2003 aɪ wərkt æt ˈnæʃənəl ˌrivˈju, ðə ˈwɔʃɪŋtən taɪmz, ðə wɔl strit ˈʤərnəl ˌɛdəˈtɔriəl peɪʤ ənd ðə ˈwikli ˈstændərd. moʊst əv maɪ frɛndz wər rɪˈpəblɪkənz. ɪn ðət taɪm, aɪ ˈnɛvər hərd ˈbleɪtəntli ˈreɪsɪst ˈkɑmɛnts æt ˈdɪnər ˈpɑrtiz, ənd ðɛr wər ˈprɑbəˌbli fjuər ðən ə ˈdəzən taɪmz aɪ hərd səm veɪld ˈkɑmɛnt ðət kʊd hæv səˈʤɛstɪd ˈreɪˌsɪzəm. tɪ bi ˈɑnəst, aɪ hərd mɔr ˈreɪʃəl ˌkɑndəˈsɛnʃən ɪn prəˈgrɛsɪv ˈsərkəlz ðən ɪn kənˈsərvətɪv wənz. ðɪs ɪz ðə ˈvɛri sɔrt əv ˈbʊlˌʃɪt ˈsoʊʃəl ˌɑbzərˈveɪʃən ðət lɔnʧt kərɪr ɛz ə ˈkɑmɪk ˌsoʊsiˈɑləʤɪst ənd noʊ mɔr ˈvælɪd ɪn ðɪs ˈkɑntɛkst ðən ɪn ðət wən. tɪ kənˈfaɪn ˌmaɪˈsɛlf tɪ maɪ oʊn ˌænɪkˈdoʊtəl wərld, aɪ hæv muvd ɪn məʧ ðə seɪm d.c*. ˌʤərnəˈlɪstɪk ˈsərkəlz ðət brʊks həz ˈoʊvər ðə ləˈmɛntəbəl pæst ˈdɛkeɪd ənd ə hæf. moʊst əv maɪ frɛndz ər əv ðə lɛft, ənd aɪ hæv hərd ɪgˈzæktli ˈziroʊ dɪˈspleɪz əv condescension”*” ɪn ˈsoʊʃəl ˈsərkəlz aɪ noʊ ˈbɛtər ðən brʊks dɪz. ˌæbsəˈlutli nən, ˈɛniˌwɛr. soʊ aɪ pʊt ɪt tɪ ju, ˈmɪstər. ˈkɑmɪk ˌsoʊsiˈɑləʤɪst, ðət ju ər ˌɪnˈdəlʤɪŋ ɪn ə ˈleɪzi laɪ tɪ meɪk jʊr dɪsˈgreɪsfəl ˈɑrgjəmənt əˈpɪr ˈmɑrʤənəli mɔr ˈkrɛdəbəl tɪ jʊr ɪˈlit nu jɔrk taɪmz ˈridərˌʃɪp. bət səʧ ˌɑpərˌtuˈnɪstɪk mɛnˈdæsɪti ɪz ˈnəθɪŋ kəmˈpɛrd tɪ ðə ˈfɛri teɪl brʊks ˈpɛdəlz ˈoʊvər ðə rɪˈmeɪndər əv hɪz ˈkɑləm. ɪn ðɪs əˈkaʊnt əv ˈreɪʃəl pəˈθɑləʤi ɔn ðə raɪt, ðɛr ər tu ˈwɔrɪŋ ˈfækʃənz: ˈrizənəbəl ənd dɪˈstrɛst universalists”*” laɪk brʊks ənd hɪz kəmˈpænjənz, hu ɛnˈdɔrs səm veɪg ˌɛnˈlaɪtənmənt ˈmɑdəl əv ˈreɪʃəl fɛr pleɪ; ənd waɪt identitarians,”*,” hu ˈpɛdəl ˈfeɪbəlz əv əˈgrivd waɪt əˈprɛʃən æt ðə hænz əv ən ˈpiˈsi paʊər ɪˈlit. bət weɪt! ðə ril twɪst hir, brʊks raɪts, ˈteɪkɪŋ ə peɪʤ frəm ðə dɪˈmɛntɪd rɪˈtɔrɪkəl ˈpleɪbʊk əv ˈfɛloʊ ˈkəlʧər skoʊld mɑrk ˈlɪlə, ɪz ðət ðə əv ðə waɪt raɪt ər ˈæˌkʧuəli ðə ˈkəzənz əv ðə ˈpiˈsi lɛft: ðiz waɪt hæv ˈteɪkən ðə ˌməltiˈkəlʧərəl tɔt ɪn skulz, ˌjunəˈvərsətiz ənd ðə ˈkəlʧər ənd, ˈraɪtli ər ˈrɔŋli, hæv əˈplaɪd ɪt tɪ ðɛmˈsɛlvz. ɛz ˈmɑrksɪzəm sɔ ˈhɪstəri θru ðə lɛnz əv klæs ˈkɑnflɪkt, ˌməltiˈkəlʧərəˌlɪzəm siz ˈhɪstəri θru ðə lɛnz əv ˈreɪʃəl ˈkɑnflɪkt ənd grup əˈprɛʃən. əˈkɔrdɪŋ tɪ ə ˈsərˌveɪ frəm ðə ˈpəblɪk rɪˈlɪʤən ˈrisərʧ ˈɪnstɪˌtut, fər ɪgˈzæmpəl, əˈbaʊt 48 pərˈsɛnt əv rɪˈpəblɪkənz bɪˈliv ðɛr ɪz lɔt əv discrimination”*” əˈgɛnst ˈkrɪsʧɪnz ɪn əˈmɛrɪkə ənd əˈbaʊt 43 pərˈsɛnt bɪˈliv ðɛr ɪz ə lɔt əv dɪˌskrɪməˈneɪʃən əˈgɛnst waɪts. ðə əv ə θiˈɑləʤi əv oppressions”*” ɛz ə ˈrənəˌweɪ ˈpæθəʤən ˌɪnˈfɛktɪŋ ðə əˈmɛrɪkən ˈbɑdi ˈpɑləˌtɪk ɪz soʊ ˈwaɪdli əˈsərtəd ənd ˈbreɪzənli ənˈdɑkjəmɛnɪd ðət ɪt səˈʤɛsts ðə ril ˈfeɪljər əv əˈmɛrɪkən ˈpɛdəˌgoʊʤi rɪˈzaɪdz ɪn ðə ˌɪnˈstrəkʃən əv ˈpəndɪts ənd pəˈlɪtɪkəl θiərɪsts. ʤɪst fər ˈstɑrtərz, ðə ˈæˌkʧuəli ɪgˈzɪstɪŋ ˈhɪstəri əv ˌækəˈdɛmɪk ˌməltiˈkəlʧərəˌlɪzəm ˌɪnˈvɑlvd ðə ɪkˈsplɪsət rɪˌpjudiˈeɪʃən əv ˈmɑrksɪst dialectics*, soʊ brʊks ɪz kəˈmɪtɪŋ ə ˈkætəˌgɔri ˈɛrər raɪt aʊt əv ðə geɪt. ə bɪt laɪk əˈsərtɪŋ, əˈgɛn wɪˈθaʊt ə ʃrɛd əv ˈɛvədəns, ðət ðə ˈtrəbəl wɪθ ðə ˈtælməd ɪz ðət ɪt feɪlz tɪ ˈrɛkən wɪθ ðə θiˈɑləʤi əv ðə ˈvərʤɪn bərθ. ə bɪt laɪk əˈsərtɪŋ ðət ðə ˈtrəbəl wɪθ ðə ˈtælməd ɪz ðət ɪt feɪlz tɪ ˈrɛkən wɪθ ðə θiˈɑləʤi əv ðə ˈvərʤɪn bərθ. bɪɔnd ðət, ðoʊ, tɪ ˌɪnˈsɪst ðət ðə sɛns əv waɪt ˈgrivəns naʊ ðə əv paʊər wɑz ˈsəmˌhaʊ ɔn ðə ˈkəlʧərəl lɛft ənd sˈməgəld ˈɪntu ðə steɪd, haʊs əv əˈmɛrɪkən kənˈsərvəˌtɪzəm ɪz tɪ ˌɪgˈnɔr ˈsoʊʃəl ˌriˈæləˌti ɛz ɪt ˈæˌkʧuəli ɪgˈzɪsts ɪn ðiz juˈnaɪtɪd steɪts. ðə mim əv ˈkrɪsʧɪn ““oppression”*” həz əv kɔrs bɪn ə ˈmeɪnˌsteɪ əv ðə ˌdɛməˈgɑʤɪk ˈmidiə fər ðə ˈbɛtər pɑrt əv ə ˌʤɛnərˈeɪʃən. si, ʤɪst fər ˈstɑrtərz, ðə ɔn christmas,”*,” ðə kərɪr əv rəʃ ˈlɪtəl ˈbrəðər ˈdeɪvɪd, ˈɛvəri ˈəðər dɪˈmɛntɪd wərd aʊt əv æn maʊθ, ˌɛtˈsɛtərə., æd ˈnaʊˌzim. ɛz fər ðə ɔn ðə raɪt ðət ðɛr ɪz naʊ ˈrənəˌweɪ əˈgɛnst whites,”*,” əˈpɑrt frəm ðə pəˈlɪtɪkəl ˈhɪstəri brʊks ˌɪnɪkˈskjuzəbli dɪˈstɔrts ənd ˌɪgˈnɔrz, ə ˈlɪtəl θɪŋ kɔld ðə ti ˈpɑrti, wɪʧ wɑz ˈfəndɪd ənd θiəraɪzd ˈɪntu biɪŋ baɪ ˈmənid ˈfɔrsɪz əv waɪt. ɪts ˈgreɪtəst ˈspɪrɪˌʧuəl ˈlidər, ˈminˌwaɪl, wɑz ˈsɛrə ˈpælɪn, ə ˈnæʃənəl pəˈlɪtɪkəl fɔrs ˈkɑnʤərd ˈsɪnɪkəli ˈɪntu biɪŋ ɔn ə kruz ˈhoʊstɪd baɪ ˈgɑrdiənz əv pəˈlaɪt ˈdɪskɔrs æt ðə ˈwikli ˈstændərd. tɪ lʊk əp ɔn ðə pəˈlɪtɪkəl ˈlænˌskeɪp əv 2017 ənd tɪ ˈmɑrvəl æt ðə ˈsɪnɪstər ˈkənɪŋ əv ðə ˌækəˈdɛmɪk lɛft ɪn ˌɪnˈspaɪərɪŋ ðə waɪt ““identitarian”*” rɪˈbɛljən ɔn ðə raɪt ɪz tɪ ˈpərpəˌtreɪt ə bɪg laɪ skˈwɛrli ɪn ðə rɪˈtɔrɪkəl əv ðə ˈreɪsɪst ˈdɛməˌgɑg trəmp hɪmˈsɛlf. wɪʧ, kəm tɪ θɪŋk əv ɪt, ɪz ˈoʊnli ˈfɪtɪŋ, sɪns ˈdeɪvɪd brʊks ənd hɪz bɪˈləvəd ɪˈstæblɪʃmənt kənˈtɪnju tɪ sɪt ɔn ðɛr ˈfrɛtfəl hænz ɛz ðə rɪˈpəblɪkən ˈpleɪbʊk əv waɪt riˈækʃəˌnɛri ˈprɪvɪlɪʤ dɪˈsɛndz ˈɪntu ɪts long-predicted*, ɪnˈtaɪərli fɔrˈsiəbəl ˈɛndgeɪm. ˈbridɪŋ spiks tɪ ˈbridɪŋ, ˈæftər dɪˈsɑnəsti tɪ dɪˈsɑnəsti. |
aol is now apparently blocking emails that are critical of their company.
on wednesday, the started getting complaints that emails sent to aol customers with a link to the dear aol a website devoted to fighting the proposed aol email tax that would allow mass who ponied up to get preferential delivery treatment over other senders we being bounced. copies of the same emails without the went through fine.
the very quickly issued a press release about it. within twenty minutes, aol had “solved” the problem. but as the put it: this incident only increases our worry about organizations who have the ability to seek instant press attention. the next time filters fail for a small organization or one without political muscle will they move so quickly to fix them? or will they push organizations to just sign up with and pay to avoid the problem?
no, the real issue here is that aol decided to censor email that it viewed “as harmful” to the company. no amount of subscription to would have solved the problem, because aol wanted to silently prevent aol customers from getting emails that were not approved opinions of the bigwigs upstairs. this is really sleazy less an illustration of the dangers of email as the dangers of letting a company scan our communications and censor our thoughts and beliefs.
aol censors email tax opponents [eff] | əˈmərɪkəˈɑnˌlaɪn ɪz naʊ əˈpɛrəntli ˈblɑkɪŋ iˈmeɪlz ðət ər ˈkrɪtɪkəl əv ðɛr ˈkəmpəˌni. ɔn ˈwɛnzˌdeɪ, ðə ˈstɑrtɪd ˈgɪtɪŋ kəmˈpleɪnts ðət iˈmeɪlz sɛnt tɪ əˈmərɪkəˈɑnˌlaɪn ˈkəstəmərz wɪθ ə lɪŋk tɪ ðə dɪr əˈmərɪkəˈɑnˌlaɪn ə ˈwɛbˌsaɪt dɪˈvoʊtɪd tɪ ˈfaɪtɪŋ ðə prəˈpoʊzd əˈmərɪkəˈɑnˌlaɪn iˈmeɪl tæks ðət wʊd əˈlaʊ mæs hu ˈpoʊnid əp tɪ gɪt ˌprɛfərˈɛnʃəl dɪˈlɪvəri ˈtritmənt ˈoʊvər ˈəðər ˈsɛndərz wi biɪŋ baʊnst. ˈkɑpiz əv ðə seɪm iˈmeɪlz wɪˈθaʊt ðə wɛnt θru faɪn. ðə ˈvɛri kˈwɪkli ˈɪʃud ə prɛs riˈlis əˈbaʊt ɪt. wɪˈθɪn tˈwɛnti ˈmɪnəts, əˈmərɪkəˈɑnˌlaɪn hæd ““solved”*” ðə ˈprɑbləm. bət ɛz ðə pʊt ɪt: ðɪs ˈɪnsədənt ˈoʊnli ˌɪnˈkrisɪz ɑr ˈwəri əˈbaʊt ˌɔrgənəˈzeɪʃənz hu hæv ðə əˈbɪləˌti tɪ sik ˈɪnstənt prɛs əˈtɛnʃən. ðə nɛkst taɪm ˈfɪltərz feɪl fər ə smɔl ˌɔrgənəˈzeɪʃən ər wən wɪˈθaʊt pəˈlɪtɪkəl ˈməsəl wɪl ðeɪ muv soʊ kˈwɪkli tɪ fɪks ðɛm? ər wɪl ðeɪ pʊʃ ˌɔrgənəˈzeɪʃənz tɪ ʤɪst saɪn əp wɪθ ənd peɪ tɪ əˈvɔɪd ðə ˈprɑbləm? noʊ, ðə ril ˈɪʃu hir ɪz ðət əˈmərɪkəˈɑnˌlaɪn ˌdɪˈsaɪdɪd tɪ ˈsɛnsər iˈmeɪl ðət ɪt vjud harmful”*” tɪ ðə ˈkəmpəˌni. noʊ əˈmaʊnt əv səbˈskrɪpʃən tɪ wʊd hæv sɑlvd ðə ˈprɑbləm, bɪˈkəz əˈmərɪkəˈɑnˌlaɪn ˈwɔntɪd tɪ ˈsaɪləntli prɪˈvɛnt əˈmərɪkəˈɑnˌlaɪn ˈkəstəmərz frəm ˈgɪtɪŋ iˈmeɪlz ðət wər nɑt əˈpruvd əˈpɪnjənz əv ðə ˈbɪgˌwɪgz əpˈstɛrz. ðɪs ɪz ˈrɪli sˈlizi lɛs ən ˌɪləˈstreɪʃən əv ðə ˈdeɪnʤərz əv iˈmeɪl ɛz ðə ˈdeɪnʤərz əv ˈlɛtɪŋ ə ˈkəmpəˌni skæn ɑr kəmˌjunəˈkeɪʃənz ənd ˈsɛnsər ɑr θɔts ənd bɪˈlifs. əˈmərɪkəˈɑnˌlaɪn ˈsɛnsərz iˈmeɪl tæks əˈpoʊnənts [eff*] |
honduras soccer captain arnold peralta shot dead in hometown
updated
authorities in honduras say the captain of the national soccer team has been shot dead in a shopping centre parking lot in a city on the country's caribbean coast.
arnold peralta was killed by an unidentified gunman on a motorcycle in his hometown of la on thursday.
his father, carlos peralta, confirmed the death at a news conference.
the joined club in the honduran national soccer league this year.
olimpia was eliminated from the league's last weekend.
peralta previously played for the rangers football club in scotland and club vida in honduras.
peralta was scheduled to play in the national team's friendly match against cuba next week.
honduras is plagued by gang violence and has one of the world's highest homicide rates.
ap
topics: soccer, sport, honduras
first posted | hɑnˈdʊrəs ˈsɑkər ˈkæptən ˈɑrnəld pərˈɑltə ʃɑt dɛd ɪn ˈhoʊmˌtaʊn ˈəpˌdeɪtɪd əˈθɔrətiz ɪn hɑnˈdʊrəs seɪ ðə ˈkæptən əv ðə ˈnæʃənəl ˈsɑkər tim həz bɪn ʃɑt dɛd ɪn ə ˈʃɑpɪŋ ˈsɛntər ˈpɑrkɪŋ lɔt ɪn ə ˈsɪti ɔn ðə ˈkəntriz ˌkɛrɪˈbiən koʊst. ˈɑrnəld pərˈɑltə wɑz kɪld baɪ ən ˌənaɪˈdɛntəˌfaɪd ˈgənmən ɔn ə ˈmoʊtərˌsaɪkəl ɪn hɪz ˈhoʊmˌtaʊn əv lɑ ɔn ˈθərzˌdeɪ. hɪz ˈfɑðər, ˈkɑrloʊs pərˈɑltə, kənˈfərmd ðə dɛθ æt ə nuz ˈkɑnfərəns. ðə ʤɔɪnd kləb ɪn ðə hɑnˈdʊrən ˈnæʃənəl ˈsɑkər lig ðɪs jɪr. wɑz ɪˈlɪməˌneɪtɪd frəm ðə ligz læst ˈwiˌkɪnd. pərˈɑltə ˈpriviəsli pleɪd fər ðə ˈreɪnʤərz ˈfʊtˌbɔl kləb ɪn ˈskɑtlənd ənd kləb ˈvaɪdə ɪn hɑnˈdʊrəs. pərˈɑltə wɑz ˈskɛʤʊld tɪ pleɪ ɪn ðə ˈnæʃənəl timz ˈfrɛndli mæʧ əˈgɛnst ˈkjubə nɛkst wik. hɑnˈdʊrəs ɪz pleɪgd baɪ gæŋ ˈvaɪələns ənd həz wən əv ðə wərldz haɪəst ˈhɑməˌsaɪd reɪts. ˌeɪˈpi ˈtɑpɪks: ˈsɑkər, spɔrt, hɑnˈdʊrəs fərst ˈpoʊstɪd |
autonomous vehicles will be in wide use in as little as three years, slipping into traffic before transportation departments and disrupted industries have a chance to prepare, experts said in chicago today.
"the majority of people i talk to have no idea they're coming so soon," said lauren issac, manager of sustainable transportation for the engineering and planning firm parsons brinkerhoff.
as isaac discussed autonomous vehicles with other experts at the national shared mobility summit in chicago, a scenario unfolded of how driverless cars may emerge in the u.s.— with the potential to save up to a trillion dollars and a of carbon emissions.
1. and driverless freight
isaac believes autonomous trucks will appear first on the highways, hauling freight for companies that cannot resist avoiding the cost, inefficiency, maintenance, liability and loss that they incur now because of human drivers.
the rocky mountain institute, which has studied autonomous vehicles as a route to reduced carbon emissions, concurs.
"our research indicates that the first thing that's going to roll out, she's probably right, will be freight, some kind of trucks going across our highways," said jonathan walker of the rocky mountain institute.
"in the cities it's going to be, and it's going to be sooner than we think. in three years we're going to see some kind of automated taxi service, probably in the bay area, maybe in austin."
if the traditional cab companies don't leap to autonomous cabs, the will.
"uber is chomping at the bit to bring autonomous vehicles on," isaac said, "so they don't have to deal with all their employee issues."
will autonomous taxis be affordable? with lower overhead, it's likely. and some rides may be free.
"what if the bar or the restaurant or walmart or target, they pay for your trip? because they're essentially using these vehicles to bring customers to them," walker said, "so you might actually see free in three years."
2. commute services
"next. i won't break out any names, but you're going to see the tech leaders who specialize in consumer experience very interested in getting high-end people to and from their jobs in luxurious autonomous vehicles," walker said.
apple? tesla?
"the business models make the most sense if these vehicles are shared, and the tech companies in the silicon valley who specialize in consumer adoption are going to figure out a way to get people with money to give up their personal vehicles and take a shared autonomous vehicle too."
this will probably occur between 2020 and 2025, walker predicts, when those services have matured. then the masses get on board:
3. full system
the next stage, according to walker, is a fully built automated system, mobility on demand, in which people can request an automated vehicle whenever they need one.
"2030 comes and you've got these fully bloomed systems where i request an autonomous to go the mountains with my buddies, i request the to go to the city, i request a because i want it to be free or subsidized, and i don't use any cars anymore.
"so that's probably the scenario, and that's the way we see it unrolling."
economics will drive the success of autonomous vehicles, according to the rocky mountain institute, because of a suite of financial advantages.
autonomous vehicles cost about 15 cents per mile to operate, compared to 60 cents for personal cars. they're cheaper because they can be shared, eliminating purchases, parking spaces, and idle time. most cars are idle 95 percent of the time, walker said.
automated vehicles are less likely to suffer damage or get into the 82 percent of accidents that occur because of driver error. for commercial and public vehicles, the drivers represent the system's greatest cost, walker said.
the u.s. department of transportation illuminated some of those costs when it experimented with an automated bus.
"what it did for us was some amazing things," said jeffrey spencer, a program manager with usdot. "we found that the bus no longer has the tires rub against the curb. it doesn't knock the wheel alignment off. it doesn't collide with the platform, and on a articulated bus, it put all passengers within one inch of the platform. so people could get on and off the bus very easily. we've not only reduced the maintenance cost, we've reduced the liability cost.
"and because of its precision, and it comes to the same spot every time, we were able to keep that bus on time most of the time, and reduce the amount of capital expense. we didn't have to buy another bus to meet the demand because we were able to move that bus in a more precise and proficient manner."
the insurance for automated vehicles should be about 10 percent what insurance costs motorists today, walker said, and vehicles can be for their tasks: people can order a pickup truck for buying gardening supplies, a for the drive to work, a shuttle to go to the airport, a bus when they want to save money.
because of their efficient use of road space, walker said, they will free up lanes equivalent to five times the highway infrastructure we have today.
the carbon savings occur, walker warned, only if the fleet is electric and shared.
a different scenario, described by panelists as "the nightmare scenario" emerges if autonomous vehicles cling to the current transportation owned and gasoline powered. then some of the problems they might solve—parking, congestion, worse.
many questions remain. how will the insurance industry react? what will become of filling stations? the oil industry? will autonomous vehicles compete with transit systems or take them over? how will pedestrians and bicyclists interact? and:
"when the apple car is deployed," asked spencer, "will it have windows?" | ɔˈtɑnəməs ˈviɪkəlz wɪl bi ɪn waɪd juz ɪn ɛz ˈlɪtəl ɛz θri jɪrz, sˈlɪpɪŋ ˈɪntu ˈtræfɪk ˌbiˈfɔr ˌtrænspərˈteɪʃən dɪˈpɑrtmənts ənd dɪsˈrəptɪd ˈɪndəstriz hæv ə ʧæns tɪ priˈpɛr, ˈɛkspərts sɛd ɪn ʃəˈkɑˌgoʊ təˈdeɪ. "ðə məˈʤɔrəti əv ˈpipəl aɪ tɔk tɪ hæv noʊ aɪˈdiə ðɛr ˈkəmɪŋ soʊ sun," sɛd ˈlɔrən ˈɪsək, ˈmænɪʤər əv səˈsteɪnəbəl ˌtrænspərˈteɪʃən fər ðə ˈɛnʤəˈnɪrɪŋ ənd ˈplænɪŋ fərm ˈpɑrsənz ˈbrɪŋkərˌhɔf. ɛz ˈaɪzɪk dɪˈskəst ɔˈtɑnəməs ˈviɪkəlz wɪθ ˈəðər ˈɛkspərts æt ðə ˈnæʃənəl ʃɛrd moʊˈbɪlɪti ˈsəmɪt ɪn ʃəˈkɑˌgoʊ, ə sɪˈnɛrioʊ ənˈfoʊldəd əv haʊ ˈdraɪvərlɪs kɑz meɪ ˈimərʤ ɪn ðə u.s.—*.— wɪθ ðə pəˈtɛnʃəl tɪ seɪv əp tɪ ə ˈtrɪljən ˈdɔlərz ənd ə əv ˈkɑrbən ɪˈmɪʃənz. 1 ənd ˈdraɪvərlɪs freɪt ˈaɪzɪk bɪˈlivz ɔˈtɑnəməs trəks wɪl əˈpɪr fərst ɔn ðə ˈhaɪˌweɪz, ˈhɔlɪŋ freɪt fər ˈkəmpəˌniz ðət ˈkænɑt rɪˈzɪst əˈvɔɪdɪŋ ðə kɔst, ˌɪnɪˈfɪʃənsi, ˈmeɪntənəns, ˌlaɪəˈbɪlɪti ənd lɔs ðət ðeɪ ˌɪnˈkər naʊ bɪˈkəz əv ˈjumən ˈdraɪvərz. ðə ˈrɑki ˈmaʊntən ˈɪnstɪˌtut, wɪʧ həz ˈstədid ɔˈtɑnəməs ˈviɪkəlz ɛz ə rut tɪ rɪˈdust ˈkɑrbən ɪˈmɪʃənz, kənˈkərz. "ɑr ˈrisərʧ ˈɪndɪˌkeɪts ðət ðə fərst θɪŋ ðæts goʊɪŋ tɪ roʊl aʊt, ʃiz ˈprɑbəˌbli raɪt, wɪl bi freɪt, səm kaɪnd əv trəks goʊɪŋ əˈkrɔs ɑr ˈhaɪˌweɪz," sɛd ˈʤɑnəθən ˈwɔkər əv ðə ˈrɑki ˈmaʊntən ˈɪnstɪˌtut. "ɪn ðə ˈsɪtiz ɪts goʊɪŋ tɪ bi, ənd ɪts goʊɪŋ tɪ bi ˈsunər ðən wi θɪŋk. ɪn θri jɪrz wɪr goʊɪŋ tɪ si səm kaɪnd əv ˈɔtəˌmeɪtɪd ˈtæksi ˈsərvɪs, ˈprɑbəˌbli ɪn ðə beɪ ˈɛriə, ˈmeɪbi ɪn ˈɔstən." ɪf ðə trəˈdɪʃənəl kæb ˈkəmpəˌniz doʊnt lip tɪ ɔˈtɑnəməs kæbz, ðə wɪl. "ˈubər ɪz ˈʧɑmpɪŋ æt ðə bɪt tɪ brɪŋ ɔˈtɑnəməs ˈviɪkəlz ɔn," ˈaɪzɪk sɛd, "soʊ ðeɪ doʊnt hæv tɪ dil wɪθ ɔl ðɛr ɪmˈplɔɪi ˈɪʃuz." wɪl ɔˈtɑnəməs ˈtæksiz bi əˈfɔrdəbəl? wɪθ loʊər ˈoʊvərˈhɛd, ɪts ˈlaɪkli. ənd səm raɪdz meɪ bi fri. "wət ɪf ðə bɑr ər ðə ˈrɛˌstrɑnt ər ˈwɔlˌmɑrt ər ˈtərgət, ðeɪ peɪ fər jʊr trɪp? bɪˈkəz ðɛr ɛˈsɛnʃəli ˈjuzɪŋ ðiz ˈviɪkəlz tɪ brɪŋ ˈkəstəmərz tɪ ðɛm," ˈwɔkər sɛd, "soʊ ju maɪt ˈæˌkʧuəli si fri ɪn θri jɪrz." 2 kəmˈjut ˈsərvɪsɪz "nɛkst. aɪ woʊnt breɪk aʊt ˈɛni neɪmz, bət jʊr goʊɪŋ tɪ si ðə tɛk ˈlidərz hu ˈspɛʃəˌlaɪz ɪn kənˈsumər ɪkˈspɪriəns ˈvɛri ˈɪntəˌrɛstɪd ɪn ˈgɪtɪŋ haɪɛnd ˈpipəl tɪ ənd frəm ðɛr ʤɑbz ɪn ləgˈʒəriəs ɔˈtɑnəməs ˈviɪkəlz," ˈwɔkər sɛd. ˈæpəl? ˈtɛzlə? "ðə ˈbɪznɪs ˈmɑdəlz meɪk ðə moʊst sɛns ɪf ðiz ˈviɪkəlz ər ʃɛrd, ənd ðə tɛk ˈkəmpəˌniz ɪn ðə ˈsɪləkən ˈvæli hu ˈspɛʃəˌlaɪz ɪn kənˈsumər əˈdɑpʃən ər goʊɪŋ tɪ ˈfɪgjər aʊt ə weɪ tɪ gɪt ˈpipəl wɪθ ˈməni tɪ gɪv əp ðɛr ˈpərsɪnəl ˈviɪkəlz ənd teɪk ə ʃɛrd ɔˈtɑnəməs ˈviɪkəl tu." ðɪs wɪl ˈprɑbəˌbli əˈkər bɪtˈwin 2020 ənd 2025 ˈwɔkər prɪˈdɪkts, wɪn ðoʊz ˈsərvɪsɪz hæv məˈtjʊrd. ðɛn ðə ˈmæsɪz gɪt ɔn bɔrd: 3 fʊl ˈsɪstəm ðə nɛkst steɪʤ, əˈkɔrdɪŋ tɪ ˈwɔkər, ɪz ə ˈfʊli bɪlt ˈɔtəˌmeɪtɪd ˈsɪstəm, moʊˈbɪlɪti ɔn dɪˈmænd, ɪn wɪʧ ˈpipəl kən rɪkˈwɛst ən ˈɔtəˌmeɪtɪd ˈviɪkəl wɛˈnɛvər ðeɪ nid wən. 2030 kəmz ənd juv gɑt ðiz ˈfʊli blumd ˈsɪstəmz wɛr aɪ rɪkˈwɛst ən ɔˈtɑnəməs tɪ goʊ ðə ˈmaʊntənz wɪθ maɪ ˈbədiz, aɪ rɪkˈwɛst ðə tɪ goʊ tɪ ðə ˈsɪti, aɪ rɪkˈwɛst ə bɪˈkəz aɪ wɔnt ɪt tɪ bi fri ər ˈsəbsɪˌdaɪzd, ənd aɪ doʊnt juz ˈɛni kɑz ˌɛniˈmɔr. "soʊ ðæts ˈprɑbəˌbli ðə sɪˈnɛrioʊ, ənd ðæts ðə weɪ wi si ɪt ˌənˈroʊlɪŋ." ˌɛkəˈnɑmɪks wɪl draɪv ðə səkˈsɛs əv ɔˈtɑnəməs ˈviɪkəlz, əˈkɔrdɪŋ tɪ ðə ˈrɑki ˈmaʊntən ˈɪnstɪˌtut, bɪˈkəz əv ə swit əv ˌfaɪˈnænʃəl ædˈvæntɪʤɪz. ɔˈtɑnəməs ˈviɪkəlz kɔst əˈbaʊt 15 sɛnts pər maɪl tɪ ˈɔpərˌeɪt, kəmˈpɛrd tɪ 60 sɛnts fər ˈpərsɪnəl kɑz. ðɛr ˈʧipər bɪˈkəz ðeɪ kən bi ʃɛrd, ɪˈlɪməˌneɪtɪŋ ˈpərʧəsɪz, ˈpɑrkɪŋ ˈspeɪsɪz, ənd ˈaɪdəl taɪm. moʊst kɑz ər ˈaɪdəl 95 pərˈsɛnt əv ðə taɪm, ˈwɔkər sɛd. ˈɔtəˌmeɪtɪd ˈviɪkəlz ər lɛs ˈlaɪkli tɪ ˈsəfər ˈdæmɪʤ ər gɪt ˈɪntu ðə 82 pərˈsɛnt əv ˈæksədənts ðət əˈkər bɪˈkəz əv ˈdraɪvər ˈɛrər. fər kəˈmərʃəl ənd ˈpəblɪk ˈviɪkəlz, ðə ˈdraɪvərz ˌrɛprɪˈzɛnt ðə ˈsɪstəmz ˈgreɪtəst kɔst, ˈwɔkər sɛd. ðə juz. dɪˈpɑrtmənt əv ˌtrænspərˈteɪʃən ˌɪˈluməˌneɪtəd səm əv ðoʊz kɔsts wɪn ɪt ɪkˈspɛrəməntəd wɪθ ən ˈɔtəˌmeɪtɪd bəs. "wət ɪt dɪd fər ˈjuˈɛs wɑz səm əˈmeɪzɪŋ θɪŋz," sɛd ˈʤɛfri ˈspɛnsər, ə ˈproʊˌgræm ˈmænɪʤər wɪθ usdot*. "wi faʊnd ðət ðə bəs noʊ ˈlɔŋgər həz ðə taɪərz rəb əˈgɛnst ðə kərb. ɪt ˈdəzənt nɑk ðə wil əˈlaɪnmənt ɔf. ɪt ˈdəzənt kəˈlaɪd wɪθ ðə ˈplætˌfɔrm, ənd ɔn ə ɑrˈtɪkjəˌleɪtəd bəs, ɪt pʊt ɔl ˈpæsənʤərz wɪˈθɪn wən ɪnʧ əv ðə ˈplætˌfɔrm. soʊ ˈpipəl kʊd gɪt ɔn ənd ɔf ðə bəs ˈvɛri ˈizəli. wiv nɑt ˈoʊnli rɪˈdust ðə ˈmeɪntənəns kɔst, wiv rɪˈdust ðə ˌlaɪəˈbɪlɪti kɔst. "ənd bɪˈkəz əv ɪts priˈsɪʒən, ənd ɪt kəmz tɪ ðə seɪm spɑt ˈɛvəri taɪm, wi wər ˈeɪbəl tɪ kip ðət bəs ɔn taɪm moʊst əv ðə taɪm, ənd rɪˈdus ðə əˈmaʊnt əv ˈkæpɪtəl ɪkˈspɛns. wi ˈdɪdənt hæv tɪ baɪ əˈnəðər bəs tɪ mit ðə dɪˈmænd bɪˈkəz wi wər ˈeɪbəl tɪ muv ðət bəs ɪn ə mɔr prɪˈsaɪs ənd prɑˈfɪʃənt ˈmænər." ðə ˌɪnˈʃʊrəns fər ˈɔtəˌmeɪtɪd ˈviɪkəlz ʃʊd bi əˈbaʊt 10 pərˈsɛnt wət ˌɪnˈʃʊrəns kɔsts ˈmoʊtərɪsts təˈdeɪ, ˈwɔkər sɛd, ənd ˈviɪkəlz kən bi fər ðɛr tæsks: ˈpipəl kən ˈɔrdər ə ˈpɪˌkəp trək fər baɪɪŋ ˈgɑrdənɪŋ səˈplaɪz, ə fər ðə draɪv tɪ wərk, ə ˈʃətəl tɪ goʊ tɪ ðə ˈɛrˌpɔrt, ə bəs wɪn ðeɪ wɔnt tɪ seɪv ˈməni. bɪˈkəz əv ðɛr ɪˈfɪʃənt juz əv roʊd speɪs, ˈwɔkər sɛd, ðeɪ wɪl fri əp leɪnz ɪkˈwɪvələnt tɪ faɪv taɪmz ðə ˈhaɪˌweɪ ˌɪnfrəˈstrəkʧər wi hæv təˈdeɪ. ðə ˈkɑrbən ˈseɪvɪŋz əˈkər, ˈwɔkər wɔrnd, ˈoʊnli ɪf ðə flit ɪz ɪˈlɛktrɪk ənd ʃɛrd. ə ˈdɪfərənt sɪˈnɛrioʊ, dɪˈskraɪbd baɪ ˈpænəlɪsts ɛz "ðə ˈnaɪtˌmɛr sɪˈnɛrioʊ" ˈimərʤɪz ɪf ɔˈtɑnəməs ˈviɪkəlz klɪŋ tɪ ðə ˈkɑrənt ˌtrænspərˈteɪʃən oʊnd ənd ˈgæsəˌlin paʊərd. ðɛn səm əv ðə ˈprɑbləmz ðeɪ maɪt solve—parking*, kənˈʤɛsʧən, wərs. ˈmɛni kˈwɛsʧənz rɪˈmeɪn. haʊ wɪl ðə ˌɪnˈʃʊrəns ˈɪndəstri riækt? wət wɪl bɪˈkəm əv ˈfɪlɪŋ ˈsteɪʃənz? ðə ɔɪl ˈɪndəstri? wɪl ɔˈtɑnəməs ˈviɪkəlz kəmˈpit wɪθ ˈtrænzɪt ˈsɪstəmz ər teɪk ðɛm ˈoʊvər? haʊ wɪl pəˈdɛstriənz ənd ˈbaɪˌsɪklɪsts ˌɪnərˈækt? ənd: "wɪn ðə ˈæpəl kɑr ɪz dɪˈplɔɪd," æst ˈspɛnsər, "wɪl ɪt hæv ˈwɪndoʊz?" |
a hole in the border fence. (u.s. customs and border protection photo/gao)
(cnsnews.com) - during a stretch of the obama presidency, people illegally crossing the border cut holes in the “pedestrian” fencing that currently covers only 354 miles of the border, according to a report published by the government accountability office.
only 654 miles of the-long border currently have any type of fencing, according to. the other miles of border have no fencing.
of the 654 miles of fencing, 354 miles consists of what the department of homeland security calls “pedestrian” fencing. the other 300 miles is “vehicle” fencing.
“border fencing types,” explains, “include pedestrian fencing, which is primarily intended to slow down and deter pedestrians from crossing the border, and vehicle fencing, which is intended to resist vehicles engaged in drug trafficking and alien smuggling operations and is typically used in rural or isolated locations that have a low occurrence of illegal pedestrian traffic.”
the report notes that the 300 miles in “vehicle” fencing on the border is not designed to stop smugglers and other illegal from entering the u.s. on foot.
“although tucson sector officials stated vehicle fencing has been effective in slowing and prohibiting drive throughs,” says the report, “vehicle fencing is not designed to slow or deter illegal entrants from entering or smuggling contraband into the united states on foot.”
37 miles of the 354 miles of “pedestrian” border fencing is backed up by a layer of secondary fencing, according to. another 14 miles of that is backed up by tertiary fencing.
a hole in the border fence. (u.s. customs and border protection photo/gao)
the report noted that it is common for “illegal entrants” to cut holes in the existing border fences so they can enter the united states.
“agents we spoke with in the el paso and tucson sectors explained that one of the most common methods employed by illegal entrants involves cutting openings, or breaches, in pedestrian and vehicle fencing,” says. “once breached, illegal entrants can cross through the fence or smuggle people and contraband into the united states.
in six years during the obama administration, “illegal entrants” cut holes in the pedestrian fencing along the border.
“between fiscal years 2010 and 2015, recorded a total of breaches in pedestrian fencing,” says the report. “according to our analysis of these data, illegal entrants breached legacy pedestrian fencing at an average rate of 82 breaches per fence mile, compared to an average of 14 breaches per fence mile of modern pedestrian fencing.”
the report refers to any fencing constructed from surplus vietnam landing mats or fencing designs used before congress enacted the secure fence act in 2006 as “legacy” fencing. it refers to fencing designs developed after the secure fence act as “modern” fencing.
the report says holes cut in the existing border fences cost an average of $784 per hole to repair.
the report describes how the border patrol on the ground in the el paso sector tried for seven years to get to approve replacing the "compromised" fencing in sunland park, new is right across the state line from el paso, texas.
because the fence in sunland was not replaced, illegal entrants deterred from crossing in el there was a good border simply move to the west to sunland and cross there.
“in addition, sector officials stated that modern pedestrian fencing in downtown el paso, texas, had diverted illegal entrant activity to sunland park, new mexico, where the primary legacy pedestrian fencing is compromised,” says the report.
“el paso sector officials,” says the report, “stated that while the sunland park, new mexico, area of operations has the greatest amount of illegal activity in the el paso sector, the condition of the primary legacy pedestrian fencing does not achieve its intended purpose of slowing the progress of illegal entrants.”
“el paso sector officials stated that sector officials provided border patrol headquarters written justification documenting the need for a fence replacement project in the sunland park, new mexico, for seven years,” says the report. “border patrol approved the identified need and in fiscal year 2015 began implementing the sunland park fence replacement project.”
illegal entrants use instruments ranging from pipe cutters to power tools to cut holes in the existing border fencing.
“agents we spoke with in the el paso sector explained that creating breaches in legacy pedestrian fencing requires less effort compared to modern designs, and can be done using bolt or pipe cutters,” says.
“agents we spoke with in the tucson sector also told us that while pedestrian fencing is generally easier to breach, they have also observed breaches in more modern fence designs, including bollard fence, which agents stated were cut using portable power tools,” says.
“in addition,” says, “agents in the tucson sector stated that illegal entrants scale the taller pedestrian fencing designs, such as bollard fencing. in contrast, agents we spoke with in the san diego sector stated that some segments of legacy fencing are low and that they have witnessed illegal entrants jumping over the fence.”
the original version of this’s report on border fencing was presented to the members of congress who had requested it on dec. 22, 2016. but the department of homeland security objected to releasing that version to the public.
“dhs deemed some of the information in the prior report as for official use enforcement sensitive, which must be protected from public disclosure,” said in the redacted version of the report that was released publicly on february 16. “therefore, this report omits sensitive information on of ti [tactical infrastructure] and our analysis of border patrol data on fencing and enforcement activities.”
the holes that were cut in the border fencing from fiscal 2010 to fiscal 2015 equals an average of about holes per day. | ə hoʊl ɪn ðə ˈbɔrdər fɛns. (juz. ˈkəstəmz ənd ˈbɔrdər prəˈtɛkʃən photo/gao*) (cnsnews.com*) ˈdʊrɪŋ ə strɛʧ əv ðə ˌoʊˈbɑmə ˈprɛzɪdənsi, ˈpipəl ˌɪˈligəli ˈkrɔsɪŋ ðə ˈbɔrdər kət hoʊlz ɪn ðə ““pedestrian”*” ˈfɛnsɪŋ ðət ˈkərəntli ˈkəvərz ˈoʊnli 354 maɪəlz əv ðə ˈbɔrdər, əˈkɔrdɪŋ tɪ ə rɪˈpɔrt ˈpəblɪʃt baɪ ðə ˈgəvərnmənt əˈkaʊntəˌbɪlɪti ˈɔfəs. ˈoʊnli 654 maɪəlz əv ðə ˈbɔrdər ˈkərəntli hæv ˈɛni taɪp əv ˈfɛnsɪŋ, əˈkɔrdɪŋ tɪ. ðə ˈəðər maɪəlz əv ˈbɔrdər hæv noʊ ˈfɛnsɪŋ. əv ðə 654 maɪəlz əv ˈfɛnsɪŋ, 354 maɪəlz kənˈsɪsts əv wət ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti kɔlz ““pedestrian”*” ˈfɛnsɪŋ. ðə ˈəðər 300 maɪəlz ɪz ““vehicle”*” ˈfɛnsɪŋ. ˈfɛnsɪŋ types,”*,” ɪkˈspleɪnz, pəˈdɛstriən ˈfɛnsɪŋ, wɪʧ ɪz praɪˈmɛrəli ˌɪnˈtɛndɪd tɪ sloʊ daʊn ənd dɪˈtər pəˈdɛstriənz frəm ˈkrɔsɪŋ ðə ˈbɔrdər, ənd ˈviɪkəl ˈfɛnsɪŋ, wɪʧ ɪz ˌɪnˈtɛndɪd tɪ rɪˈzɪst ˈviɪkəlz ɪnˈgeɪʤd ɪn drəg ˈtræfɪkɪŋ ənd ˈeɪliən sˈməgəlɪŋ ˌɑpərˈeɪʃənz ənd ɪz ˈtɪpɪkəli juzd ɪn ˈrʊrəl ər ˈaɪsəˌleɪtɪd loʊˈkeɪʃənz ðət hæv ə loʊ əˈkərəns əv ˌɪˈligəl pəˈdɛstriən traffic.”*.” ðə rɪˈpɔrt noʊts ðət ðə 300 maɪəlz ɪn ““vehicle”*” ˈfɛnsɪŋ ɔn ðə ˈbɔrdər ɪz nɑt dɪˈzaɪnd tɪ stɑp sˈməgələrz ənd ˈəðər ˌɪˈligəl frəm ˈɛnərɪŋ ðə juz. ɔn fʊt. ˈtuˌsɑn ˈsɛktər əˈfɪʃəlz ˈsteɪtɪd ˈviɪkəl ˈfɛnsɪŋ həz bɪn ˈifɛktɪv ɪn sloʊɪŋ ənd proʊˈhɪbətɪŋ draɪv throughs,”*,” sɪz ðə rɪˈpɔrt, ˈfɛnsɪŋ ɪz nɑt dɪˈzaɪnd tɪ sloʊ ər dɪˈtər ˌɪˈligəl ˈɛntrənts frəm ˈɛnərɪŋ ər sˈməgəlɪŋ ˈkɑntrəˌbænd ˈɪntu ðə juˈnaɪtɪd steɪts ɔn foot.”*.” 37 maɪəlz əv ðə 354 maɪəlz əv ““pedestrian”*” ˈbɔrdər ˈfɛnsɪŋ ɪz bækt əp baɪ ə leɪər əv ˈsɛkənˌdɛri ˈfɛnsɪŋ, əˈkɔrdɪŋ tɪ. əˈnəðər 14 maɪəlz əv ðət ɪz bækt əp baɪ ˈtərʃəri ˈfɛnsɪŋ. ə hoʊl ɪn ðə ˈbɔrdər fɛns. (juz. ˈkəstəmz ənd ˈbɔrdər prəˈtɛkʃən photo/gao*) ðə rɪˈpɔrt ˈnoʊtɪd ðət ɪt ɪz ˈkɑmən fər entrants”*” tɪ kət hoʊlz ɪn ðə ɪgˈzɪstɪŋ ˈbɔrdər ˈfɛnsɪz soʊ ðeɪ kən ˈɛnər ðə juˈnaɪtɪd steɪts. wi spoʊk wɪθ ɪn ðə ɛl ˈpæsoʊ ənd ˈtuˌsɑn ˈsɛktərz ɪkˈspleɪnd ðət wən əv ðə moʊst ˈkɑmən ˈmɛθədz ɪmˈplɔɪd baɪ ˌɪˈligəl ˈɛntrənts ˌɪnˈvɑlvz ˈkətɪŋ ˈoʊpənɪŋz, ər ˈbriʧɪz, ɪn pəˈdɛstriən ənd ˈviɪkəl fencing,”*,” sɪz. briʧt, ˌɪˈligəl ˈɛntrənts kən krɔs θru ðə fɛns ər sˈməgəl ˈpipəl ənd ˈkɑntrəˌbænd ˈɪntu ðə juˈnaɪtɪd steɪts. ɪn sɪks jɪrz ˈdʊrɪŋ ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən, entrants”*” kət hoʊlz ɪn ðə pəˈdɛstriən ˈfɛnsɪŋ əˈlɔŋ ðə ˈbɔrdər. ˈfɪskəl jɪrz 2010 ənd 2015 rɪˈkɔrdɪd ə ˈtoʊtəl əv ˈbriʧɪz ɪn pəˈdɛstriən fencing,”*,” sɪz ðə rɪˈpɔrt. tɪ ɑr æˈnælɪsɪs əv ðiz ˈdætə, ˌɪˈligəl ˈɛntrənts briʧt ˈlɛgəsi pəˈdɛstriən ˈfɛnsɪŋ æt ən ˈævərɪʤ reɪt əv 82 ˈbriʧɪz pər fɛns maɪl, kəmˈpɛrd tɪ ən ˈævərɪʤ əv 14 ˈbriʧɪz pər fɛns maɪl əv ˈmɑdərn pəˈdɛstriən fencing.”*.” ðə rɪˈpɔrt rɪˈfərz tɪ ˈɛni ˈfɛnsɪŋ kənˈstrəktɪd frəm ˈsərpləs viˌɛtˈnɑm ˈlændɪŋ mæts ər ˈfɛnsɪŋ dɪˈzaɪnz juzd ˌbiˈfɔr ˈkɑŋgrəs ɛˈnæktəd ðə sɪˈkjʊr fɛns ækt ɪn 2006 ɛz ““legacy”*” ˈfɛnsɪŋ. ɪt rɪˈfərz tɪ ˈfɛnsɪŋ dɪˈzaɪnz dɪˈvɛləpt ˈæftər ðə sɪˈkjʊr fɛns ækt ɛz ““modern”*” ˈfɛnsɪŋ. ðə rɪˈpɔrt sɪz hoʊlz kət ɪn ðə ɪgˈzɪstɪŋ ˈbɔrdər ˈfɛnsɪz kɔst ən ˈævərɪʤ əv 784 pər hoʊl tɪ rɪˈpɛr. ðə rɪˈpɔrt dɪˈskraɪbz haʊ ðə ˈbɔrdər pəˈtroʊl ɔn ðə graʊnd ɪn ðə ɛl ˈpæsoʊ ˈsɛktər traɪd fər ˈsɛvən jɪrz tɪ gɪt tɪ əˈpruv rɪˈpleɪsɪŋ ðə "ˈkɑmprəˌmaɪzd" ˈfɛnsɪŋ ɪn ˈsənˌlænd pɑrk, nu ɪz raɪt əˈkrɔs ðə steɪt laɪn frəm ɛl ˈpæsoʊ, ˈtɛksəs. bɪˈkəz ðə fɛns ɪn ˈsənˌlænd wɑz nɑt ˌriˈpleɪst, ˌɪˈligəl ˈɛntrənts dɪˈtərd frəm ˈkrɔsɪŋ ɪn ɛl ðɛr wɑz ə gʊd ˈbɔrdər ˈsɪmpli muv tɪ ðə wɛst tɪ ˈsənˌlænd ənd krɔs ðɛr. əˈdɪʃən, ˈsɛktər əˈfɪʃəlz ˈsteɪtɪd ðət ˈmɑdərn pəˈdɛstriən ˈfɛnsɪŋ ɪn ˈdaʊnˈtaʊn ɛl ˈpæsoʊ, ˈtɛksəs, hæd dɪˈvərtɪd ˌɪˈligəl ˈɛntrənt ækˈtɪvɪti tɪ ˈsənˌlænd pɑrk, nu ˈmɛksəˌkoʊ, wɛr ðə ˈpraɪˌmɛri ˈlɛgəsi pəˈdɛstriən ˈfɛnsɪŋ ɪz compromised,”*,” sɪz ðə rɪˈpɔrt. ˈpæsoʊ ˈsɛktər officials,”*,” sɪz ðə rɪˈpɔrt, ðət waɪl ðə ˈsənˌlænd pɑrk, nu ˈmɛksəˌkoʊ, ˈɛriə əv ˌɑpərˈeɪʃənz həz ðə ˈgreɪtəst əˈmaʊnt əv ˌɪˈligəl ækˈtɪvɪti ɪn ðə ɛl ˈpæsoʊ ˈsɛktər, ðə kənˈdɪʃən əv ðə ˈpraɪˌmɛri ˈlɛgəsi pəˈdɛstriən ˈfɛnsɪŋ dɪz nɑt əˈʧiv ɪts ˌɪnˈtɛndɪd ˈpərpəs əv sloʊɪŋ ðə ˈprɑˌgrɛs əv ˌɪˈligəl entrants.”*.” ˈpæsoʊ ˈsɛktər əˈfɪʃəlz ˈsteɪtɪd ðət ˈsɛktər əˈfɪʃəlz prəˈvaɪdɪd ˈbɔrdər pəˈtroʊl ˈhɛdˌkɔrtərz ˈrɪtən ˌʤəstəfəˈkeɪʃən ˈdɑkjəmənɪŋ ðə nid fər ə fɛns rɪˈpleɪsmənt ˈprɑʤɛkt ɪn ðə ˈsənˌlænd pɑrk, nu ˈmɛksəˌkoʊ, fər ˈsɛvən years,”*,” sɪz ðə rɪˈpɔrt. pəˈtroʊl əˈpruvd ðə aɪˈdɛntəˌfaɪd nid ənd ɪn ˈfɪskəl jɪr 2015 bɪˈgæn ˈɪmpləˌmɛnɪŋ ðə ˈsənˌlænd pɑrk fɛns rɪˈpleɪsmənt project.”*.” ˌɪˈligəl ˈɛntrənts juz ˈɪnstrəmənts ˈreɪnʤɪŋ frəm paɪp ˈkətərz tɪ paʊər tulz tɪ kət hoʊlz ɪn ðə ɪgˈzɪstɪŋ ˈbɔrdər ˈfɛnsɪŋ. wi spoʊk wɪθ ɪn ðə ɛl ˈpæsoʊ ˈsɛktər ɪkˈspleɪnd ðət kriˈeɪtɪŋ ˈbriʧɪz ɪn ˈlɛgəsi pəˈdɛstriən ˈfɛnsɪŋ rikˈwaɪərz lɛs ˈɛfərt kəmˈpɛrd tɪ ˈmɑdərn dɪˈzaɪnz, ənd kən bi dən ˈjuzɪŋ boʊlt ər paɪp cutters,”*,” sɪz. wi spoʊk wɪθ ɪn ðə ˈtuˌsɑn ˈsɛktər ˈɔlsoʊ toʊld ˈjuˈɛs ðət waɪl pəˈdɛstriən ˈfɛnsɪŋ ɪz ˈʤɛnərəli ˈiziər tɪ briʧ, ðeɪ hæv ˈɔlsoʊ əbˈzərvd ˈbriʧɪz ɪn mɔr ˈmɑdərn fɛns dɪˈzaɪnz, ˌɪnˈkludɪŋ ˈbɑlərd fɛns, wɪʧ ˈeɪʤənts ˈsteɪtɪd wər kət ˈjuzɪŋ ˈpɔrtəbəl paʊər tools,”*,” sɪz. addition,”*,” sɪz, ɪn ðə ˈtuˌsɑn ˈsɛktər ˈsteɪtɪd ðət ˌɪˈligəl ˈɛntrənts skeɪl ðə ˈtɔlər pəˈdɛstriən ˈfɛnsɪŋ dɪˈzaɪnz, səʧ ɛz ˈbɑlərd ˈfɛnsɪŋ. ɪn ˈkɑntræst, ˈeɪʤənts wi spoʊk wɪθ ɪn ðə sæn diˈeɪgoʊ ˈsɛktər ˈsteɪtɪd ðət səm ˌsɛgˈmɛnts əv ˈlɛgəsi ˈfɛnsɪŋ ər loʊ ənd ðət ðeɪ hæv ˈwɪtnəst ˌɪˈligəl ˈɛntrənts ˈʤəmpɪŋ ˈoʊvər ðə fence.”*.” ðə ərˈɪʤənəl ˈvərʒən əv ðɪs rɪˈpɔrt ɔn ˈbɔrdər ˈfɛnsɪŋ wɑz pərˈzɛnəd tɪ ðə ˈmɛmbərz əv ˈkɑŋgrəs hu hæd rɪkˈwɛstɪd ɪt ɔn dɛk. 22 2016 bət ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti əˈbʤɛktəd tɪ riˈlisɪŋ ðət ˈvərʒən tɪ ðə ˈpəblɪk. dimd səm əv ðə ˌɪnˌfɔrˈmeɪʃən ɪn ðə praɪər rɪˈpɔrt ɛz fər əˈfɪʃəl juz ɛnˈfɔrsmənt ˈsɛnsɪtɪv, wɪʧ məst bi prəˈtɛktɪd frəm ˈpəblɪk disclosure,”*,” sɛd ɪn ðə rɪˈdæktɪd ˈvərʒən əv ðə rɪˈpɔrt ðət wɑz riˈlist ˈpəblɪkli ɔn ˈfɛbruˌɛri 16 ““therefore*, ðɪs rɪˈpɔrt oʊˈmɪts ˈsɛnsɪtɪv ˌɪnˌfɔrˈmeɪʃən ɔn əv ti [ˈtæktɪkəl ˌɪnfrəˈstrəkʧər] ənd ɑr æˈnælɪsɪs əv ˈbɔrdər pəˈtroʊl ˈdætə ɔn ˈfɛnsɪŋ ənd ɛnˈfɔrsmənt activities.”*.” ðə hoʊlz ðət wər kət ɪn ðə ˈbɔrdər ˈfɛnsɪŋ frəm ˈfɪskəl 2010 tɪ ˈfɪskəl 2015 ˈikwəlz ən ˈævərɪʤ əv əˈbaʊt hoʊlz pər deɪ. |
i dunno i'd say it was a pretty good year.
thought i'd do another one of these things this year because looking back on progress can be pretty neat. i totally broke out of my shell digitally, and i think i can use a pencil with a bit more finesse than i used to. i started learning composition and stuff and it's super interesting, i screwed up my values in basically every piece i did, i attempted to make colors work, and i even learned that the brush tool has a density setting other than 50%! busy year indeed.
i've got a big ole piece in the works that's coming out pretty darn well so get stoked cause my first art of 2015 is gonna have sweetie belle in it! ... what, does that not get you hyped? it totally gets me hyped.
anyways, have some art progress! | aɪ dəˈnoʊ aɪd seɪ ɪt wɑz ə ˈprɪti gʊd jɪr. θɔt aɪd du əˈnəðər wən əv ðiz θɪŋz ðɪs jɪr bɪˈkəz ˈlʊkɪŋ bæk ɔn ˈprɑˌgrɛs kən bi ˈprɪti nit. aɪ ˈtoʊtəli broʊk aʊt əv maɪ ʃɛl ˈdɪʤətəli, ənd aɪ θɪŋk aɪ kən juz ə ˈpɛnsəl wɪθ ə bɪt mɔr fɪˈnɛs ðən aɪ juzd tɪ. aɪ ˈstɑrtɪd ˈlərnɪŋ ˌkɑmpəˈzɪʃən ənd stəf ənd ɪts ˈsupər ˈɪntəˌrɛstɪŋ, aɪ skrud əp maɪ ˈvæljuz ɪn ˈbeɪsɪkli ˈɛvəri pis aɪ dɪd, aɪ əˈtɛmptəd tɪ meɪk ˈkələrz wərk, ənd aɪ ˈivɪn ˈlərnɪd ðət ðə brəʃ tul həz ə ˈdɛnsɪti ˈsɛtɪŋ ˈəðər ðən 50 ˈbɪzi jɪr ˌɪnˈdid. aɪv gɑt ə bɪg ˌoʊˈleɪ pis ɪn ðə wərks ðæts ˈkəmɪŋ aʊt ˈprɪti dɑrn wɛl soʊ gɪt stoʊkt kɔz maɪ fərst ɑrt əv 2015 ɪz ˈgɑnə hæv sˈwiti bɛl ɪn ɪt! wət, dɪz ðət nɑt gɪt ju haɪpt? ɪt ˈtoʊtəli gɪts mi haɪpt. ˈɛniˌweɪz, hæv səm ɑrt ˈprɑˌgrɛs! |
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that is the view of mark watts, director of multinational design firm arup and a leading expert on sustainable planning.
mr watts told the property conference in cannes that cities faced unprecedented challenges - with the population soaring, and human beings now consuming more natural resources than the earth was able to replace.
but he said there were enough examples of smart, green thinking throughout the world to make him optimistic about the future.
mr watts outlined a model 'future city' investing heavily in cycling, electric buses, buildings and urban farms.
and he said that ecologically sound policies adopted throughout the world had often been adopted for economic, rather than environmental, reasons.
mr watts said copenhagen - where of all trips to work are by bike - had not only reduced spending on more expensive transport infrastructure, but was saving one dollar in health costs for every kilometre cycled.
and he said an app being used in san fransisco, alerting drivers to empty parking bays throughout the city, had cut congestion by 10 per cent.
mr watts said the most successful 40 cities in the world had all seen the biggest increases on spending on cycling.
he added: "most cities in the world which are judged to be the most and most efficient are the ones that have sustainable transport systems.
"i think that we are going to see the return of the old-fashioned bicycle in the most successful cities in the world, moving forward.
"there are huge savings through going down this route."
mr watts said 'future cities' were going to have to 'run on data' - with a much better awareness of who was consuming what resources, and when.
and he said diminishing resources, natural disasters and uncertainty over energy supplies meant cities would have to be more 'self-reliant'.
he told delegates: "in the future we will see much more of a move back to cities growing much of their own produce, while also creating flood plains and green spaces for people to enjoy."
mr watts said national governments had often failed to work together on ecological issues - but city leaders had been much more forward-thinking, showing 'a huge amount of collaboration'.
he said: "the whole attitude is about seeing what works elsewhere, copying it and claiming it as your own.
"there are enough examples of really good ways of getting to be a sustainable future city throughout the world that if those can be replicated in every city, then there is hope for the future." | gɪt ðə ˈbɪgəst ˈbɪznɪs ˈstɔriz baɪ iˈmeɪl səbˈskraɪb θæŋk ju fər səbˈskraɪbɪŋ wi hæv mɔr ˈnuzˌlɛtərz ʃoʊ mi si ɑr ˈpraɪvəsi ˈnoʊtɪs kʊd nɑt səbˈskraɪb, traɪ əˈgɛn ˈleɪtər ˌɪnˈvæləd iˈmeɪl ðət ɪz ðə vju əv mɑrk wɑts, dɪˈrɛktər əv ˌməlˌtiˈnæʃənəl dɪˈzaɪn fərm ərup ənd ə ˈlidɪŋ ˈɛkspərt ɔn səˈsteɪnəbəl ˈplænɪŋ. ˈmɪstər wɑts toʊld ðə ˈprɑpərti ˈkɑnfərəns ɪn kænz ðət ˈsɪtiz feɪst ənˈprɛsɪˌdɛntɪd ˈʧælənʤɪz wɪθ ðə ˌpɑpjəˈleɪʃən ˈsɔrɪŋ, ənd ˈjumən biɪŋz naʊ kənˈsumɪŋ mɔr ˈnæʧərəl ˈrisɔrsɪz ðən ðə ərθ wɑz ˈeɪbəl tɪ ˌriˈpleɪs. bət hi sɛd ðɛr wər ɪˈnəf ɪgˈzæmpəlz əv smɑrt, grin ˈθɪŋkɪŋ θruaʊt ðə wərld tɪ meɪk ɪm ˌɑptɪˈmɪstɪk əˈbaʊt ðə fˈjuʧər. ˈmɪstər wɑts ˈaʊˌtlaɪnd ə ˈmɑdəl 'fˈjuʧər ˈsɪti' ˌɪnˈvɛstɪŋ ˈhɛvəli ɪn ˈsaɪkəlɪŋ, ɪˈlɛktrɪk ˈbəsɪz, ˈbɪldɪŋz ənd ˈərbən fɑrmz. ənd hi sɛd ðət ɛkəˈlɑʤɪkli saʊnd ˈpɑləsiz əˈdɑptəd θruaʊt ðə wərld hæd ˈɔfən bɪn əˈdɑptəd fər ˌɛkəˈnɑmɪk, ˈrəðər ðən ɪnˌvaɪrənˈmɛnəl, ˈrizənz. ˈmɪstər wɑts sɛd ˈkoʊpənˌhɑgən wɛr əv ɔl trɪps tɪ wərk ər baɪ baɪk hæd nɑt ˈoʊnli rɪˈdust ˈspɛndɪŋ ɔn mɔr ɪkˈspɛnsɪv ˈtrænspɔrt ˌɪnfrəˈstrəkʧər, bət wɑz ˈseɪvɪŋ wən ˈdɔlər ɪn hɛlθ kɔsts fər ˈɛvəri ˌkɪˈlɔˌmətər ˈsaɪkəld. ənd hi sɛd ən æp biɪŋ juzd ɪn sæn fransisco*, əˈlərtɪŋ ˈdraɪvərz tɪ ˈɛmti ˈpɑrkɪŋ beɪz θruaʊt ðə ˈsɪti, hæd kət kənˈʤɛsʧən baɪ 10 pər sɛnt. ˈmɪstər wɑts sɛd ðə moʊst səkˈsɛsfəl 40 ˈsɪtiz ɪn ðə wərld hæd ɔl sin ðə ˈbɪgəst ˌɪnˈkrisɪz ɔn ˈspɛndɪŋ ɔn ˈsaɪkəlɪŋ. hi ˈædɪd: "moʊst ˈsɪtiz ɪn ðə wərld wɪʧ ər ʤəʤd tɪ bi ðə moʊst ənd moʊst ɪˈfɪʃənt ər ðə wənz ðət hæv səˈsteɪnəbəl ˈtrænspɔrt ˈsɪstəmz. "aɪ θɪŋk ðət wi ər goʊɪŋ tɪ si ðə rɪˈtərn əv ðə ˌoʊldˈfæʃənd ˈbaɪsɪkəl ɪn ðə moʊst səkˈsɛsfəl ˈsɪtiz ɪn ðə wərld, ˈmuvɪŋ ˈfɔrwərd. "ðɛr ər juʤ ˈseɪvɪŋz θru goʊɪŋ daʊn ðɪs rut." ˈmɪstər wɑts sɛd 'fˈjuʧər ˈsɪtiz' wər goʊɪŋ tɪ hæv tɪ 'rən ɔn ˈdætə' wɪθ ə məʧ ˈbɛtər əˈwɛrnəs əv hu wɑz kənˈsumɪŋ wət ˈrisɔrsɪz, ənd wɪn. ənd hi sɛd dɪˈmɪnɪʃɪŋ ˈrisɔrsɪz, ˈnæʧərəl dɪˈzæstərz ənd ənˈsərtənti ˈoʊvər ˈɛnərʤi səˈplaɪz mɛnt ˈsɪtiz wʊd hæv tɪ bi mɔr 'self-reliant*'. hi toʊld ˈdɛləˌgeɪts: "ɪn ðə fˈjuʧər wi wɪl si məʧ mɔr əv ə muv bæk tɪ ˈsɪtiz groʊɪŋ məʧ əv ðɛr oʊn ˈproʊdus, waɪl ˈɔlsoʊ kriˈeɪtɪŋ fləd pleɪnz ənd grin ˈspeɪsɪz fər ˈpipəl tɪ ˌɛnˈʤɔɪ." ˈmɪstər wɑts sɛd ˈnæʃənəl ˈgəvərnmənts hæd ˈɔfən feɪld tɪ wərk təˈgɛðər ɔn ɛkəˈlɑʤɪkəl ˈɪʃuz bət ˈsɪti ˈlidərz hæd bɪn məʧ mɔr forward-thinking*, ʃoʊɪŋ 'ə juʤ əˈmaʊnt əv kəˌlæbərˈeɪʃən'. hi sɛd: "ðə hoʊl ˈætəˌtud ɪz əˈbaʊt siɪŋ wət wərks ˈɛlsˌwɛr, ˈkɑpiɪŋ ɪt ənd ˈkleɪmɪŋ ɪt ɛz jʊr oʊn. "ðɛr ər ɪˈnəf ɪgˈzæmpəlz əv ˈrɪli gʊd weɪz əv ˈgɪtɪŋ tɪ bi ə səˈsteɪnəbəl fˈjuʧər ˈsɪti θruaʊt ðə wərld ðət ɪf ðoʊz kən bi ˈrɛplɪˌkeɪtɪd ɪn ˈɛvəri ˈsɪti, ðɛn ðɛr ɪz hoʊp fər ðə fˈjuʧər." |
the media company has been forced to lay off around 100 employees and eight percent of its u.s. workforce as part of a restructuring plan after the company missed revenue targets, the wall street journal reported.
in a memo to employees, ceo jonah peretti confirmed that the company would have to “say goodbye to some talented colleagues” as part of a restructuring effort centered around the business team and bureau in the united kingdom. peretti said:
as our strategy evolves, we need to evolve our organization, too particularly our business team, which was built to support direct sold advertising but will need to bring in different, more diverse expertise to support these new lines of business. unfortunately, this means we have to say goodbye to some talented colleagues whose work has helped us tremendously.
in an email to staff, @peretti details layoffs and restructuring on the business and side max tani (@maxwelltani) november 29, 2017
peretti added that the model of “native ads” was not as profitable as anticipated, and they would instead sell traditional digital ads on its website, among other revenue strategies.
the shakeup comes as the company is forced to its business model, particularly its advertising revenue, after falling 20 percent short of their $350 million revenue goal, which has damaged its chances of an ipo.
in january, the company suffered a hit after publishing an unverified and likely false dossier of lurid accusations against donald trump, with ben smith adding that there was “serious reason to doubt the allegations.”
follow ben kew on facebook, on twitter at @ben_kew, or email him at | ðə ˈmidiə ˈkəmpəˌni həz bɪn fɔrst tɪ leɪ ɔf əraʊnd 100 ɪmˈplɔɪiz ənd eɪt pərˈsɛnt əv ɪts juz. ˈwərkˌfɔrs ɛz pɑrt əv ə riˈstrəkʧərɪŋ plæn ˈæftər ðə ˈkəmpəˌni mɪst ˈrɛvəˌnu ˈtɑrgəts, ðə wɔl strit ˈʤərnəl ˌriˈpɔrtəd. ɪn ə ˈmɛˌmoʊ tɪ ɪmˈplɔɪiz, ˈsiˌiˈoʊ ˈʤoʊnə pərˈɛti kənˈfərmd ðət ðə ˈkəmpəˌni wʊd hæv tɪ ˌgʊdˈbaɪ tɪ səm ˈtæləntɪd colleagues”*” ɛz pɑrt əv ə riˈstrəkʧərɪŋ ˈɛfərt ˈsɛntərd əraʊnd ðə ˈbɪznɪs tim ənd ˈbjʊroʊ ɪn ðə juˈnaɪtɪd ˈkɪŋdəm. pərˈɛti sɛd: ɛz ɑr ˈstrætəʤi ɪˈvɑlvz, wi nid tɪ ɪˈvɑlv ɑr ˌɔrgənəˈzeɪʃən, tu ˌpɑrˈtɪkjələrli ɑr ˈbɪznɪs tim, wɪʧ wɑz bɪlt tɪ səˈpɔrt dɪˈrɛkt soʊld ˈædvərˌtaɪzɪŋ bət wɪl nid tɪ brɪŋ ɪn ˈdɪfərənt, mɔr dɪˈvərs ˌɛkspərˈtiz tɪ səˈpɔrt ðiz nu laɪnz əv ˈbɪznɪs. ənˈfɔrʧənətli, ðɪs minz wi hæv tɪ seɪ ˌgʊdˈbaɪ tɪ səm ˈtæləntɪd ˈkɑligz huz wərk həz hɛlpt ˈjuˈɛs trɪˈmɛndəsli. ɪn ən iˈmeɪl tɪ stæf, @pərˈɛti ˈditeɪlz leɪɔfs ənd riˈstrəkʧərɪŋ ɔn ðə ˈbɪznɪs ənd saɪd mæks ˈtɑni (@maxwelltani*) noʊˈvɛmbər 29 2017 pərˈɛti ˈædɪd ðət ðə ˈmɑdəl əv ads”*” wɑz nɑt ɛz ˈprɑfətəbəl ɛz ænˈtɪsəˌpeɪtɪd, ənd ðeɪ wʊd ˌɪnˈstɛd sɛl trəˈdɪʃənəl ˈdɪʤɪtəl ædz ɔn ɪts ˈwɛbˌsaɪt, əˈməŋ ˈəðər ˈrɛvəˌnu ˈstrætəʤiz. ðə ˈʃeɪˌkəp kəmz ɛz ðə ˈkəmpəˌni ɪz fɔrst tɪ ɪts ˈbɪznɪs ˈmɑdəl, ˌpɑrˈtɪkjələrli ɪts ˈædvərˌtaɪzɪŋ ˈrɛvəˌnu, ˈæftər ˈfɑlɪŋ 20 pərˈsɛnt ʃɔrt əv ðɛr 350 ˈmɪljən ˈrɛvəˌnu goʊl, wɪʧ həz ˈdæmɪʤd ɪts ˈʧænsɪz əv ən ipo*. ɪn ˈʤænjuˌɛri, ðə ˈkəmpəˌni ˈsəfərd ə hɪt ˈæftər ˈpəblɪʃɪŋ ən ənˈvɛrɪˌfaɪd ənd ˈlaɪkli fɔls ˌdɔsˈjeɪ əv ˈlʊrəd ˌækjəˈzeɪʃənz əˈgɛnst ˈdɑnəld trəmp, wɪθ bɛn smɪθ ˈædɪŋ ðət ðɛr wɑz ˈrizən tɪ daʊt ðə allegations.”*.” ˈfɑloʊ bɛn kju ɔn ˈfeɪsˌbʊk, ɔn tˈwɪtər æt @ben_kew*, ər iˈmeɪl ɪm æt |
updated p.m.
cortland, n.y. -- the jets roster lined up along one sideline, ordered to run dreaded. they sprinted the width of the field twice, and repeated about 10 times, before the double whistle signaled the end.
this was rex ryan's punishment when a second straight practice went beyond competitive, and became combative.
"being physical is one thing," the jets coach said today. "going past that is something else. what i like. why we stopped, and we had to remind guys that enemy is not in green and white."
it was the same message ryan delivered after practice yesterday, when a melee of about 20 players erupted on the sideline after extracurricular activity between running back joe mcknight and safety lynn, the son of position coach.
evidently, the message didn't get through the first time. so ryan stopped practice twice today.
he first stepped in when he saw rookie running back terrance ganaway try to run through linebacker demario davis in what he called a "thud" period, when players are instructed to simply thud off of each other. a skirmish began, and ryan quickly stepped in, scolding his team.
"that’s not what you are looking for; not being physical," ryan said. "that to me is being selfish. and so i told the guys about it and sure enough, apparently someone never got the message."
that someone was cornerback antonio cromartie. later in practice, during passing drills, cromartie jawed at stephen hill after holding the rookie receiver. ryan had issued a warning to his team, dangling the as punishment, and the following play proved to be the final straw.
cromartie, a veteran, delivered what ryan considered an inappropriate hit on tight end dustin keller.
"i thought 'cro' should have backed off and not hit dustin," ryan said. "he's trying to be physical and pick his play up. we always talk about developing habits. but in that situation, your teammate. you want to do it. i thought 'cro' was wrong in that situation."
cromartie declined to speak to reporters today, loudly expressing his disdain for the media when approached by a member of the team's public relations staff.
the practice field became stunningly quiet as the players retreated to the sideline for the. when the sprints were complete -- tim tebow, for what it's worth, all his teammates -- ryan huddled his team at midfield.
he urged his players to be smart, to play physical but yet protect each other. when ryan was done with his speech, quarterback mark sanchez stepped in to echo ryan's message.
it was the first time ryan, entering his fourth season as the jets head coach, has ordered his team to run.
"i just wanted them to know how serious i am about it," ryan said. "and i also wanted to run them until i was tired."
ryan has resolved not to lose "the pulse" of the team this year, as he admitted happened in 2011, and to stay on top of any potential tension in his locker room. but he bristled at the reference to last year, and said he's always tried to be in control and create a positive culture as the jets head coach.
the past aside, that was certainly what ryan did on the practice field today.
"i know what my job is. my job is to get this team ready to go," ryan said. "and be the team that i envisioned having. we are going to, and it."
many of ryan's players said his message got through loud and clear.
"i know if we disappointed him, but we practicing the way we should be right now," safety eric smith said. "go be physical but stop on the whistle."
davis called it "great coaching."
"whatever he says, goes," davis said. always be loyal to him, and whatever he says, going to always respond to it. (if ) he wants the extra (hitting) to stop, and he wants us to focus on playing, what we'll do."
ryan said after the, the team practiced "exactly how i wanted them to practice." he clearly dislikes the public perception -- fair or not -- that his team is undisciplined and prone to chemistry issues.
"everybody has a right to their opinion, there is no question about that. no matter how wrong they are," ryan said. "i think we are a little more disciplined than what the general perception is out there or what have you. you can't have the wins that we've had in the past and not be a disciplined football team. it been good enough, and we haven't won the super bowl yet, but certainly able to."
the jets' first preseason game is friday, so they'll have a chance to hit another team then. until then, ryan left no uncertainty about what he expects in practice.
"i bet we have (a fight) tomorrow," smith said with a smile.
jenny vrentas: jvrentas@starledger.com; | ˈəpˌdeɪtɪd p.m*. ˈkɔrtlənd, n.y*. ðə ʤɛts ˈrɑstər laɪnd əp əˈlɔŋ wən ˈsaɪˌdlaɪn, ˈɔrdərd tɪ rən ˈdrɛdɪd. ðeɪ ˈsprɪntɪd ðə wɪdθ əv ðə fild twaɪs, ənd rɪˈpitɪd əˈbaʊt 10 taɪmz, ˌbiˈfɔr ðə ˈdəbəl ˈwɪsəl ˈsɪgnəld ðə ɛnd. ðɪs wɑz rɛks raɪənz ˈpənɪʃmənt wɪn ə ˈsɛkənd streɪt ˈpræktɪs wɛnt bɪɔnd kəmˈpɛtɪtɪv, ənd bɪˈkeɪm ˌkɑmˈbæˌtɪv. "biɪŋ ˈfɪzɪkəl ɪz wən θɪŋ," ðə ʤɛts koʊʧ sɛd təˈdeɪ. "goʊɪŋ pæst ðət ɪz ˈsəmθɪŋ ɛls. wət aɪ laɪk. waɪ wi stɑpt, ənd wi hæd tɪ riˈmaɪnd gaɪz ðət ˈɛnəmi ɪz nɑt ɪn grin ənd waɪt." ɪt wɑz ðə seɪm ˈmɛsɪʤ raɪən dɪˈlɪvərd ˈæftər ˈpræktɪs ˈjɛstərˌdeɪ, wɪn ə ˈmeɪˌleɪ əv əˈbaʊt 20 pleɪərz ˌɪˈrəptɪd ɔn ðə ˈsaɪˌdlaɪn ˈæftər ˌɛkstrəkərˈɪkjələr ækˈtɪvɪti bɪtˈwin ˈrənɪŋ bæk ʤoʊ məkˈnaɪt ənd ˈseɪfti lɪn, ðə sən əv pəˈzɪʃən koʊʧ. ˈɛvədəntli, ðə ˈmɛsɪʤ ˈdɪdənt gɪt θru ðə fərst taɪm. soʊ raɪən stɑpt ˈpræktɪs twaɪs təˈdeɪ. hi fərst stɛpt ɪn wɪn hi sɔ ˈrʊki ˈrənɪŋ bæk ˈtɛrəns ˈgænəweɪ traɪ tɪ rən θru ˈlaɪnˌbækər dɪˈmɑrioʊ ˈdeɪvɪs ɪn wət hi kɔld ə "θəd" ˈpɪriəd, wɪn pleɪərz ər ˌɪnˈstrəktɪd tɪ ˈsɪmpli θəd ɔf əv iʧ ˈəðər. ə ˈskərmɪʃ bɪˈgæn, ənd raɪən kˈwɪkli stɛpt ɪn, ˈskoʊldɪŋ hɪz tim. nɑt wət ju ər ˈlʊkɪŋ fər; nɑt biɪŋ ˈfɪzɪkəl," raɪən sɛd. "ðət tɪ mi ɪz biɪŋ ˈsɛlfɪʃ. ənd soʊ aɪ toʊld ðə gaɪz əˈbaʊt ɪt ənd ʃʊr ɪˈnəf, əˈpɛrəntli ˈsəmˌwən ˈnɛvər gɑt ðə ˈmɛsɪʤ." ðət ˈsəmˌwən wɑz ˈkɔrnərˌbæk ænˈtoʊnioʊ ˈkrɑmɑrti. ˈleɪtər ɪn ˈpræktɪs, ˈdʊrɪŋ ˈpæsɪŋ drɪlz, ˈkrɑmɑrti ʤɔd æt ˈstivən hɪl ˈæftər ˈhoʊldɪŋ ðə ˈrʊki rɪˈsivər. raɪən hæd ˈɪʃud ə ˈwɔrnɪŋ tɪ hɪz tim, ˈdæŋgəlɪŋ ðə ɛz ˈpənɪʃmənt, ənd ðə ˈfɑloʊɪŋ pleɪ pruvd tɪ bi ðə ˈfaɪnəl strɔ. ˈkrɑmɑrti, ə ˈvɛtərən, dɪˈlɪvərd wət raɪən kənˈsɪdərd ən ˌɪnəˈproʊpriɪt hɪt ɔn taɪt ɛnd ˈdəstɪn ˈkɛlər. "aɪ θɔt 'kroʊ' ʃʊd hæv bækt ɔf ənd nɑt hɪt ˈdəstɪn," raɪən sɛd. "hiz traɪɪŋ tɪ bi ˈfɪzɪkəl ənd pɪk hɪz pleɪ əp. wi ˈɔlˌweɪz tɔk əˈbaʊt dɪˈvɛləpɪŋ ˈhæbəts. bət ɪn ðət ˌsɪʧuˈeɪʃən, jʊr ˈtiˌmeɪt. ju wɔnt tɪ du ɪt. aɪ θɔt 'kroʊ' wɑz rɔŋ ɪn ðət ˌsɪʧuˈeɪʃən." ˈkrɑmɑrti dɪˈklaɪnd tɪ spik tɪ rɪˈpɔrtərz təˈdeɪ, ˈlaʊdli ɪkˈsprɛsɪŋ hɪz dɪsˈdeɪn fər ðə ˈmidiə wɪn əˈproʊʧt baɪ ə ˈmɛmbər əv ðə timz ˈpəblɪk riˈleɪʃənz stæf. ðə ˈpræktɪs fild bɪˈkeɪm ˈstənɪŋli kwaɪət ɛz ðə pleɪərz riˈtritɪd tɪ ðə ˈsaɪˌdlaɪn fər ðə. wɪn ðə sprɪnts wər kəmˈplit tɪm tebow*, fər wət ɪts wərθ, ɔl hɪz ˈtimˌmeɪts raɪən ˈhədəld hɪz tim æt midfield*. hi ərʤd hɪz pleɪərz tɪ bi smɑrt, tɪ pleɪ ˈfɪzɪkəl bət jɛt prəˈtɛkt iʧ ˈəðər. wɪn raɪən wɑz dən wɪθ hɪz spiʧ, kˈwɔrtərˌbæk mɑrk ˈsænʧɛz stɛpt ɪn tɪ ˈɛkoʊ raɪənz ˈmɛsɪʤ. ɪt wɑz ðə fərst taɪm raɪən, ˈɛnərɪŋ hɪz fɔrθ ˈsizən ɛz ðə ʤɛts hɛd koʊʧ, həz ˈɔrdərd hɪz tim tɪ rən. "aɪ ʤɪst ˈwɔntɪd ðɛm tɪ noʊ haʊ ˈsɪriəs aɪ æm əˈbaʊt ɪt," raɪən sɛd. "ənd aɪ ˈɔlsoʊ ˈwɔntɪd tɪ rən ðɛm ənˈtɪl aɪ wɑz taɪərd." raɪən həz riˈzɑlvd nɑt tɪ luz "ðə pəls" əv ðə tim ðɪs jɪr, ɛz hi ədˈmɪtəd ˈhæpənd ɪn 2011 ənd tɪ steɪ ɔn tɔp əv ˈɛni pəˈtɛnʃəl ˈtɛnʃən ɪn hɪz ˈlɑkər rum. bət hi ˈbrɪsəld æt ðə ˈrɛfərəns tɪ læst jɪr, ənd sɛd hiz ˈɔlˌweɪz traɪd tɪ bi ɪn kənˈtroʊl ənd kriˈeɪt ə ˈpɑzətɪv ˈkəlʧər ɛz ðə ʤɛts hɛd koʊʧ. ðə pæst əˈsaɪd, ðət wɑz ˈsərtənli wət raɪən dɪd ɔn ðə ˈpræktɪs fild təˈdeɪ. "aɪ noʊ wət maɪ ʤɑb ɪz. maɪ ʤɑb ɪz tɪ gɪt ðɪs tim ˈrɛdi tɪ goʊ," raɪən sɛd. "ənd bi ðə tim ðət aɪ ɛnˈvɪʒənd ˈhævɪŋ. wi ər goʊɪŋ tɪ, ənd ɪt." ˈmɛni əv raɪənz pleɪərz sɛd hɪz ˈmɛsɪʤ gɑt θru laʊd ənd klɪr. "aɪ noʊ ɪf wi ˌdɪsəˈpɔɪnɪd ɪm, bət wi ˈpræktɪsɪŋ ðə weɪ wi ʃʊd bi raɪt naʊ," ˈseɪfti ˈɛrɪk smɪθ sɛd. "goʊ bi ˈfɪzɪkəl bət stɑp ɔn ðə ˈwɪsəl." ˈdeɪvɪs kɔld ɪt "greɪt ˈkoʊʧɪŋ." "ˌwəˈtɛvər hi sɪz, goʊz," ˈdeɪvɪs sɛd. ˈɔlˌweɪz bi lɔɪəl tɪ ɪm, ənd ˌwəˈtɛvər hi sɪz, goʊɪŋ tɪ ˈɔlˌweɪz rɪˈspɑnd tɪ ɪt. (ɪf hi wɔnts ðə ˈɛkstrə (ˈhɪtɪŋ) tɪ stɑp, ənd hi wɔnts ˈjuˈɛs tɪ ˈfoʊkɪs ɔn pleɪɪŋ, wət wɪl du." raɪən sɛd ˈæftər ðə, ðə tim ˈpræktɪst "ɪgˈzæktli haʊ aɪ ˈwɔntɪd ðɛm tɪ ˈpræktɪs." hi ˈklɪrli dɪsˈlaɪks ðə ˈpəblɪk pərˈsɛpʃən fɛr ər nɑt ðət hɪz tim ɪz ənˈdɪsɪplɪnd ənd proʊn tɪ ˈkɛmɪstri ˈɪʃuz. "ˈɛvriˌbɑdi həz ə raɪt tɪ ðɛr əˈpɪnjən, ðɛr ɪz noʊ kˈwɛʃən əˈbaʊt ðət. noʊ ˈmætər haʊ rɔŋ ðeɪ ər," raɪən sɛd. "aɪ θɪŋk wi ər ə ˈlɪtəl mɔr ˈdɪsəplənd ðən wət ðə ˈʤɛnərəl pərˈsɛpʃən ɪz aʊt ðɛr ər wət hæv ju. ju kænt hæv ðə wɪnz ðət wiv hæd ɪn ðə pæst ənd nɑt bi ə ˈdɪsəplənd ˈfʊtˌbɔl tim. ɪt bɪn gʊd ɪˈnəf, ənd wi ˈhævənt wən ðə ˈsupər boʊl jɛt, bət ˈsərtənli ˈeɪbəl tɪ." ðə ʤɛts' fərst ˌpriˈsizən geɪm ɪz ˈfraɪˌdeɪ, soʊ ðɛl hæv ə ʧæns tɪ hɪt əˈnəðər tim ðɛn. ənˈtɪl ðɛn, raɪən lɛft noʊ ənˈsərtənti əˈbaʊt wət hi ɪkˈspɛkts ɪn ˈpræktɪs. "aɪ bɛt wi hæv (ə faɪt) təˈmɑˌroʊ," smɪθ sɛd wɪθ ə smaɪl. ˈʤɛni vrentas*: jvrentas@starledger.com*; |
a palestinian un worker accused by israel of aiding the hamas terrorist group was sentenced to seven months’ jail on wednesday, his lawyer said, in a plea deal that will see him released soon.
waheed was convicted of “rendering services to an illegal organization without intention,” his lawyer lea tsemel told. with time already served, he is expected to be released on january 12.
the case centered on accusations that rubble in gaza under the responsibility of the united nations development program (undp) was misused by the terrorist group hamas that controls the enclave.
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the engineer from jabaliya in northern gaza, who worked for the, was arrested on july 16.
according to the shin bet security service, was recruited by a hamas member to “redirect his work for to serve military interests.”
during his interrogation, told investigators that in 2014, he was directed by hamas to “focus on his work in the in a way that would allow hamas to extract the greatest possible benefit from him,” the shin bet said at the time.
the has operated in the west bank and gaza since the late 1970s. in recent years, its gaza branch has focused on rebuilding the homes and businesses destroyed in the conflicts between israel and hamas.
in august, was charged with diverting 300 tons of rubble from a project in the gaza strip, run by hamas, to build a jetty for the islamist naval force.
after reviewing the charge sheet, the challenged allegations and said diverted the rubble under instructions from the palestinian authority.
tsemel stressed that her client had been convicted only of unintentionally aiding hamas by “moving some rubble.”
“the prosecution claimed that he should have checked better as this could have helped hamas.”
the said it had “zero tolerance for wrongdoing”, but that the case did not prove deliberate intent.
“this outcome confirms that there was no wrongdoing by,” the body said in a statement.
un officials argued that, as a un employee, may qualify for immunity from prosecution and requested that they be allowed to visit him in jail.
israel however, rejected the un request, saying “whoever assists a terror organization cannot hide behind a claim of immunity.”
in addition to, israel has accused two other palestinians of infiltrating international aid organizations on behalf of hamas.
in august, an israeli court charged muhammad with channeling millions of dollars in foreign aid to hamas and its armed wing, the brigades., who worked for the christian organization world vision, was arrested in june and later indicted on a number of charges, including funding terror. the charge sheet said he was recruited by hamas to infiltrate the aid organization more than a decade ago, rising to become the head of the gaza operations.
according to the shin bet, also recruited a palestinian aid worker from the save the children to join the brigades, in 2014.
the governments of britain, germany and australia suspended their donations to the charity over’s alleged links to hamas.
danny danon, ambassador to the un, said at the time the cases were evidence of a “troubling trend of the systematic exploitation by hamas.”
afp visited the site of the alleged misuse last summer and found a jetty extending around 50 metres (yards) into the sea.
perhaps 10 feet (three yards) wide, it had wooden slats erected on one side to obscure the view.
armed hamas fighters were in nearby fields.
undp officials privately accepted that rubble from one of its projects may have been used in the construction of the jetty.
but they stressed the disposal occurred in conjunction with the ministry of public works, which is run by rivals fatah.
fatah leads the internationally recognized palestinian government, and a probe concluded that there were no signs of hamas activity in the area at the time the rubble was placed there. | ə ˌpælɪˈstɪniən ˈjuˈɛn ˈwərkər əˈkjuzd baɪ ˈɪzriəl əv ˈeɪdɪŋ ðə ˌhɑˈmɑs ˈtɛrərɪst grup wɑz ˈsɛntənst tɪ ˈsɛvən months’*’ ʤeɪl ɔn ˈwɛnzˌdeɪ, hɪz ˈlɔjər sɛd, ɪn ə pli dil ðət wɪl si ɪm riˈlist sun. wɑz kənˈvɪktəd əv ˈsərvɪsɪz tɪ ən ˌɪˈligəl ˌɔrgənəˈzeɪʃən wɪˈθaʊt intention,”*,” hɪz ˈlɔjər li tˈsɛməl toʊld. wɪθ taɪm ɔˈrɛdi sərvd, hi ɪz ɪkˈspɛktɪd tɪ bi riˈlist ɔn ˈʤænjuˌɛri 12 ðə keɪs ˈsɛntərd ɔn ˌækjəˈzeɪʃənz ðət ˈrəbəl ɪn ˈgɑzə ˈəndər ðə riˌspɑnsəˈbɪləti əv ðə juˈnaɪtɪd ˈneɪʃənz dɪˈvɛləpmənt ˈproʊˌgræm (undp*) wɑz mɪsˈjuzd baɪ ðə ˈtɛrərɪst grup ˌhɑˈmɑs ðət kənˈtroʊlz ðə ˈɛnˌkleɪv. gɪt ðə taɪmz əv ˈɪzriəlz ˈdeɪli ɪˈdɪʃən baɪ iˈmeɪl ənd ˈnɛvər mɪs ɑr tɔp ˈstɔriz fri saɪn əp ðə ˈɛnʤəˈnɪr frəm ˈʤɑbəˌliə ɪn ˈnɔrðərn ˈgɑzə, hu wərkt fər ðə, wɑz ərˈɛstɪd ɔn ˌʤuˈlaɪ 16 əˈkɔrdɪŋ tɪ ðə ʃɪn bɛt sɪˈkjʊrəti ˈsərvɪs, wɑz rɪˈkrutɪd baɪ ə ˌhɑˈmɑs ˈmɛmbər tɪ hɪz wərk fər tɪ sərv ˈmɪlɪˌtɛri interests.”*.” ˈdʊrɪŋ hɪz ˌɪnˌtɛrəˈgeɪʃən, toʊld ˌɪnˈvɛstəˌgeɪtərz ðət ɪn 2014 hi wɑz dɪˈrɛktɪd baɪ ˌhɑˈmɑs tɪ ɔn hɪz wərk ɪn ðə ɪn ə weɪ ðət wʊd əˈlaʊ ˌhɑˈmɑs tɪ ˈɛkˌstrækt ðə ˈgreɪtəst ˈpɑsəbəl ˈbɛnəfɪt frəm him,”*,” ðə ʃɪn bɛt sɛd æt ðə taɪm. ðə həz ˈɑpərˌeɪtəd ɪn ðə wɛst bæŋk ənd ˈgɑzə sɪns ðə leɪt 1970s*. ɪn ˈrisənt jɪrz, ɪts ˈgɑzə brænʧ həz ˈfoʊkɪst ɔn riˈbɪldɪŋ ðə hoʊmz ənd ˈbɪznɪsɪz dɪˈstrɔɪd ɪn ðə ˈkɑnflɪkts bɪtˈwin ˈɪzriəl ənd ˌhɑˈmɑs. ɪn ˈɔgəst, wɑz ʧɑrʤd wɪθ dɪˈvərtɪŋ 300 tənz əv ˈrəbəl frəm ə ˈprɑʤɛkt ɪn ðə ˈgɑzə strɪp, rən baɪ ˌhɑˈmɑs, tɪ bɪld ə ˈʤɛti fər ðə ˈɪsləmɪst ˈneɪvəl fɔrs. ˈæftər rivˈjuɪŋ ðə ʧɑrʤ ʃit, ðə ˈʧælənʤd ˌæləˈgeɪʃənz ənd sɛd dɪˈvərtɪd ðə ˈrəbəl ˈəndər ˌɪnˈstrəkʃənz frəm ðə ˌpælɪˈstɪniən əˈθɔrəti. tˈsɛməl strɛst ðət hər klaɪənt hæd bɪn kənˈvɪktəd ˈoʊnli əv ˌənɪnˈtɛnʃənəli ˈeɪdɪŋ ˌhɑˈmɑs baɪ səm rubble.”*.” ˌprɑsəˈkjuʃən kleɪmd ðət hi ʃʊd hæv ʧɛkt ˈbɛtər ɛz ðɪs kʊd hæv hɛlpt hamas.”*.” ðə sɛd ɪt hæd ˈtɑlərəns fər wrongdoing”*”, bət ðət ðə keɪs dɪd nɑt pruv dɪˈlɪbərˌeɪt ˌɪnˈtɛnt. ˈaʊtˌkəm kənˈfərmz ðət ðɛr wɑz noʊ ˈrɔŋduɪŋ baɪ undp,”*,” ðə ˈbɑdi sɛd ɪn ə ˈsteɪtmənt. ˈjuˈɛn əˈfɪʃəlz ˈɑrgjud ðət, ɛz ə ˈjuˈɛn ɪmˈplɔɪi, meɪ kˈwɑləˌfaɪ fər ˌɪmˈjunɪti frəm ˌprɑsəˈkjuʃən ənd rɪkˈwɛstɪd ðət ðeɪ bi əˈlaʊd tɪ ˈvɪzɪt ɪm ɪn ʤeɪl. ˈɪzriəl ˌhaʊˈɛvər, rɪˈʤɛktɪd ðə ˈjuˈɛn rɪkˈwɛst, seɪɪŋ əˈsɪsts ə ˈtɛrər ˌɔrgənəˈzeɪʃən ˈkænɑt haɪd bɪˈhaɪnd ə kleɪm əv immunity.”*.” ɪn əˈdɪʃən tɪ, ˈɪzriəl həz əˈkjuzd tu ˈəðər ˌpælɪˈstɪniənz əv ˌɪnˈfɪlˌtreɪtɪŋ ˌɪnərˈnæʃənɑl eɪd ˌɔrgənəˈzeɪʃənz ɔn bɪˈhæf əv ˌhɑˈmɑs. ɪn ˈɔgəst, ən ˌɪzˈreɪli kɔrt ʧɑrʤd mʊˈhɑməd wɪθ ˈʧænəlɪŋ ˈmɪljənz əv ˈdɔlərz ɪn ˈfɔrən eɪd tɪ ˌhɑˈmɑs ənd ɪts ɑrmd wɪŋ, ðə brɪˈgeɪdz., hu wərkt fər ðə ˈkrɪsʧɪn ˌɔrgənəˈzeɪʃən wərld ˈvɪʒən, wɑz ərˈɛstɪd ɪn ʤun ənd ˈleɪtər ˌɪnˈdaɪtɪd ɔn ə ˈnəmbər əv ˈʧɑrʤɪz, ˌɪnˈkludɪŋ ˈfəndɪŋ ˈtɛrər. ðə ʧɑrʤ ʃit sɛd hi wɑz rɪˈkrutɪd baɪ ˌhɑˈmɑs tɪ ˈɪnfɪlˌtreɪt ðə eɪd ˌɔrgənəˈzeɪʃən mɔr ðən ə ˈdɛkeɪd əˈgoʊ, ˈraɪzɪŋ tɪ bɪˈkəm ðə hɛd əv ðə ˈgɑzə ˌɑpərˈeɪʃənz. əˈkɔrdɪŋ tɪ ðə ʃɪn bɛt, ˈɔlsoʊ rɪˈkrutɪd ə ˌpælɪˈstɪniən eɪd ˈwərkər frəm ðə seɪv ðə ˈʧɪldrən tɪ ʤɔɪn ðə brɪˈgeɪdz, ɪn 2014 ðə ˈgəvərnmənts əv ˈbrɪtən, ˈʤərməni ənd ɔˈstreɪljə səˈspɛndɪd ðɛr doʊˈneɪʃənz tɪ ðə ˈʧɛrɪti ˈoʊvər əˈlɛʤd lɪŋks tɪ ˌhɑˈmɑs. ˈdæni danon*, æmˈbæsədər tɪ ðə ˈjuˈɛn, sɛd æt ðə taɪm ðə ˈkeɪsɪz wər ˈɛvədəns əv ə trɛnd əv ðə ˌsɪstəˈmætɪk ˌɛkˌsplɔɪˈteɪʃən baɪ hamas.”*.” ˈvɪzɪtɪd ðə saɪt əv ðə əˈlɛʤd mɪsˈjuz læst ˈsəmər ənd faʊnd ə ˈʤɛti ɪkˈstɛndɪŋ əraʊnd 50 ˈmitərz (jɑrdz) ˈɪntu ðə si. pərˈhæps 10 fit (θri jɑrdz) waɪd, ɪt hæd ˈwʊdən slæts ɪˈrɛktɪd ɔn wən saɪd tɪ əbˈskjʊr ðə vju. ɑrmd ˌhɑˈmɑs ˈfaɪtərz wər ɪn ˈnɪrˈbaɪ fildz. əˈfɪʃəlz ˈpraɪvətli ækˈsɛptɪd ðət ˈrəbəl frəm wən əv ɪts ˈprɑʤɛkts meɪ hæv bɪn juzd ɪn ðə kənˈstrəkʃən əv ðə ˈʤɛti. bət ðeɪ strɛst ðə dɪˈspoʊzəl əˈkərd ɪn kənˈʤəŋkʃən wɪθ ðə ˈmɪnɪstri əv ˈpəblɪk wərks, wɪʧ ɪz rən baɪ ˈraɪvəlz ˈfɑtə. ˈfɑtə lidz ðə ˌɪnərˈnæʃənɑli ˈrɛkəgˌnaɪzd ˌpælɪˈstɪniən ˈgəvərnmənt, ənd ə proʊb kənˈkludɪd ðət ðɛr wər noʊ saɪnz əv ˌhɑˈmɑs ækˈtɪvɪti ɪn ðə ˈɛriə æt ðə taɪm ðə ˈrəbəl wɑz pleɪst ðɛr. |
venture communism
dmytri kleiner. the manifesto. network notebook series (amsterdam: institute of network cultures, 2010).
kleiner starts with a materialist analysis of class relations quite similar to marx’s.
through their access to the wealth that results from the continuous capture of surplus value, capitalists offer each generation of innovators a chance to become a junior partner in their club by selling the future productive value of what they create in exchange for the present wealth they need to get started. the stolen, dead value of the past captures the unborn value of the future.
* * *
whatever portion of our productivity we allow to be taken from us will return in the form of our own oppression.
this is possible only because of a monopoly on the function of marketing future value, combined with an artificial floor under the cost of getting started. the productivity of horizontal, networked peer groups is expropriated by the holders of artificial property rights.
those who are able to control the circulation of the product of the labor of others can impose laws and social institutions according to their interests. those who are not able to retain control of the product of their own labor are not able to resist.
thomas fairly well demolished the “labor fund” doctrine. the financing of subsistence of workers engaged in production can just as accurately be conceived in horizontal terms, as the continual mutual advance of credit by workers to each other against their future production. the capitalist is not someone who advances pay from a labor fund derived from their own “past abstention,” but someone who relies on the preemption and monopoly of this mutual advance of credit function by a privileged class, with the help of the state.
the idea of capitalist abstention as the source of the mythical labor fund, and of profit as the reward for abstention or long on the part, is especially laughable given the fact that the original accumulation of capital the concentration of enormous investment funds in the hands of a small was actually accomplished through robbery rather than abstention or savings. and rendered even more so by the fact that banks lend money into existence out of thin air, without even the pretense that backed by savings.
the radical erosion of the latter barrier through ephemeral technology (as described by douglas rushkoff) is making an increasing share of venture capital superfluous.
for a capitalist class to exist, the market must be rigged…. capitalism must increase the price of capital by withholding it from labor. in reality the “free market” is an imposition by property owners on to workers…. capital needs to make the price of labor low enough to prevent workers, as a class, from being able to retain enough of their own earnings to acquire their own property. if workers could acquire their own property, they could also stop selling their labor to the capitalists. capitalism, then, could not exist in a free market.
this is especially true of the networked, economy.
capitalism depends on the state to impose control within the network economy, particularly to control relations through authorized channels, and thereby capture value that would otherwise be retained by its producers. points of control are introduced into the natural mesh of social relations….
the ability to grant title and privilege is based on its ability to enforce such advantages through its monopoly on the legitimate use of violence.
that is not to say that kleiner is as such. like david graeber, open to the possibility that exchange and markets of some sort would exist as one component of a economy. but like graeber, extremely skeptical that such a post-state, market would bear any resemblance to our present economy, dominated by commodity production and mediation by the cash nexus.
if “freed” from the coercion of capitalists, producers would produce for social value, not for profits, as they do in their private and family lives…. this is not to say that a free society would not have competition, or that its members would not seek to benefit from their own labor. indeed, the division of labor required in a complex society makes exchange and reciprocity necessary. however, the metaphor of “the market” as it is currently used would no longer hold.
kleiner seems to suggest, if i read him correctly, that most discrete acts of production and distribution, on the micro-level, would be governed by the ethos of social production for use, and exchange would take place on a higher level.
the “market economy” is, by definition, a surveillance economy, where contributions to production and consumption must be measured in minute detail. it is an economy of accountants and security guards. the accounting of value exchange in tiny and lists of individually priced transactions must be superseded by more fluid and generalized forms of exchange.
this suggests that most production for everyday consumption would take place within primary social units with production as a part of daily living, and exchange will consist mainly as envisioned of the distribution of primary resource inputs over large areas, or the exchange of surpluses between primary social units.
kleiner sees networked communication technologies and peer production as the means to “resist and evade the violence” entailed by existing hierarchies and enforced privilege. “social relations among transnational, communities operate within an space, one where the operations of title and privilege could give way to relations of mutual interest and negotiation.”
even the accumulated wealth from centuries of exploitation cannot ultimately save the economic elite if they are unable to continue to capture current wealth. the value of the future is far greater than the value of the past…. is our new ways of working together and sharing across national boundaries that have the potential to threaten the capitalist order and bring about a new society.
he also sees such technologies as the basis of an economic vision of as a modern, high-tech version of the model of production on the commons.
modes of production employing structures similar to peer-to-peer networks have relations reminiscent of the historic pastoral commons, long gone commonly held lands used for the maintenance of livestock and regulated by ancient rights modern laws and governments. the modern commons, however, is not located in a single space, but rather spans the planet, offering our society hope for a way out from the class of capitalism by undermining its logic of control and extraction….
peer networks, such as the internet, and all the material and immaterial inputs that keep them running, serve as a common stock that is used independently by many people. free software, whose production and distribution frequently depends on peer networks, is a common stock available to all…. mass transportation and international integration have created distributed communities who maintain ongoing interpersonal and often informal economic relationships across national borders.
all of these are examples of new productive relationships that transcend current relations and point to a potential way forward. developments in telecommunications, notably the emergence of peer networks such as the internet, along with international transportation and migration, create broad revolutionary possibilities as dispersed communities become able to interact instantly on a global scale.
but kleiner warns that the peer production and free sharing of informational goods even including the designs of physical products will be insufficient to liberate producers from rent extraction if the physical means of production and subsistence remain concentrated in the hands of a small class of rentiers. the increased productivity and cost savings from free and open software and open industrial design will simply be appropriated as rent by the owners of the physical means of production, in the same way that landlords appropriated the increased productivity from industrial production.
he proposes venture communism as a way to organize the material basis of life, along with the material, for a community of peer producers
a structure for independent producers to share a common stock of productive assets, allowing forms of production formerly associated exclusively with the creation of immaterial value… to be extended to the material sphere.
just as and other free information licenses turned copyright against itself, the venture commune uses the corporate form as a vehicle for asserting control over productive assets. the commune is legally a firm, but with distinct properties that transform it into an effective vehicle for revolutionary workers’ struggle.
the venture commune holds ownership of all productive assets that make up the common stock employed by a diverse and geographically distributed networked of collective and independent peer producers. the venture commune does not coordinate production; a community of peer producers produce according to their own needs and desires. the role of the commune is only to manage the common stock, making property, such as the housing and tools they require, available to the peer producers.
the venture commune is the federation of workers’ collectives and individual workers, and is itself owned by each of them, with each member having only one share. in the case that workers are working in a collective or co-operative, ownership is held individually, by the separate people that make up the collective or co-operative…. property is always held in common by all the members of the commune, with the venture commune equally owned by all its members….
as a platform for supporting collectives, the venture commune is one example of a larger category of economic models organized on a modular architecture.
a venture commune is not bound to one physical location where it can be isolated and confined. similar in topology to a peer-to-peer network,en intends to be decentralized, with only minimal coordination required amongst its international community of producer-owners.
although there are many networked economic models organized on a basis, one of the most prominent is the phyle. the phyle was originally created in the fictional setting of neal the diamond age, and david de ugarte and his comrades in the las cooperative group adopted the term for the model de ugarte discusses in his book: from nations to networks (exemplified in practice by the las phyle and its member enterprises). draft chapter five of my online desktop regulatory state manuscript is an extended survey of modular networked economic platforms. the phyle model is especially relevant to discussion of transnational cultural communities as the base for networked economic organizations. both fictional and de real-life model are based on international linguistic diasporas.
kleiner proposes a finance model similar to the kind of envisioned in ebenezer original garden city proposals: colonists would pool their resources to buy land at a far enough distance from existing population centers to be mostly vacant and cheap, and then finance municipal services with a tax on the rapidly appreciating value of the land.
the function of the venture commune is to acquire material assets that members need for living and working, such as equipment and tools, and allocate them to its members…. the members interested in having this property offer a rental agreement to the commune, giving the terms they wish to have for possession of this property. the commune issues a series of bonds to raise the funds required to acquire the property, when then becomes collateral for the bondholders. the rental agreement is offered as a guarantee that the funds will be available to redeem the bonds.
rents over and above the amount required to service the bonds are issued as a dividend to all members equally reminiscent of models influenced by and social credit that finance public services with taxes on economic rent and issue a basic income or dividend to everyone.
the basic model is a good illustration of the broader anarchist principle summed up by the wobbly slogan, “forming the structure of the new society within the shell of the old.” it starts out within the of the present system and, leveraging the superior productivity of free people voluntarily cooperating and using their full capabilities without interference from a managerial class that fears their initiative, growing until it supplants the preexisting system. | ˈvɛnʧər ˈkɑmjəˌnɪzəm ˈklaɪnər. ðə ˌmænɪˈfɛˌstoʊ. ˈnɛtˌwərk ˈnoʊtˌbʊk ˈsɪriz (ˈæmstərˌdæm: ˈɪnstɪˌtut əv ˈnɛtˌwərk ˈkəlʧərz, 2010 ˈklaɪnər stɑrts wɪθ ə məˈtɪriəlɪst æˈnælɪsɪs əv klæs riˈleɪʃənz kwaɪt ˈsɪmələr tɪ marx’s*. θru ðɛr ˈækˌsɛs tɪ ðə wɛlθ ðət rɪˈzəlts frəm ðə kənˈtɪnjuəs ˈkæpʧər əv ˈsərpləs ˈvælju, ˈkæpətəlɪsts ˈɔfər iʧ ˌʤɛnərˈeɪʃən əv ˈɪnəˌveɪtərz ə ʧæns tɪ bɪˈkəm ə ˈʤunjər ˈpɑrtnər ɪn ðɛr kləb baɪ ˈsɛlɪŋ ðə fˈjuʧər pərˈdəktɪv ˈvælju əv wət ðeɪ kriˈeɪt ɪn ɪksˈʧeɪnʤ fər ðə ˈprɛzənt wɛlθ ðeɪ nid tɪ gɪt ˈstɑrtɪd. ðə ˈstoʊlən, dɛd ˈvælju əv ðə pæst ˈkæpʧərz ðə ˈənˈbɔrn ˈvælju əv ðə fˈjuʧər. ˌwəˈtɛvər ˈpɔrʃən əv ɑr ˌproʊdəkˈtɪvɪti wi əˈlaʊ tɪ bi ˈteɪkən frəm ˈjuˈɛs wɪl rɪˈtərn ɪn ðə fɔrm əv ɑr oʊn əˈprɛʃən. ðɪs ɪz ˈpɑsəbəl ˈoʊnli bɪˈkəz əv ə məˈnɑpəli ɔn ðə ˈfəŋkʃən əv ˈmɑrkətɪŋ fˈjuʧər ˈvælju, kəmˈbaɪnd wɪθ ən ˌɑrtəˈfɪʃəl flɔr ˈəndər ðə kɔst əv ˈgɪtɪŋ ˈstɑrtɪd. ðə ˌproʊdəkˈtɪvɪti əv ˌhɔrəˈzɑntəl, ˈnɛtˌwərkt pɪr grups ɪz ɛkˈsproʊpriˌeɪtɪd baɪ ðə ˈhoʊldərz əv ˌɑrtəˈfɪʃəl ˈprɑpərti raɪts. ðoʊz hu ər ˈeɪbəl tɪ kənˈtroʊl ðə ˈsərkjəˌleɪʃən əv ðə ˈprɑdəkt əv ðə ˈleɪbər əv ˈəðərz kən ˌɪmˈpoʊz lɔz ənd ˈsoʊʃəl ˌɪnstɪˈtuʃənz əˈkɔrdɪŋ tɪ ðɛr ˈɪntərɪsts. ðoʊz hu ər nɑt ˈeɪbəl tɪ rɪˈteɪn kənˈtroʊl əv ðə ˈprɑdəkt əv ðɛr oʊn ˈleɪbər ər nɑt ˈeɪbəl tɪ rɪˈzɪst. ˈtɑməs ˈfɛrli wɛl dɪˈmɑlɪʃt ðə fund”*” ˈdɔktərɪn. ðə fɪˈnænsɪŋ əv səbˈsɪstəns əv ˈwərkərz ɪnˈgeɪʤd ɪn pərˈdəkʃən kən ʤɪst ɛz ˈækjərətli bi kənˈsivd ɪn ˌhɔrəˈzɑntəl tərmz, ɛz ðə kənˈtɪnjuəl mˈjuʧuəl ədˈvæns əv ˈkrɛdɪt baɪ ˈwərkərz tɪ iʧ ˈəðər əˈgɛnst ðɛr fˈjuʧər pərˈdəkʃən. ðə ˈkæpətəlɪst ɪz nɑt ˈsəmˌwən hu ədˈvænsɪz peɪ frəm ə ˈleɪbər fənd dəraɪvd frəm ðɛr oʊn abstention,”*,” bət ˈsəmˌwən hu rɪˈlaɪz ɔn ðə ˌpriˈɛmpʃən ənd məˈnɑpəli əv ðɪs mˈjuʧuəl ədˈvæns əv ˈkrɛdɪt ˈfəŋkʃən baɪ ə ˈprɪvɪlɪʤd klæs, wɪθ ðə hɛlp əv ðə steɪt. ðə aɪˈdiə əv ˈkæpətəlɪst əbˈstɛnʧən ɛz ðə sɔrs əv ðə ˈmɪθɪkəl ˈleɪbər fənd, ənd əv ˈprɑfɪt ɛz ðə rɪˈwɔrd fər əbˈstɛnʧən ər lɔŋ ɔn ðə pɑrt, ɪz əˈspɛʃəli ˈlæfəbəl ˈgɪvɪn ðə fækt ðət ðə ərˈɪʤənəl əˌkjumjəˈleɪʃən əv ˈkæpɪtəl ðə ˌkɑnsənˈtreɪʃən əv ɪˈnɔrmɪs ˌɪnˈvɛstmənt fəndz ɪn ðə hænz əv ə smɔl wɑz ˈæˌkʧuəli əˈkɑmplɪʃt θru ˈrɑbəri ˈrəðər ðən əbˈstɛnʧən ər ˈseɪvɪŋz. ənd ˈrɛndərd ˈivɪn mɔr soʊ baɪ ðə fækt ðət bæŋks lɛnd ˈməni ˈɪntu ɪgˈzɪstəns aʊt əv θɪn ɛr, wɪˈθaʊt ˈivɪn ðə priˈtɛns ðət bækt baɪ ˈseɪvɪŋz. ðə ˈrædɪkəl ɪˈroʊʒən əv ðə ˈlætər ˈbɛriər θru ɪˈfɛmərəl tɛkˈnɑləʤi (ɛz dɪˈskraɪbd baɪ ˈdəgləs rushkoff*) ɪz ˈmeɪkɪŋ ən ˌɪnˈkrisɪŋ ʃɛr əv ˈvɛnʧər ˈkæpɪtəl ˈsupərflˌwəs. fər ə ˈkæpətəlɪst klæs tɪ ɪgˈzɪst, ðə ˈmɑrkɪt məst bi rigged…*…. ˈkæpɪtəˌlɪzəm məst ˌɪnˈkris ðə praɪs əv ˈkæpɪtəl baɪ wɪθˈhoʊldɪŋ ɪt frəm ˈleɪbər. ɪn ˌriˈæləˌti ðə market”*” ɪz ən ˌɪmpəˈzɪʃən baɪ ˈprɑpərti ˈoʊnərz ɔn tɪ workers…*…. ˈkæpɪtəl nidz tɪ meɪk ðə praɪs əv ˈleɪbər loʊ ɪˈnəf tɪ prɪˈvɛnt ˈwərkərz, ɛz ə klæs, frəm biɪŋ ˈeɪbəl tɪ rɪˈteɪn ɪˈnəf əv ðɛr oʊn ˈərnɪŋz tɪ əkˈwaɪər ðɛr oʊn ˈprɑpərti. ɪf ˈwərkərz kʊd əkˈwaɪər ðɛr oʊn ˈprɑpərti, ðeɪ kʊd ˈɔlsoʊ stɑp ˈsɛlɪŋ ðɛr ˈleɪbər tɪ ðə ˈkæpətəlɪsts. ˈkæpɪtəˌlɪzəm, ðɛn, kʊd nɑt ɪgˈzɪst ɪn ə fri ˈmɑrkɪt. ðɪs ɪz əˈspɛʃəli tru əv ðə ˈnɛtˌwərkt, ɪˈkɑnəmi. ˈkæpɪtəˌlɪzəm dɪˈpɛndz ɔn ðə steɪt tɪ ˌɪmˈpoʊz kənˈtroʊl wɪˈθɪn ðə ˈnɛtˌwərk ɪˈkɑnəmi, ˌpɑrˈtɪkjələrli tɪ kənˈtroʊl riˈleɪʃənz θru ˈɔθərˌaɪzd ˈʧænəlz, ənd ˈðɛrˈbaɪ ˈkæpʧər ˈvælju ðət wʊd ˈəðərˌwaɪz bi rɪˈteɪnd baɪ ɪts prəˈdusərz. pɔɪnts əv kənˈtroʊl ər ˌɪntrəˈdust ˈɪntu ðə ˈnæʧərəl mɛʃ əv ˈsoʊʃəl relations…*…. ðə əˈbɪləˌti tɪ grænt ˈtaɪtəl ənd ˈprɪvɪlɪʤ ɪz beɪst ɔn ɪts əˈbɪləˌti tɪ ɛnˈfɔrs səʧ ædˈvæntɪʤɪz θru ɪts məˈnɑpəli ɔn ðə ləˈʤɪtəmət juz əv ˈvaɪələns. ðət ɪz nɑt tɪ seɪ ðət ˈklaɪnər ɪz ɛz səʧ. laɪk ˈdeɪvɪd ˈgrɛbər, ˈoʊpən tɪ ðə ˌpɑsəˈbɪləˌti ðət ɪksˈʧeɪnʤ ənd ˈmɑrkɪts əv səm sɔrt wʊd ɪgˈzɪst ɛz wən kəmˈpoʊnənt əv ə ɪˈkɑnəmi. bət laɪk ˈgrɛbər, ɪkˈstrimli ˈskɛptɪkəl ðət səʧ ə post-state*, ˈmɑrkɪt wʊd bɛr ˈɛni rɪˈzɛmbləns tɪ ɑr ˈprɛzənt ɪˈkɑnəmi, ˈdɑməˌneɪtəd baɪ kəˈmɑdəti pərˈdəkʃən ənd ˌmidiˈeɪʃən baɪ ðə kæʃ ˈnɛksəs. ɪf ““freed”*” frəm ðə koʊəˈrʃən əv ˈkæpətəlɪsts, prəˈdusərz wʊd ˈproʊdus fər ˈsoʊʃəl ˈvælju, nɑt fər ˈprɑfɪts, ɛz ðeɪ du ɪn ðɛr ˈpraɪvət ənd ˈfæməli lives…*…. ðɪs ɪz nɑt tɪ seɪ ðət ə fri soʊˈsaɪɪti wʊd nɑt hæv ˌkɑmpəˈtɪʃən, ər ðət ɪts ˈmɛmbərz wʊd nɑt sik tɪ ˈbɛnəfɪt frəm ðɛr oʊn ˈleɪbər. ˌɪnˈdid, ðə dɪˈvɪʒən əv ˈleɪbər rikˈwaɪərd ɪn ə ˈkɑmplɛks soʊˈsaɪɪti meɪks ɪksˈʧeɪnʤ ənd ˌrɛsɪˈprɑsɪti ˈnɛsəˌsɛri. ˌhaʊˈɛvər, ðə ˈmɛtəfɔr əv market”*” ɛz ɪt ɪz ˈkərəntli juzd wʊd noʊ ˈlɔŋgər hoʊld. ˈklaɪnər simz tɪ səˈʤɛst, ɪf aɪ rɛd ɪm kərˈɛktli, ðət moʊst dɪˈskrit ækts əv pərˈdəkʃən ənd ˌdɪstrəˈbjuʃən, ɔn ðə micro-level*, wʊd bi ˈgəvərnd baɪ ðə ˈiθɑs əv ˈsoʊʃəl pərˈdəkʃən fər juz, ənd ɪksˈʧeɪnʤ wʊd teɪk pleɪs ɔn ə haɪər ˈlɛvəl. ðə economy”*” ɪz, baɪ ˌdɛfəˈnɪʃən, ə sərˈveɪləns ɪˈkɑnəmi, wɛr ˌkɑntrəˈbjuʃənz tɪ pərˈdəkʃən ənd kənˈsəmʃən məst bi ˈmɛʒərd ɪn ˈmɪnət ˈditeɪl. ɪt ɪz ən ɪˈkɑnəmi əv əˈkaʊntənts ənd sɪˈkjʊrəti gɑrdz. ðə əˈkaʊnɪŋ əv ˈvælju ɪksˈʧeɪnʤ ɪn ˈtaɪni ənd lɪsts əv ˌɪndɪˈvɪʤəli praɪst trænˈzækʃənz məst bi ˌsupərˈsidəd baɪ mɔr fluɪd ənd ˈʤɛnərəˌlaɪzd fɔrmz əv ɪksˈʧeɪnʤ. ðɪs səˈʤɛsts ðət moʊst pərˈdəkʃən fər ˈɛvriˈdeɪ kənˈsəmʃən wʊd teɪk pleɪs wɪˈθɪn ˈpraɪˌmɛri ˈsoʊʃəl ˈjunɪts wɪθ pərˈdəkʃən ɛz ə pɑrt əv ˈdeɪli ˈlɪvɪŋ, ənd ɪksˈʧeɪnʤ wɪl kənˈsɪst ˈmeɪnli ɛz ɛnˈvɪʒənd əv ðə ˌdɪstrəˈbjuʃən əv ˈpraɪˌmɛri ˈrisɔrs ˈɪnˌpʊts ˈoʊvər lɑrʤ ˈɛriəz, ər ðə ɪksˈʧeɪnʤ əv ˈsərpləsɪz bɪtˈwin ˈpraɪˌmɛri ˈsoʊʃəl ˈjunɪts. ˈklaɪnər siz ˈnɛtˌwərkt kəmˌjunəˈkeɪʃən tɛkˈnɑləʤiz ənd pɪr pərˈdəkʃən ɛz ðə minz tɪ ənd ɪˈveɪd ðə violence”*” ɪnˈteɪld baɪ ɪgˈzɪstɪŋ ˈhaɪˌrɑrkiz ənd ɛnˈfɔrst ˈprɪvɪlɪʤ. riˈleɪʃənz əˈməŋ trænsˈnæʃənəl, kəmˈjunɪtiz ˈɔpərˌeɪt wɪˈθɪn ən speɪs, wən wɛr ðə ˌɑpərˈeɪʃənz əv ˈtaɪtəl ənd ˈprɪvɪlɪʤ kʊd gɪv weɪ tɪ riˈleɪʃənz əv mˈjuʧuəl ˈɪntəˌrɛst ənd negotiation.”*.” ˈivɪn ðə əˈkjumjəˌleɪtɪd wɛlθ frəm ˈsɛnʧəriz əv ˌɛkˌsplɔɪˈteɪʃən ˈkænɑt ˈəltəmətli seɪv ðə ˌɛkəˈnɑmɪk ɪˈlit ɪf ðeɪ ər əˈneɪbəl tɪ kənˈtɪnju tɪ ˈkæpʧər ˈkɑrənt wɛlθ. ðə ˈvælju əv ðə fˈjuʧər ɪz fɑr ˈgreɪtər ðən ðə ˈvælju əv ðə past…*…. ɪz ɑr nu weɪz əv ˈwərkɪŋ təˈgɛðər ənd ˈʃɛrɪŋ əˈkrɔs ˈnæʃənəl ˈbaʊndəriz ðət hæv ðə pəˈtɛnʃəl tɪ θˈrɛtən ðə ˈkæpətəlɪst ˈɔrdər ənd brɪŋ əˈbaʊt ə nu soʊˈsaɪɪti. hi ˈɔlsoʊ siz səʧ tɛkˈnɑləʤiz ɛz ðə ˈbeɪsɪs əv ən ˌɛkəˈnɑmɪk ˈvɪʒən əv ɛz ə ˈmɑdərn, ˌhaɪˈtɛk ˈvərʒən əv ðə ˈmɑdəl əv pərˈdəkʃən ɔn ðə ˈkɑmənz. moʊdz əv pərˈdəkʃən ɪmˈplɔɪɪŋ ˈstrəkʧərz ˈsɪmələr tɪ ˌpɪrtoʊˈpɪr ˈnɛtˌwərks hæv riˈleɪʃənz ˌrɛməˈnɪsənt əv ðə hɪˈstɔrɪk ˈpæstərəl ˈkɑmənz, lɔŋ gɔn ˈkɑmənli hɛld lændz juzd fər ðə ˈmeɪntənəns əv ˈlaɪvˌstɑk ənd ˈrɛgjəˌleɪtɪd baɪ ˈeɪnʧənt raɪts ˈmɑdərn lɔz ənd ˈgəvərnmənts. ðə ˈmɑdərn ˈkɑmənz, ˌhaʊˈɛvər, ɪz nɑt ˈloʊˌkeɪtəd ɪn ə ˈsɪŋgəl speɪs, bət ˈrəðər spænz ðə ˈplænət, ˈɔfərɪŋ ɑr soʊˈsaɪɪti hoʊp fər ə weɪ aʊt frəm ðə klæs əv ˈkæpɪtəˌlɪzəm baɪ ˈəndərˌmaɪnɪŋ ɪts ˈlɑʤɪk əv kənˈtroʊl ənd extraction…*…. pɪr ˈnɛtˌwərks, səʧ ɛz ðə ˈɪntərˌnɛt, ənd ɔl ðə məˈtɪriəl ənd ˌɪməˈtɪriəl ˈɪnˌpʊts ðət kip ðɛm ˈrənɪŋ, sərv ɛz ə ˈkɑmən stɑk ðət ɪz juzd ˌɪndɪˈpɛndəntli baɪ ˈmɛni ˈpipəl. fri ˈsɔfˌwɛr, huz pərˈdəkʃən ənd ˌdɪstrəˈbjuʃən ˈfrikwɛntli dɪˈpɛndz ɔn pɪr ˈnɛtˌwərks, ɪz ə ˈkɑmən stɑk əˈveɪləbəl tɪ all…*…. mæs ˌtrænspərˈteɪʃən ənd ˌɪnərˈnæʃənɑl ˌɪnəˈgreɪʃən hæv kriˈeɪtɪd dɪˈstrɪbjətəd kəmˈjunɪtiz hu meɪnˈteɪn ˈɔnˌgoʊɪŋ ˌɪntərˈpərsənəl ənd ˈɔfən ˌɪnˈfɔrməl ˌɛkəˈnɑmɪk riˈleɪʃənˌʃɪps əˈkrɔs ˈnæʃənəl ˈbɔrdərz. ɔl əv ðiz ər ɪgˈzæmpəlz əv nu pərˈdəktɪv riˈleɪʃənˌʃɪps ðət trænˈsɛnd ˈkɑrənt riˈleɪʃənz ənd pɔɪnt tɪ ə pəˈtɛnʃəl weɪ ˈfɔrwərd. dɪˈvɛləpmənts ɪn ˌtɛləkəmˌjunəˈkeɪʃənz, ˈnoʊtəbli ðə ˈimərʤəns əv pɪr ˈnɛtˌwərks səʧ ɛz ðə ˈɪntərˌnɛt, əˈlɔŋ wɪθ ˌɪnərˈnæʃənɑl ˌtrænspərˈteɪʃən ənd maɪˈgreɪʃən, kriˈeɪt brɔd ˌrɛvəˈluʃəˌnɛri ˌpɑsəˈbɪlətiz ɛz dɪˈspərst kəmˈjunɪtiz bɪˈkəm ˈeɪbəl tɪ ˌɪnərˈækt ˈɪnstəntli ɔn ə ˈgloʊbəl skeɪl. bət ˈklaɪnər wɔrnz ðət ðə pɪr pərˈdəkʃən ənd fri ˈʃɛrɪŋ əv ˌɪnˈfɔrˌmeɪʃənəl gʊdz ˈivɪn ˌɪnˈkludɪŋ ðə dɪˈzaɪnz əv ˈfɪzɪkəl ˈprɑdəkts wɪl bi ˌɪnsəˈfɪʃənt tɪ ˈlɪˌbərˌeɪt prəˈdusərz frəm rɛnt ɛkˈstrækʃən ɪf ðə ˈfɪzɪkəl minz əv pərˈdəkʃən ənd səbˈsɪstəns rɪˈmeɪn ˈkɔnsənˌtreɪtɪd ɪn ðə hænz əv ə smɔl klæs əv rentiers*. ðə ˌɪnˈkrist ˌproʊdəkˈtɪvɪti ənd kɔst ˈseɪvɪŋz frəm fri ənd ˈoʊpən ˈsɔfˌwɛr ənd ˈoʊpən ˌɪnˈdəstriəl dɪˈzaɪn wɪl ˈsɪmpli bi əˈproʊpriˌeɪtɪd ɛz rɛnt baɪ ðə ˈoʊnərz əv ðə ˈfɪzɪkəl minz əv pərˈdəkʃən, ɪn ðə seɪm weɪ ðət ˈlænˌdlɔrdz əˈproʊpriˌeɪtɪd ðə ˌɪnˈkrist ˌproʊdəkˈtɪvɪti frəm ˌɪnˈdəstriəl pərˈdəkʃən. hi prəˈpoʊzɪz ˈvɛnʧər ˈkɑmjəˌnɪzəm ɛz ə weɪ tɪ ˈɔrgəˌnaɪz ðə məˈtɪriəl ˈbeɪsɪs əv laɪf, əˈlɔŋ wɪθ ðə məˈtɪriəl, fər ə kəmˈjunɪti əv pɪr prəˈdusərz ə ˈstrəkʧər fər ˌɪndɪˈpɛndənt prəˈdusərz tɪ ʃɛr ə ˈkɑmən stɑk əv pərˈdəktɪv ˈæˌsɛts, əˈlaʊɪŋ fɔrmz əv pərˈdəkʃən ˈfɔrmərli əˈsoʊʃiˌeɪtəd ɪkˈsklusɪvli wɪθ ðə kriˈeɪʃən əv ˌɪməˈtɪriəl value…*… tɪ bi ɪkˈstɛndɪd tɪ ðə məˈtɪriəl sfɪr. ʤɪst ɛz ənd ˈəðər fri ˌɪnˌfɔrˈmeɪʃən ˈlaɪsənsɪz tərnd ˈkɑpiˌraɪt əˈgɛnst ˌɪtˈsɛlf, ðə ˈvɛnʧər ˈkɑmjun ˈjuzɪz ðə ˈkɔrpərət fɔrm ɛz ə ˈviɪkəl fər əˈsərtɪŋ kənˈtroʊl ˈoʊvər pərˈdəktɪv ˈæˌsɛts. ðə ˈkɑmjun ɪz ˈligəli ə fərm, bət wɪθ dɪˈstɪŋkt ˈprɑpərtiz ðət ˈtrænsfɔrm ɪt ˈɪntu ən ˈifɛktɪv ˈviɪkəl fər ˌrɛvəˈluʃəˌnɛri workers’*’ ˈstrəgəl. ðə ˈvɛnʧər ˈkɑmjun hoʊldz ˈoʊnərˌʃɪp əv ɔl pərˈdəktɪv ˈæˌsɛts ðət meɪk əp ðə ˈkɑmən stɑk ɪmˈplɔɪd baɪ ə dɪˈvərs ənd ˌʤiəˈgræfɪkəli dɪˈstrɪbjətəd ˈnɛtˌwərkt əv kəˈlɛktɪv ənd ˌɪndɪˈpɛndənt pɪr prəˈdusərz. ðə ˈvɛnʧər ˈkɑmjun dɪz nɑt koʊˈɔrdəˌneɪt pərˈdəkʃən; ə kəmˈjunɪti əv pɪr prəˈdusərz ˈproʊdus əˈkɔrdɪŋ tɪ ðɛr oʊn nidz ənd dɪˈzaɪərz. ðə roʊl əv ðə ˈkɑmjun ɪz ˈoʊnli tɪ ˈmænɪʤ ðə ˈkɑmən stɑk, ˈmeɪkɪŋ ˈprɑpərti, səʧ ɛz ðə ˈhaʊzɪŋ ənd tulz ðeɪ ˌrikˈwaɪər, əˈveɪləbəl tɪ ðə pɪr prəˈdusərz. ðə ˈvɛnʧər ˈkɑmjun ɪz ðə ˌfɛdərˈeɪʃən əv workers’*’ kəˈlɛktɪvz ənd ˌɪndəˈvɪʤəwəl ˈwərkərz, ənd ɪz ˌɪtˈsɛlf oʊnd baɪ iʧ əv ðɛm, wɪθ iʧ ˈmɛmbər ˈhævɪŋ ˈoʊnli wən ʃɛr. ɪn ðə keɪs ðət ˈwərkərz ər ˈwərkɪŋ ɪn ə kəˈlɛktɪv ər ˌkoʊˈɑˌpərətɪv, ˈoʊnərˌʃɪp ɪz hɛld ˌɪndɪˈvɪʤəli, baɪ ðə ˈsɛpərˌeɪt ˈpipəl ðət meɪk əp ðə kəˈlɛktɪv ər co-operative…*…. ˈprɑpərti ɪz ˈɔlˌweɪz hɛld ɪn ˈkɑmən baɪ ɔl ðə ˈmɛmbərz əv ðə ˈkɑmjun, wɪθ ðə ˈvɛnʧər ˈkɑmjun ˈikwəli oʊnd baɪ ɔl ɪts members…*…. ɛz ə ˈplætˌfɔrm fər səˈpɔrtɪŋ kəˈlɛktɪvz, ðə ˈvɛnʧər ˈkɑmjun ɪz wən ɪgˈzæmpəl əv ə ˈlɑrʤər ˈkætəˌgɔri əv ˌɛkəˈnɑmɪk ˈmɑdəlz ˈɔrgəˌnaɪzd ɔn ə ˈmɑʤələr ˈɑrkəˌtɛkʧər. ə ˈvɛnʧər ˈkɑmjun ɪz nɑt baʊnd tɪ wən ˈfɪzɪkəl loʊˈkeɪʃən wɛr ɪt kən bi ˈaɪsəˌleɪtɪd ənd kənˈfaɪnd. ˈsɪmələr ɪn təˈpɔləʤi tɪ ə ˌpɪrtoʊˈpɪr ˈnɛtˌwərk, ˌɪnˈtɛndz tɪ bi dɪˈsɛntrəˌlaɪzd, wɪθ ˈoʊnli ˈmɪnəməl koʊˌɔrdəˈneɪʃən rikˈwaɪərd əˈməŋst ɪts ˌɪnərˈnæʃənɑl kəmˈjunɪti əv producer-owners*. ˌɔlˈðoʊ ðɛr ər ˈmɛni ˈnɛtˌwərkt ˌɛkəˈnɑmɪk ˈmɑdəlz ˈɔrgəˌnaɪzd ɔn ə ˈbeɪsɪs, wən əv ðə moʊst ˈprɑmənənt ɪz ðə faɪl. ðə faɪl wɑz ərˈɪʤənəli kriˈeɪtɪd ɪn ðə ˈfɪkʃənəl ˈsɛtɪŋ əv nil ðə ˈdaɪmənd eɪʤ, ənd ˈdeɪvɪd də uˈgɑrti ənd hɪz ˈkɑmˌrædz ɪn ðə ˈɛˈleɪˈɛs koʊˈɑpərˌeɪtɪv grup əˈdɑptəd ðə tərm fər ðə ˈmɑdəl də uˈgɑrti dɪˈskəsɪz ɪn hɪz bʊk: frəm ˈneɪʃənz tɪ ˈnɛtˌwərks (ɪgˈzɛmpləˌfaɪd ɪn ˈpræktɪs baɪ ðə ˈɛˈleɪˈɛs faɪl ənd ɪts ˈmɛmbər ˈɛnərˌpraɪzɪz). dræft ˈʧæptər faɪv əv maɪ ˈɔnˌlaɪn ˈdɛskˌtɑp ˈrɛgjələˌtɔri steɪt ˈmænjəˌskrɪpt ɪz ən ɪkˈstɛndɪd ˈsərˌveɪ əv ˈmɑʤələr ˈnɛtˌwərkt ˌɛkəˈnɑmɪk ˈplætˌfɔrmz. ðə faɪl ˈmɑdəl ɪz əˈspɛʃəli ˈrɛləvənt tɪ dɪˈskəʃən əv trænsˈnæʃənəl ˈkəlʧərəl kəmˈjunɪtiz ɛz ðə beɪs fər ˈnɛtˌwərkt ˌɛkəˈnɑmɪk ˌɔrgənəˈzeɪʃənz. boʊθ ˈfɪkʃənəl ənd də ˈriˌllaɪf ˈmɑdəl ər beɪst ɔn ˌɪnərˈnæʃənɑl lɪŋgˈwɪstɪk diasporas*. ˈklaɪnər prəˈpoʊzɪz ə ˈfaɪˌnæns ˈmɑdəl ˈsɪmələr tɪ ðə kaɪnd əv ɛnˈvɪʒənd ɪn ˌɛbɪˈnizər ərˈɪʤənəl ˈgɑrdən ˈsɪti prəˈpoʊzəlz: ˈkɑlənɪsts wʊd pul ðɛr ˈrisɔrsɪz tɪ baɪ lænd æt ə fɑr ɪˈnəf ˈdɪstəns frəm ɪgˈzɪstɪŋ ˌpɑpjəˈleɪʃən ˈsɛnərz tɪ bi ˈmoʊstli ˈveɪkənt ənd ʧip, ənd ðɛn ˈfaɪˌnæns mjuˈnɪsəpəl ˈsərvɪsɪz wɪθ ə tæks ɔn ðə ˈræpədli əˈpriʃiˌeɪtɪŋ ˈvælju əv ðə lænd. ðə ˈfəŋkʃən əv ðə ˈvɛnʧər ˈkɑmjun ɪz tɪ əkˈwaɪər məˈtɪriəl ˈæˌsɛts ðət ˈmɛmbərz nid fər ˈlɪvɪŋ ənd ˈwərkɪŋ, səʧ ɛz ɪkˈwɪpmənt ənd tulz, ənd ˈæləˌkeɪt ðɛm tɪ ɪts members…*…. ðə ˈmɛmbərz ˈɪntəˌrɛstɪd ɪn ˈhævɪŋ ðɪs ˈprɑpərti ˈɔfər ə ˈrɛntəl əˈgrimənt tɪ ðə ˈkɑmjun, ˈgɪvɪŋ ðə tərmz ðeɪ wɪʃ tɪ hæv fər pəˈzɛʃən əv ðɪs ˈprɑpərti. ðə ˈkɑmjun ˈɪʃuz ə ˈsɪriz əv bɑndz tɪ reɪz ðə fəndz rikˈwaɪərd tɪ əkˈwaɪər ðə ˈprɑpərti, wɪn ðɛn bɪˈkəmz kəˈlætərəl fər ðə ˈbɑnˌdhoʊldərz. ðə ˈrɛntəl əˈgrimənt ɪz ˈɔfərd ɛz ə ˌgɛrənˈti ðət ðə fəndz wɪl bi əˈveɪləbəl tɪ rɪˈdim ðə bɑndz. rɛnts ˈoʊvər ənd əˈbəv ðə əˈmaʊnt rikˈwaɪərd tɪ ˈsərvɪs ðə bɑndz ər ˈɪʃud ɛz ə ˈdɪvɪˌdɛnd tɪ ɔl ˈmɛmbərz ˈikwəli ˌrɛməˈnɪsənt əv ˈmɑdəlz ˈɪnfluənst baɪ ənd ˈsoʊʃəl ˈkrɛdɪt ðət ˈfaɪˌnæns ˈpəblɪk ˈsərvɪsɪz wɪθ ˈtæksɪz ɔn ˌɛkəˈnɑmɪk rɛnt ənd ˈɪʃu ə ˈbeɪsɪk ˈɪnˌkəm ər ˈdɪvɪˌdɛnd tɪ ˈɛvriˌwən. ðə ˈbeɪsɪk ˈmɑdəl ɪz ə gʊd ˌɪləˈstreɪʃən əv ðə ˈbrɔdər ˈænərˌkɪst ˈprɪnsəpəl səmd əp baɪ ðə ˈwɑbəli sˈloʊgən, ðə ˈstrəkʧər əv ðə nu soʊˈsaɪɪti wɪˈθɪn ðə ʃɛl əv ðə old.”*.” ɪt stɑrts aʊt wɪˈθɪn ðə əv ðə ˈprɛzənt ˈsɪstəm ənd, ˈlɛvərɪʤɪŋ ðə suˈpɪriər ˌproʊdəkˈtɪvɪti əv fri ˈpipəl ˌvɑlənˈtɛrəli koʊˈɑpərˌeɪtɪŋ ənd ˈjuzɪŋ ðɛr fʊl ˌkeɪpəˈbɪlətiz wɪˈθaʊt ˌɪnərˈfɪrəns frəm ə ˌmænɪˈʤɪriəl klæs ðət fɪrz ðɛr ˌɪˈnɪʃətɪv, groʊɪŋ ənˈtɪl ɪt səˈplænts ðə ˈpriɪgˈzɪstɪŋ ˈsɪstəm. |
the brooklyn nets have a real shot of pulling off one of the biggest upsets in recent nba history. the no. 8 seed hasn't just tied their series with the atlanta hawks at because of a couple fluke victories. they've tied it by playing the east's best team to a draw through four games. the aggregated score in the series: nets 394, hawks 393.
it's tempting to focus on the hawks' problems. they've been far too good at their peak to be in a dogfight against a regular season team with the point differential of a club. even if they win this series -- and they still have the edge thanks to advantage -- they have shown major weaknesses that teams can exploit down the road.
yet, it wouldn't be fair to analyze what atlanta is doing wrong without highlighting what brooklyn is doing right. the nets have slowed the hawks' vaunted offense to a crawl and are slowly figuring out ways to attack atlanta's pressure defense. they could have defeated the hawks in game 2, even with an average williams game, then they did hold off the hawks' best offensive performance in game 4 thanks to a vintage one.
why is a series that was so lopsided on paper tied? it's a combination of multiple factors.
1. cutting off kyle korver
nets coach lionel hollins scoffed at reporters after the all-star shooting guard hit from range to lead the hawks to a game 1 victory. his implication: korver wasn't important enough to change the game plan.
"how many shots did he take yesterday and how many did he miss? see, if he's that good, he'd make all of them." hollins said. "everybody misses, man. he's a good shooter, i acknowledge that, we acknowledge that as a team, we game plan for him because he is a great shooter. but until he starts shooting 100 percent, we've got to play and be in position to help, and then recover, and close out. "it's not like we're talking (stephen) curry. korver, he's a great guy, he's great with moving without the ball, but he rarely puts the ball on the floor like curry and shakes you up."
but hollins' actions speak much louder than his words, because the nets have changed their game plan to make sure korver doesn't get any clean looks. he's making just 28 percent of his threes since game 1 and has barely had any room to fire without at least one hand in his face. even those numbers don't measure all the times he's curled off a screen prepared to shoot, only for the nets to be right there with him.
the nets decided that because they don't have one single player that can chase korver around screens, nobody should have to try. instead, they're are playing players at the 2, 3 and 4 positions and switching all screens. it's hard to get korver open when is picked off, only for joe johnson or alan anderson to help him out.
stopping korver has become a collective effort. even when he escapes the switching wings, other nets have stepped up to prevent his opportunities. watch the lumbering lopez jump out to prevent a korver three.
and notice here how williams very subtly comes off teague to help prevent korver from getting a look in transition.
the nets have correctly identified korver as the most important member of atlanta's offense. during the regular season, the hawks scored nearly 111 points with korver in the game and less than 99 with him on the bench.
hollins was right with his crabby comments in one respect: while korver can hit jumpers from anywhere, he's not a driving threat like stephen curry. take away his threes -- a difficult, but doable task -- and he doesn't have too many other ways to score. better yet, by switching effectively, communicating and addressing threats only as they present themselves rather than overreacting to decoys, the nets can take away threes without giving up openings elsewhere.
that's the holy grail teams haven't pulled off all year. as the nets are showing, though, life is different in the playoffs.
2. giving the point guards space
by contrast, the nets seem willing to let the hawks' point guards do all the creating they want. jeff teague was an all-star and dennis was one of the league's most promising backups, but given space to roam they've both been confused at not having to create every inch of the way. teague broke out in game 4, but has otherwise been quiet. has been worse than quiet, alternating spectacular drives with attacks that have killed his team.
brooklyn has varied their coverages on both players, but generally are willing to give them space to shoot jumpers. neither is an expert marksman and both like to dribble into their shot, which ruins atlanta's offensive flow. these are logged as open shots, but they're not the type of look atlanta wants.
the correct thing for both players to do is to attack the space given, but they're struggling to do that effectively. teague went back to being a tentative player overwhelmed by his options against soft coverages earlier in his career before a game 4 breakout. is attacking, but lacks the precision to actually make the most of those attacks. he in particular has missed open teammates multiple times in an attempt to be "aggressive."
the nets' blueprint will be copied if the hawks manage to pull out the series. if teague and can't improve against these coverage, they're in for a world of pain against washington's ferocious pick and roll defense in the next round. if they make it that far.
3. brooklyn's "short rolls"
the nets' offense struggled against atlanta's relentless pressure in the first three games, but came alive in game 4. williams' revitalization was a major reason, of course. the former superstar turned albatross poured in 35 points after the hawks, convinced his shooting slump would continue, stopped defending him.
williams converted looks early in the game and carried that confidence and hot shooting for the rest of the contest.
but the nets' offense broke out for many other reasons. brooklyn generated plenty of good looks at the line, taking advantage of a hawks weakness that hadn't been exploited during the regular season. the hawks surrendered the most attempts in the league, but teams hit just 34 percent of those shots because they were under duress from the hawks' aggressive traps.
brooklyn's answer: accept that the traps are coming, quickly move the ball and profit before the hawks can rotate. brook lopez is no longer rolling all the way down the lane. instead, he's stopping at the line -- nba people call this a "short roll" -- and taking the pass from the point guard or a wing sliding up to the ball. once he gets it, he can either swing a pass to the open shooter in the corner ...
... or taking a floater himself.
and if the nets miss the initial shot, they often had atlanta's defense scrambled enough to get an offensive rebound.
this is how brooklyn is using lopez's size. calls for formulaic missed the point, because atlanta can help and recover on those. as long as the nets can manipulate the floor before these pick and rolls happen, he can get the ball at the free throw line in the middle of the floor and be a difference-maker.
4. the hawks' all-star isn't at 100 percent
it should be noted that the nets' strategy is working because al and paul millsap are not themselves health-wise. under normal circumstances, these two play in concert with korver and the point guards perfectly. both roll smartly to the basket, either can score from the perimeter or inside and each has a strong understanding of spacing so they don't get in the way.
but both are feeling the effects of injury in this series. right shoulder is not fully healed and he is thus reluctant to mix it up inside. he's making his perimeter shots, but those slippery drives and dives to the rim aren't as quick, which slows atlanta's motion. he's oddly been more comfortable driving and finishing with his left hand, which was not the case when he was healthy. most importantly, he hasn't been effective punishing smaller players in the post, which allows brooklyn to switch perimeter assignments to cover korver without worrying about the consequences.
horford has not felt comfortable since suffering a pinky injury earlier in the series. when he's going well, he fires shots with confidence and nails them at a very high rate. the hawks' offense may be oriented, but it needs as a option, particularly when teams send extra help to teague and korver. that option isn't there anymore and the other hawks scorers are suffering.
★★★
this series illustrates how the hawks are only the hawks when all of the links are strongest. the nets are shutting off korver, which in turn forces teague to do too much, which is especially difficult because and millsap are not themselves. the four thrived because of their symbiotic relationship, but that also means they're only as good as the weakest link in the chain. without carroll, the forgotten fifth starter that's having the series of his life, atlanta would be losing this series.
as it stands, the hawks are in trouble, and the nets should be credited for that. | ðə ˈbrʊklɪn nɛts hæv ə ril ʃɑt əv ˈpʊlɪŋ ɔf wən əv ðə ˈbɪgəst ˈəpˌsɛts ɪn ˈrisənt ˈɛnˌbiˈeɪ ˈhɪstəri. ðə noʊ. 8 sid ˈhæzənt ʤɪst taɪd ðɛr ˈsɪriz wɪθ ðə æˈtlæntə hɔks æt bɪˈkəz əv ə ˈkəpəl fluk ˈvɪktəriz. ðeɪv taɪd ɪt baɪ pleɪɪŋ ðə ists bɛst tim tɪ ə drɔ θru fɔr geɪmz. ðə ˈægrəˌgeɪtəd skɔr ɪn ðə ˈsɪriz: nɛts 394 hɔks 393 ɪts ˈtɛmptɪŋ tɪ ˈfoʊkɪs ɔn ðə hɔks' ˈprɑbləmz. ðeɪv bɪn fɑr tu gʊd æt ðɛr pik tɪ bi ɪn ə ˈdɑgˌfaɪt əˈgɛnst ə ˈrɛgjələr ˈsizən tim wɪθ ðə pɔɪnt ˌdɪfərˈɛnʃəl əv ə kləb. ˈivɪn ɪf ðeɪ wɪn ðɪs ˈsɪriz ənd ðeɪ stɪl hæv ðə ɛʤ θæŋks tɪ ædˈvæntɪʤ ðeɪ hæv ʃoʊn ˈmeɪʤər ˈwiknəsɪz ðət timz kən ˌɛkˈsplɔɪt daʊn ðə roʊd. jɛt, ɪt ˈwʊdənt bi fɛr tɪ ˈænəˌlaɪz wət æˈtlæntə ɪz duɪŋ rɔŋ wɪˈθaʊt ˈhaɪˌlaɪtɪŋ wət ˈbrʊklɪn ɪz duɪŋ raɪt. ðə nɛts hæv sloʊd ðə hɔks' ˈvɔntɪd əˈfɛns tɪ ə krɔl ənd ər sˈloʊli ˈfɪgjərɪŋ aʊt weɪz tɪ əˈtæk æˈtlæntəz ˈprɛʃər dɪˈfɛns. ðeɪ kʊd hæv dɪˈfitɪd ðə hɔks ɪn geɪm 2 ˈivɪn wɪθ ən ˈævərɪʤ ˈwɪljəmz geɪm, ðɛn ðeɪ dɪd hoʊld ɔf ðə hɔks' bɛst əˈfɛnsɪv pərˈfɔrməns ɪn geɪm 4 θæŋks tɪ ə ˈvɪntɪʤ wən. waɪ ɪz ə ˈsɪriz ðət wɑz soʊ ˈlɑpˈsaɪdɪd ɔn ˈpeɪpər taɪd? ɪts ə ˌkɑmbəˈneɪʃən əv ˈməltəpəl ˈfæktərz. 1 ˈkətɪŋ ɔf kaɪl ˈkɔrˌvər nɛts koʊʧ ˈlaɪənəl ˈhɑlɪnz skɔft æt rɪˈpɔrtərz ˈæftər ðə ˌɔlˈstɑr ˈʃutɪŋ gɑrd hɪt frəm reɪnʤ tɪ lɛd ðə hɔks tɪ ə geɪm 1 ˈvɪktəri. hɪz ˌɪmpləˈkeɪʃən: ˈkɔrˌvər ˈwəzənt ˌɪmˈpɔrtənt ɪˈnəf tɪ ʧeɪnʤ ðə geɪm plæn. "haʊ ˈmɛni ʃɑts dɪd hi teɪk ˈjɛstərˌdeɪ ənd haʊ ˈmɛni dɪd hi mɪs? si, ɪf hiz ðət gʊd, hid meɪk ɔl əv ðɛm." ˈhɑlɪnz sɛd. "ˈɛvriˌbɑdi ˈmɪsɪz, mæn. hiz ə gʊd ˈʃutər, aɪ ækˈnɑlɪʤ ðət, wi ækˈnɑlɪʤ ðət ɛz ə tim, wi geɪm plæn fər ɪm bɪˈkəz hi ɪz ə greɪt ˈʃutər. bət ənˈtɪl hi stɑrts ˈʃutɪŋ 100 pərˈsɛnt, wiv gɑt tɪ pleɪ ənd bi ɪn pəˈzɪʃən tɪ hɛlp, ənd ðɛn rɪˈkəvər, ənd kloʊz aʊt. "ɪts nɑt laɪk wɪr ˈtɔkɪŋ (ˈstivən) ˈkəri. ˈkɔrˌvər, hiz ə greɪt gaɪ, hiz greɪt wɪθ ˈmuvɪŋ wɪˈθaʊt ðə bɔl, bət hi ˈrɛrli pʊts ðə bɔl ɔn ðə flɔr laɪk ˈkəri ənd ʃeɪks ju əp." bət ˈhɑlɪnz' ˈækʃənz spik məʧ ˈlaʊdər ðən hɪz wərdz, bɪˈkəz ðə nɛts hæv ʧeɪnʤd ðɛr geɪm plæn tɪ meɪk ʃʊr ˈkɔrˌvər ˈdəzənt gɪt ˈɛni klin lʊks. hiz ˈmeɪkɪŋ ʤɪst 28 pərˈsɛnt əv hɪz θriz sɪns geɪm 1 ənd həz ˈbɛrli hæd ˈɛni rum tɪ faɪər wɪˈθaʊt æt list wən hænd ɪn hɪz feɪs. ˈivɪn ðoʊz ˈnəmbərz doʊnt ˈmɛʒər ɔl ðə taɪmz hiz kərld ɔf ə skrin priˈpɛrd tɪ ʃut, ˈoʊnli fər ðə nɛts tɪ bi raɪt ðɛr wɪθ ɪm. ðə nɛts ˌdɪˈsaɪdɪd ðət bɪˈkəz ðeɪ doʊnt hæv wən ˈsɪŋgəl pleɪər ðət kən ʧeɪs ˈkɔrˌvər əraʊnd skrinz, ˈnoʊˌbɑˌdi ʃʊd hæv tɪ traɪ. ˌɪnˈstɛd, ðɛr ər pleɪɪŋ pleɪərz æt ðə 2 3 ənd 4 pəˈzɪʃənz ənd sˈwɪʧɪŋ ɔl skrinz. ɪts hɑrd tɪ gɪt ˈkɔrˌvər ˈoʊpən wɪn ɪz pɪkt ɔf, ˈoʊnli fər ʤoʊ ˈʤɑnsən ər ˈælən ˈændərsən tɪ hɛlp ɪm aʊt. ˈstɑpɪŋ ˈkɔrˌvər həz bɪˈkəm ə kəˈlɛktɪv ˈɛfərt. ˈivɪn wɪn hi ɪˈskeɪps ðə sˈwɪʧɪŋ wɪŋz, ˈəðər nɛts hæv stɛpt əp tɪ prɪˈvɛnt hɪz ˌɑpərˈtunətiz. wɔʧ ðə ˈləmbərɪŋ ˈloʊpɛz ʤəmp aʊt tɪ prɪˈvɛnt ə ˈkɔrˌvər θri. ənd ˈnoʊtɪs hir haʊ ˈwɪljəmz ˈvɛri ˈsətəli kəmz ɔf tig tɪ hɛlp prɪˈvɛnt ˈkɔrˌvər frəm ˈgɪtɪŋ ə lʊk ɪn trænˈzɪʃən. ðə nɛts hæv kərˈɛktli aɪˈdɛntəˌfaɪd ˈkɔrˌvər ɛz ðə moʊst ˌɪmˈpɔrtənt ˈmɛmbər əv æˈtlæntəz əˈfɛns. ˈdʊrɪŋ ðə ˈrɛgjələr ˈsizən, ðə hɔks skɔrd ˈnɪrli 111 pɔɪnts wɪθ ˈkɔrˌvər ɪn ðə geɪm ənd lɛs ðən 99 wɪθ ɪm ɔn ðə bɛnʧ. ˈhɑlɪnz wɑz raɪt wɪθ hɪz ˈkræbi ˈkɑmɛnts ɪn wən rɪˈspɛkt: waɪl ˈkɔrˌvər kən hɪt ˈʤəmpərz frəm ˈɛniˌwɛr, hiz nɑt ə ˈdraɪvɪŋ θrɛt laɪk ˈstivən ˈkəri. teɪk əˈweɪ hɪz θriz ə ˈdɪfəkəlt, bət ˈduəbəl tæsk ənd hi ˈdəzənt hæv tu ˈmɛni ˈəðər weɪz tɪ skɔr. ˈbɛtər jɛt, baɪ sˈwɪʧɪŋ ˈifɛktɪvli, kəmˈjunəˌkeɪtɪŋ ənd æˈdrɛsɪŋ θrɛts ˈoʊnli ɛz ðeɪ ˈprɛzənt ðɛmˈsɛlvz ˈrəðər ðən ˈoʊvərriˌæktɪŋ tɪ ˈdikɔɪz, ðə nɛts kən teɪk əˈweɪ θriz wɪˈθaʊt ˈgɪvɪŋ əp ˈoʊpənɪŋz ˈɛlsˌwɛr. ðæts ðə ˈhoʊli greɪl timz ˈhævənt pʊld ɔf ɔl jɪr. ɛz ðə nɛts ər ʃoʊɪŋ, ðoʊ, laɪf ɪz ˈdɪfərənt ɪn ðə pleɪɔfs. 2 ˈgɪvɪŋ ðə pɔɪnt gɑrdz speɪs baɪ ˈkɑntræst, ðə nɛts sim ˈwɪlɪŋ tɪ lɛt ðə hɔks' pɔɪnt gɑrdz du ɔl ðə kriˈeɪtɪŋ ðeɪ wɔnt. ʤɛf tig wɑz ən ˌɔlˈstɑr ənd ˈdɛnɪs wɑz wən əv ðə ligz moʊst ˈprɑməsɪŋ ˈbæˌkəps, bət ˈgɪvɪn speɪs tɪ roʊm ðeɪv boʊθ bɪn kənfˈjuzd æt nɑt ˈhævɪŋ tɪ kriˈeɪt ˈɛvəri ɪnʧ əv ðə weɪ. tig broʊk aʊt ɪn geɪm 4 bət həz ˈəðərˌwaɪz bɪn kwaɪət. həz bɪn wərs ðən kwaɪət, ˈɔltərˌneɪtɪŋ spɛkˈtækjələr draɪvz wɪθ əˈtæks ðət hæv kɪld hɪz tim. ˈbrʊklɪn həz ˈvɛrid ðɛr ˈkəvərɪʤɪz ɔn boʊθ pleɪərz, bət ˈʤɛnərəli ər ˈwɪlɪŋ tɪ gɪv ðɛm speɪs tɪ ʃut ˈʤəmpərz. ˈniðər ɪz ən ˈɛkspərt ˈmɑrksmən ənd boʊθ laɪk tɪ ˈdrɪbəl ˈɪntu ðɛr ʃɑt, wɪʧ ruɪnz æˈtlæntəz əˈfɛnsɪv floʊ. ðiz ər lɔgd ɛz ˈoʊpən ʃɑts, bət ðɛr nɑt ðə taɪp əv lʊk æˈtlæntə wɔnts. ðə kərˈɛkt θɪŋ fər boʊθ pleɪərz tɪ du ɪz tɪ əˈtæk ðə speɪs ˈgɪvɪn, bət ðɛr ˈstrəgəlɪŋ tɪ du ðət ˈifɛktɪvli. tig wɛnt bæk tɪ biɪŋ ə ˈtɛntətɪv pleɪər ˌoʊvərˈwɛlmd baɪ hɪz ˈɔpʃənz əˈgɛnst sɔft ˈkəvərɪʤɪz ˈərliər ɪn hɪz kərɪr ˌbiˈfɔr ə geɪm 4 ˈbreɪˌkaʊt. ɪz əˈtækɪŋ, bət læks ðə priˈsɪʒən tɪ ˈæˌkʧuəli meɪk ðə moʊst əv ðoʊz əˈtæks. hi ɪn ˌpɑˈtɪkjələr həz mɪst ˈoʊpən ˈtimˌmeɪts ˈməltəpəl taɪmz ɪn ən əˈtɛmpt tɪ bi "əˈgrɛsɪv." ðə nɛts' ˈbluˌprɪnt wɪl bi ˈkɑpid ɪf ðə hɔks ˈmænɪʤ tɪ pʊl aʊt ðə ˈsɪriz. ɪf tig ənd kænt ˌɪmˈpruv əˈgɛnst ðiz ˈkəvərɪʤ, ðɛr ɪn fər ə wərld əv peɪn əˈgɛnst ˈwɔʃɪŋtənz fərˈoʊʃəs pɪk ənd roʊl dɪˈfɛns ɪn ðə nɛkst raʊnd. ɪf ðeɪ meɪk ɪt ðət fɑr. 3 ˈbrʊklɪnz "ʃɔrt roʊlz" ðə nɛts' əˈfɛns ˈstrəgəld əˈgɛnst æˈtlæntəz rɪˈlɛntlɪs ˈprɛʃər ɪn ðə fərst θri geɪmz, bət keɪm əˈlaɪv ɪn geɪm 4 ˈwɪljəmz' ˌriˌvaɪtələˈzeɪʃən wɑz ə ˈmeɪʤər ˈrizən, əv kɔrs. ðə ˈfɔrmər ˌsupərˈstɑr tərnd ˈælbəˌtrɑs pɔrd ɪn 35 pɔɪnts ˈæftər ðə hɔks, kənˈvɪnst hɪz ˈʃutɪŋ sləmp wʊd kənˈtɪnju, stɑpt dɪˈfɛndɪŋ ɪm. ˈwɪljəmz kənˈvərtɪd lʊks ˈərli ɪn ðə geɪm ənd ˈkɛrid ðət ˈkɑnfədɛns ənd hɑt ˈʃutɪŋ fər ðə rɛst əv ðə ˈkɑntɛst. bət ðə nɛts' əˈfɛns broʊk aʊt fər ˈmɛni ˈəðər ˈrizənz. ˈbrʊklɪn ˈʤɛnərˌeɪtɪd ˈplɛnti əv gʊd lʊks æt ðə laɪn, ˈteɪkɪŋ ædˈvæntɪʤ əv ə hɔks ˈwiknəs ðət ˈhædənt bɪn ˈɛkˌsplɔɪtəd ˈdʊrɪŋ ðə ˈrɛgjələr ˈsizən. ðə hɔks sərˈɛndərd ðə moʊst əˈtɛmpts ɪn ðə lig, bət timz hɪt ʤɪst 34 pərˈsɛnt əv ðoʊz ʃɑts bɪˈkəz ðeɪ wər ˈəndər ˈdʊrɛs frəm ðə hɔks' əˈgrɛsɪv træps. ˈbrʊklɪnz ˈænsər: əkˈsɛpt ðət ðə træps ər ˈkəmɪŋ, kˈwɪkli muv ðə bɔl ənd ˈprɑfɪt ˌbiˈfɔr ðə hɔks kən ˈroʊˌteɪt. brʊk ˈloʊpɛz ɪz noʊ ˈlɔŋgər ˈroʊlɪŋ ɔl ðə weɪ daʊn ðə leɪn. ˌɪnˈstɛd, hiz ˈstɑpɪŋ æt ðə laɪn ˈɛnˌbiˈeɪ ˈpipəl kɔl ðɪs ə "ʃɔrt roʊl" ənd ˈteɪkɪŋ ðə pæs frəm ðə pɔɪnt gɑrd ər ə wɪŋ sˈlaɪdɪŋ əp tɪ ðə bɔl. wəns hi gɪts ɪt, hi kən ˈiðər swɪŋ ə pæs tɪ ðə ˈoʊpən ˈʃutər ɪn ðə ˈkɔrnər ər ˈteɪkɪŋ ə ˈfloʊtər hɪmˈsɛlf. ənd ɪf ðə nɛts mɪs ðə ˌɪˈnɪʃəl ʃɑt, ðeɪ ˈɔfən hæd æˈtlæntəz dɪˈfɛns ˈskræmbəld ɪˈnəf tɪ gɪt ən əˈfɛnsɪv riˈbaʊnd. ðɪs ɪz haʊ ˈbrʊklɪn ɪz ˈjuzɪŋ ˈloʊpɛzɪz saɪz. kɔlz fər ˌfɔrmjəˈleɪɪk mɪst ðə pɔɪnt, bɪˈkəz æˈtlæntə kən hɛlp ənd rɪˈkəvər ɔn ðoʊz. ɛz lɔŋ ɛz ðə nɛts kən məˈnɪpjəˌleɪt ðə flɔr ˌbiˈfɔr ðiz pɪk ənd roʊlz ˈhæpən, hi kən gɪt ðə bɔl æt ðə fri θroʊ laɪn ɪn ðə ˈmɪdəl əv ðə flɔr ənd bi ə difference-maker*. 4 ðə hɔks' ˌɔlˈstɑr ˈɪzənt æt 100 pərˈsɛnt ɪt ʃʊd bi ˈnoʊtɪd ðət ðə nɛts' ˈstrætəʤi ɪz ˈwərkɪŋ bɪˈkəz æl ənd pɔl ˈmɪlˌsæp ər nɑt ðɛmˈsɛlvz health-wise*. ˈəndər ˈnɔrməl ˈsərkəmˌstænsɪz, ðiz tu pleɪ ɪn ˈkɑnsərt wɪθ ˈkɔrˌvər ənd ðə pɔɪnt gɑrdz ˈpərfəktli. boʊθ roʊl sˈmɑrtli tɪ ðə ˈbæskət, ˈiðər kən skɔr frəm ðə pərˈɪmətər ər ˌɪnˈsaɪd ənd iʧ həz ə strɔŋ ˌəndərˈstændɪŋ əv ˈspeɪsɪŋ soʊ ðeɪ doʊnt gɪt ɪn ðə weɪ. bət boʊθ ər ˈfilɪŋ ðə ˈifɛkts əv ˈɪnʤəri ɪn ðɪs ˈsɪriz. raɪt ˈʃoʊldər ɪz nɑt ˈfʊli hild ənd hi ɪz ðəs rɪˈləktənt tɪ mɪks ɪt əp ˌɪnˈsaɪd. hiz ˈmeɪkɪŋ hɪz pərˈɪmətər ʃɑts, bət ðoʊz sˈlɪpəri draɪvz ənd daɪvz tɪ ðə rɪm ˈɑrənt ɛz kwɪk, wɪʧ sloʊz æˈtlæntəz ˈmoʊʃən. hiz ˈɑdli bɪn mɔr ˈkəmfərtəbəl ˈdraɪvɪŋ ənd ˈfɪnɪʃɪŋ wɪθ hɪz lɛft hænd, wɪʧ wɑz nɑt ðə keɪs wɪn hi wɑz ˈhɛlθi. moʊst ˌɪmˈpɔrtəntli, hi ˈhæzənt bɪn ˈifɛktɪv ˈpənɪʃɪŋ sˈmɔlər pleɪərz ɪn ðə poʊst, wɪʧ əˈlaʊz ˈbrʊklɪn tɪ swɪʧ pərˈɪmətər əˈsaɪnmənts tɪ ˈkəvər ˈkɔrˌvər wɪˈθaʊt ˈwəriɪŋ əˈbaʊt ðə ˈkɑnsəkˌwɛnsəz. həz nɑt fɛlt ˈkəmfərtəbəl sɪns ˈsəfərɪŋ ə ˈpɪŋki ˈɪnʤəri ˈərliər ɪn ðə ˈsɪriz. wɪn hiz goʊɪŋ wɛl, hi faɪərz ʃɑts wɪθ ˈkɑnfədɛns ənd neɪlz ðɛm æt ə ˈvɛri haɪ reɪt. ðə hɔks' əˈfɛns meɪ bi ˈɔriˌɛntɪd, bət ɪt nidz ɛz ə ˈɔpʃən, ˌpɑrˈtɪkjələrli wɪn timz sɛnd ˈɛkstrə hɛlp tɪ tig ənd ˈkɔrˌvər. ðət ˈɔpʃən ˈɪzənt ðɛr ˌɛniˈmɔr ənd ðə ˈəðər hɔks ˈskɔrərz ər ˈsəfərɪŋ. ðɪs ˈsɪriz ˈɪləˌstreɪts haʊ ðə hɔks ər ˈoʊnli ðə hɔks wɪn ɔl əv ðə lɪŋks ər ˈstrɔŋgəst. ðə nɛts ər ˈʃətɪŋ ɔf ˈkɔrˌvər, wɪʧ ɪn tərn ˈfɔrsɪz tig tɪ du tu məʧ, wɪʧ ɪz əˈspɛʃəli ˈdɪfəkəlt bɪˈkəz ənd ˈmɪlˌsæp ər nɑt ðɛmˈsɛlvz. ðə fɔr θraɪvd bɪˈkəz əv ðɛr ˌsɪmbiˈɑtɪk riˈleɪʃənˌʃɪp, bət ðət ˈɔlsoʊ minz ðɛr ˈoʊnli ɛz gʊd ɛz ðə ˈwikəst lɪŋk ɪn ðə ʧeɪn. wɪˈθaʊt ˈkɛrəl, ðə fərˈgɑtən fɪθ ˈstɑrtər ðæts ˈhævɪŋ ðə ˈsɪriz əv hɪz laɪf, æˈtlæntə wʊd bi ˈluzɪŋ ðɪs ˈsɪriz. ɛz ɪt stændz, ðə hɔks ər ɪn ˈtrəbəl, ənd ðə nɛts ʃʊd bi ˈkrɛdɪtɪd fər ðət. |
beginner to expert in 29 weeks
it can be overwhelming when jumping into game development for the first time, with so many articles, tutorials, books, resources and opinions circulating around the web. this article is going to simplify the process and give you a road map to becoming an expert with unity game development. we will focus on two separate sections, one to the complete beginner with no programming experience and one for the people who already have programming experience and just want to add unity development to their knowledge base. choose the one that fits your situation. and if you really just want a visual roadmap, go see the bottom where we have a timeline overview with all the resources.
weeks
the complete beginner
before jumping into unity, it will be extremely important to get a good foundation in a programming language. unity gives the option to choose from two separate languages, c# (pronounced c-sharp) and java. we will outline a path to learn each one. all of our tutorials are in c# but honestly they are very similar so either one you choose will differ slightly in syntax. the easiest way we can recommend (and the way i first began learning programming) would be to start with a learn in 21 days book. these are fantastic resources and break it up into manageable daily learning sessions, which also helps retain the information as well, because they have you do simple tasks to cement the concepts at the end of each daily lesson. at the end of 30 days you will have a very good understanding of the inner workings of that language and programming in general, because a lot of languages still follow the same structure, just using different syntax. yes, it is completely possible to learn programming, or anything for that matter, online with free resources. personally i recommend books because it saves time in searching for things and they are getting paid to put out good quality material all in one place, and are easy to reference later on when you need to remember what you did in specific situations. plus you go wrong investing in knowledge.
here are the “learn in 21 days” books, if you are new to programming, get one of these! you regret it. | bɪˈgɪnər tɪ ˈɛkspərt ɪn 29 wiks ɪt kən bi ˌoʊvərˈwɛlmɪŋ wɪn ˈʤəmpɪŋ ˈɪntu geɪm dɪˈvɛləpmənt fər ðə fərst taɪm, wɪθ soʊ ˈmɛni ˈɑrtɪkəlz, tuˈtɔriəlz, bʊks, ˈrisɔrsɪz ənd əˈpɪnjənz ˈsərkjəˌleɪtɪŋ əraʊnd ðə wɛb. ðɪs ˈɑrtɪkəl ɪz goʊɪŋ tɪ ˈsɪmpləˌfaɪ ðə ˈprɔˌsɛs ənd gɪv ju ə roʊd mæp tɪ bɪˈkəmɪŋ ən ˈɛkspərt wɪθ ˈjunɪti geɪm dɪˈvɛləpmənt. wi wɪl ˈfoʊkɪs ɔn tu ˈsɛpərˌeɪt ˈsɛkʃənz, wən tɪ ðə kəmˈplit bɪˈgɪnər wɪθ noʊ ˈproʊˌgræmɪŋ ɪkˈspɪriəns ənd wən fər ðə ˈpipəl hu ɔˈrɛdi hæv ˈproʊˌgræmɪŋ ɪkˈspɪriəns ənd ʤɪst wɔnt tɪ æd ˈjunɪti dɪˈvɛləpmənt tɪ ðɛr ˈnɑlɪʤ beɪs. ʧuz ðə wən ðət fɪts jʊr ˌsɪʧuˈeɪʃən. ənd ɪf ju ˈrɪli ʤɪst wɔnt ə ˈvɪʒəwəl roadmap*, goʊ si ðə ˈbɑtəm wɛr wi hæv ə ˈtaɪmlaɪn ˈoʊvərvˌju wɪθ ɔl ðə ˈrisɔrsɪz. wiks ðə kəmˈplit bɪˈgɪnər ˌbiˈfɔr ˈʤəmpɪŋ ˈɪntu ˈjunɪti, ɪt wɪl bi ɪkˈstrimli ˌɪmˈpɔrtənt tɪ gɪt ə gʊd faʊnˈdeɪʃən ɪn ə ˈproʊˌgræmɪŋ ˈlæŋgwɪʤ. ˈjunɪti gɪvz ðə ˈɔpʃən tɪ ʧuz frəm tu ˈsɛpərˌeɪt ˈlæŋgwɪʤɪz, si# (prəˈnaʊnst c-sharp*) ənd ˈʤɑvə. wi wɪl ˈaʊˌtlaɪn ə pæθ tɪ lərn iʧ wən. ɔl əv ɑr tuˈtɔriəlz ər ɪn si# bət ˈɑnəstli ðeɪ ər ˈvɛri ˈsɪmələr soʊ ˈiðər wən ju ʧuz wɪl ˈdɪfər sˈlaɪtli ɪn ˈsɪnˌtæks. ðə ˈiziəst weɪ wi kən ˌrɛkəˈmɛnd (ənd ðə weɪ aɪ fərst bɪˈgæn ˈlərnɪŋ ˈproʊˌgræmɪŋ) wʊd bi tɪ stɑrt wɪθ ə lərn ɪn 21 deɪz bʊk. ðiz ər fænˈtæstɪk ˈrisɔrsɪz ənd breɪk ɪt əp ˈɪntu ˈmænɪʤəbəl ˈdeɪli ˈlərnɪŋ ˈsɛʃənz, wɪʧ ˈɔlsoʊ hɛlps rɪˈteɪn ðə ˌɪnˌfɔrˈmeɪʃən ɛz wɛl, bɪˈkəz ðeɪ hæv ju du ˈsɪmpəl tæsks tɪ sɪˈmɛnt ðə ˈkɑnsɛpts æt ðə ɛnd əv iʧ ˈdeɪli ˈlɛsən. æt ðə ɛnd əv 30 deɪz ju wɪl hæv ə ˈvɛri gʊd ˌəndərˈstændɪŋ əv ðə ˈɪnər ˈwərkɪŋz əv ðət ˈlæŋgwɪʤ ənd ˈproʊˌgræmɪŋ ɪn ˈʤɛnərəl, bɪˈkəz ə lɔt əv ˈlæŋgwɪʤɪz stɪl ˈfɑloʊ ðə seɪm ˈstrəkʧər, ʤɪst ˈjuzɪŋ ˈdɪfərənt ˈsɪnˌtæks. jɛs, ɪt ɪz kəmˈplitli ˈpɑsəbəl tɪ lərn ˈproʊˌgræmɪŋ, ər ˈɛniˌθɪŋ fər ðət ˈmætər, ˈɔnˌlaɪn wɪθ fri ˈrisɔrsɪz. ˈpərsənəli aɪ ˌrɛkəˈmɛnd bʊks bɪˈkəz ɪt seɪvz taɪm ɪn ˈsərʧɪŋ fər θɪŋz ənd ðeɪ ər ˈgɪtɪŋ peɪd tɪ pʊt aʊt gʊd kˈwɑləti məˈtɪriəl ɔl ɪn wən pleɪs, ənd ər ˈizi tɪ ˈrɛfərəns ˈleɪtər ɔn wɪn ju nid tɪ rɪˈmɛmbər wət ju dɪd ɪn spɪˈsɪfɪk ˌsɪʧuˈeɪʃənz. pləs ju goʊ rɔŋ ˌɪnˈvɛstɪŋ ɪn ˈnɑlɪʤ. hir ər ðə ɪn 21 days”*” bʊks, ɪf ju ər nu tɪ ˈproʊˌgræmɪŋ, gɪt wən əv ðiz! ju rɪˈgrɛt ɪt. |
this week, i continue on with my latest reading of christopher hitchens' god is not great: how religion poisons everything. if you missed it, you can check out part one here.
the wickedness of religion
the next few chapters are primarily focused on religion and morality, during which hitchens argues that religion itself is not just amoral but immoral, and that religion does not actually make people morally better. the thrust of his argument is neatly encapsulated in his comments on the slow moral defeat of slavery and racism:
the chance that secular or opinion would cause him or her to denounce the whole injustice was extremely high. the chance that religious belief would case him or her to take a stand against slavery and racism was statistically quite small. but the chance that religious belief would cause him or her to uphold slavery and racism was statistically extremely high, and the latter fact helps us to understand why the victory of simple justice took so long to bring about. (p. 180)
hitchens’ strategy throughout this section of the book is to draw not just a correlation between immoral behavior and religious belief and teachings, but to show a causal connection between religion and immorality. he is, in effect, providing us with a litany of religiously inspired horror stories with the aim of destroying supposed monopoly on morality. hitchens touches on a range of fairly well known topics, from the collusion of religion and totalitarian states; the abuse of children at the hands of religious teachings and religious teachers; the mental anguish inflicted on the religious by unobtainable religious goals; and so on. this argument does not, however, necessarily demonstrate that religion itself is problematic, but only those who claim to be religious. in order to be truly effective in divorcing religion and morality, hitchens needs to show that religion itself is conceptually immoral.
in chapter eleven, lowly stamp of their origin”: corrupt beginnings”, hitchens discusses the way in which religions are founded on the credulity of the general populous:
this is an ancient problem. credulity may be a form of innocence, and even innocuous in itself, but it provides a standing invitation for the wicked and the clever to exploit their brothers and sister, and is thus one of great weaknesses. (p. 161)
this relationship, wherein the general public is beholden to the religious teachers for dispensation and salvation through the doctrines of that religion, is ripe with potential abuse. furthermore:
there are, indeed, several ways in which religion is not just amoral, but positively immoral. and these faults and crimes are not to be found in the behavior of its adherents (which can sometimes be exemplary) but in its original precepts. these include: - presenting a false picture of the world to the innocent and the credulous - the doctrine of blood sacrifice - the doctrine of atonement - the doctrine of eternal reward punishment - the imposition of impossible tasks and rules (p. 205)
by placing people in a state of dependency and then demanding more of them than can be achieved, religion inspires an abusive relationship of intertwined dependence and judgment. hitchens is quick to note that religion can and has inspired people to good, but he says that this good is not realized because of religion, but rather because of the same humanist impulses that motivate the to the same moral accomplishments. discussing the events of the book tour that preceded the publication of god is not great, hitchens recounts a challenge he issued during a debate:
my challenge: name an ethical statement or action, made or performed by a person of faith, that could not have been made or performed by a nonbeliever. i have since asked this question at every stop and had a reply yet. (p. 289)
if religion seems so closely tied to the excesses of immorality and so readily abusive to its adherents, then how can one claim that religion is, in and of itself, moral? in hitchens’ eyes the answer is clear, and if nothing else his attack should be enough to give any religious person cause for concern. i find this line of attack intriguing because it bypasses discussions of doctrine and attacks religion as an institution: a system with which people have a particular type of relationship. if any incarnate version of religion places people into a relationship of the type described by hitchens, then it seems religion as practiced by most adherents is inherently immoral. should one attempt to counter this assertion with a version of religion that does not resemble what has been previously described, i think hitchens would argue that that thing would not be religion as normally defined and understood. if we take away any authoritative characteristics of religion, then we are left with something more akin to spirituality. that which lacks authority cannot readily be imposed on others, nor is it likely to lead to an abusive relationship between that authority and those under its nominal care.
counter attacks
the end of the book focuses on anticipated rebuttals by religious proponents, followed by an impassioned but thoughtful argument for the dominance of secularism, pluralism, and skepticism. chapter seventeen counters what hitchens calls “the “case” against secularism”, which states: as bad as religiously oriented societies have been, secular societies have demonstrated themselves to be far worse. hitchens humorously observes that “it is interesting to find that people of faith now seek defensively to say that they are no worse than fascists or nazis or stalinists. one might hope that religion had retained more sense of its dignity than that.” (p. 230) all humor aside, if this argument holds it would seem to give some credence to the idea that religion does make people act more morally, which would in turn undermine the thrust of much of what hitchens has said up to this point in the book.
hitchens’ rebuttal hinges on the equating of totalitarianism the system of government that the “evil” secular regimes of stalinist russia, nazi germany, communist north korea, and the like have imposed on their respective peoples to theocratic rule. he goes to some length to draw parallels between totalitarian states and and correctly states that “…the object of perfecting the species which is the very root and source of the totalitarian impulse is in essence a religious one.” (p. 232) hitchens goes on to quote george orwell, who said that a “totalitarian state is in effect a theocracy, and its ruling caste, in order to keep its position, has to be thought of as infallible.” (p. 232) the impulse towards religion and the sort of that comes from religious belief is the same motivating force that allows totalitarian states to exercise the control and influence they do over their citizenry. these states have not eliminated religion so much as have replaced traditional religious beliefs with new secular ones, in which the state itself becomes a deity worthy of unquestioning admiration, loyalty, and worship. driving this point home, hitchens from the god that failed (a work concerning the russian communist state), stating that “communist did not so much negate religion, in societies that they well understood were saturated with faith and superstition, as seek to replace it.” (p. 246)
hitchens goes on to note that this supposed is a sword, since it would seem to implicate religion whenever the forces of the state and the forces of faith have become intertwined to the detriment of the general population. he comments at some length on the catholic cozy relationship with both fascist italy and nazi germany, prior to, during, and after world war ii. if secularism is to be held accountable for the terrible deeds ostensibly done in its name, then religion should be held accountable when the same deeds are done with assistance. secular forces, supposedly guided by rational and humanist principles, are as fallible as any human endeavor can and will be. the advantage for secular forces is that “humanism has many crimes for which to apologize. but it can apologize for them, and also correct them, in its own terms and without having to shake or challenge the basis of any unalterable system of belief.” (p. 250) religion, which has so often acted as an impediment to human progress on all fronts, is simply less well equipped to deal with these excesses of human nature. indeed, if hitchens has demonstrated the validity of his criticisms of religion, it seems to impose those excesses on humanity to the expense of us all.
a better world
hitchens closes the work with two chapters that decry the obstacle religion has proven itself to be while simultaneously advocating for the better of secularism, humanism, and skepticism. this section of the book is less of an argument and more of a plea. he a significant amount of effort to show how the skeptical, rational mindset is superior to the religious, mindset. for instance, he discusses the trial and eventual execution of socrates for promoting “free thought and unrestricted inquiry” and points out that socrates stated that, "all he really “knew”…was the extent of his own ignorance. (this to me is still the definition of an educated person.)” (p. 256) hitchens goes on to say that:
…socrates was mocking his accusers in their own terms, saying in effect: i do not know for certain about death and the gods but i am as certain as i can be there you do not know, either. (p. 257)
the advantage that secularism holds over religion is that it is when taken in conjunction with skepticism and humanism. the certainty required to justify some of most grievous errors is simply not available to anyone willing to take the time to reasonable question everything while taking into account the fallibility of self and cohorts. a dash of this goes a long way. had this mindset prevailed throughout history, we might not have gone through the destruction of the ancient libraries, the suppression of philosophical thought, and the looting of our intellectual heritage by those whose certainty of faith has robbed us all. this is not to say that humanity would not have endured a long and winding road from our to the modern day. as hitchens rightly observes:
no doubt there would still have been much foolishness and solipsism. but the connection between athens and history and humanity would not have been so sundered, and the jewish people might have been the carriers of philosophy instead of arid monotheism, and the ancient schools and their wisdom would not have become prehistoric to us. (p. 274)
we are at a point in history where we can reasonably choose to throw off the burdens of religion without immediately incurring its wrath. however, religion is much like a wounded animal, which can be the most dangerous at its most vulnerable. the opportunity is there, but we must be careful in pressing the attack. when confronted by those who would have us choose faith over reason, we must be willing to respond resolutely:
in point of fact, we do not have the option of “choosing” absolute truth, or faith. we only have the right to say, of those who do claim to know the truth of revelation, that they are deceiving themselves and attempting to deceive or to intimidate others. of course, it is better and healthier for the mind to “choose” the path of skepticism and inquiry in any case, because only by continual exercise of these faculties can we hope to achieve anything. (pp.)
hitchens strongly believes that the current state of the world is one in which religion poses an outright threat to the survival of key cultural values: free speech, inquiry, and expression. we live at a time when religious zealots can impose their will with frightening effective violence. dissent can be obliterated with the pull of a trigger or the pressing of a button. secularists must be willing to meet this foe, an enemy often violently flailing as its increasing irrelevance becomes apparent to more and more people.
… confronted with vistas inside our own evolving cortex, in the farthest reaches of our nature, religion offers either annihilation in the name of god, or else the false promise that if we take a knife to our foreskins, or pray in the right direction, or ingest pieces of wafer, we shall be “saved.” it is as if someone, offered a delicious and fragrant fruit, matured in a painstakingly and lovingly designed hothouse, should throw away the flesh and the pulp and gnaw on the pit. (p. 283)
we have better alternatives at our disposal. the loss of religion is ultimately, hitchens believes, something that will free us to become better than we collectively are. we need no longer be bound to ancient tomes, filled with words that are increasingly dated and devoid of meaningful guidance. however:
the loss of faith can be compensated by the newer and finer wonders that we have before us, as well as by immersion in the work of homer and shakespeare and milton and tolstoy and proust, all of which was also “man-made” (though one sometimes wonders, as in the case of mozart). (p. 151)
religion has had its time, and hitchens is adamant that it has its welcome. there are far better alternatives that are at our disposal, or are waiting to be discovered, for the important questions we must all face. it is time for secularists to actively engage an enemy that has haunted humanity for too long:
”know thyself,” said the greeks, gently suggesting the consolations of philosophy. to clear the mind for this project, it has become necessary to know the enemy, and to prepare to fight it. (p. 283)
i, for one, could not agree with the man more.
follow me on twitter and google+ and check back weekly for new articles and podcasts. you can also follow [37g] on facebook, twitter, google+, or youtube. | ðɪs wik, aɪ kənˈtɪnju ɔn wɪθ maɪ ˈleɪtəst ˈrɛdɪŋ əv ˈkrɪstəfər ˈhɪʧənz' gɑd ɪz nɑt greɪt: haʊ rɪˈlɪʤən ˈpɔɪzənz ˈɛvriˌθɪŋ. ɪf ju mɪst ɪt, ju kən ʧɛk aʊt pɑrt wən hir. ðə ˈwɪkədnəs əv rɪˈlɪʤən ðə nɛkst fju ˈʧæptərz ər praɪˈmɛrəli ˈfoʊkɪst ɔn rɪˈlɪʤən ənd ˌmɔˈræləˌti, ˈdʊrɪŋ wɪʧ ˈhɪʧənz ˈɑrgjuz ðət rɪˈlɪʤən ˌɪtˈsɛlf ɪz nɑt ʤɪst eɪˈmɔrəl bət ˌɪˈmɔrəl, ənd ðət rɪˈlɪʤən dɪz nɑt ˈæˌkʧuəli meɪk ˈpipəl ˈmɔrəli ˈbɛtər. ðə θrəst əv hɪz ˈɑrgjəmənt ɪz ˈnitli ɛnˈkæpsəˌleɪtɪd ɪn hɪz ˈkɑmɛnts ɔn ðə sloʊ ˈmɔrəl dɪˈfit əv sˈleɪvəri ənd ˈreɪˌsɪzəm: ðə ʧæns ðət ˈsɛkjələr ər əˈpɪnjən wʊd kɔz ɪm ər hər tɪ dɪˈnaʊns ðə hoʊl ˌɪnˈʤəstɪs wɑz ɪkˈstrimli haɪ. ðə ʧæns ðət rɪˈlɪʤəs bɪˈlif wʊd keɪs ɪm ər hər tɪ teɪk ə stænd əˈgɛnst sˈleɪvəri ənd ˈreɪˌsɪzəm wɑz stəˈtɪstɪkəli kwaɪt smɔl. bət ðə ʧæns ðət rɪˈlɪʤəs bɪˈlif wʊd kɔz ɪm ər hər tɪ əˈphoʊld sˈleɪvəri ənd ˈreɪˌsɪzəm wɑz stəˈtɪstɪkəli ɪkˈstrimli haɪ, ənd ðə ˈlætər fækt hɛlps ˈjuˈɛs tɪ ˌəndərˈstænd waɪ ðə ˈvɪktəri əv ˈsɪmpəl ˈʤəstɪs tʊk soʊ lɔŋ tɪ brɪŋ əˈbaʊt. (pi. 180 hitchens’*’ ˈstrætəʤi θruaʊt ðɪs ˈsɛkʃən əv ðə bʊk ɪz tɪ drɔ nɑt ʤɪst ə ˌkɔrəˈleɪʃən bɪtˈwin ˌɪˈmɔrəl bɪˈheɪvjər ənd rɪˈlɪʤəs bɪˈlif ənd ˈtiʧɪŋz, bət tɪ ʃoʊ ə ˈkɔzəl kəˈnɛkʃən bɪtˈwin rɪˈlɪʤən ənd ˌɪmərˈælɪti. hi ɪz, ɪn ˈifɛkt, prəˈvaɪdɪŋ ˈjuˈɛs wɪθ ə ˈlɪtəni əv rɪˈlɪʤəsli ˌɪnˈspaɪərd ˈhɔrər ˈstɔriz wɪθ ðə eɪm əv dɪˈstrɔɪɪŋ səˈpoʊzd məˈnɑpəli ɔn ˌmɔˈræləˌti. ˈhɪʧənz ˈtəʧɪz ɔn ə reɪnʤ əv ˈfɛrli wɛl noʊn ˈtɑpɪks, frəm ðə kəˈluʒən əv rɪˈlɪʤən ənd ˌtoʊˌtælɪˈtɛriən steɪts; ðə əˈbjuz əv ˈʧɪldrən æt ðə hænz əv rɪˈlɪʤəs ˈtiʧɪŋz ənd rɪˈlɪʤəs ˈtiʧərz; ðə ˈmɛntəl ˈæŋgwɪʃ ˌɪnˈflɪktɪd ɔn ðə rɪˈlɪʤəs baɪ ˌənəbˈteɪnəbəl rɪˈlɪʤəs goʊlz; ənd soʊ ɔn. ðɪs ˈɑrgjəmənt dɪz nɑt, ˌhaʊˈɛvər, ˌnɛsəˈsɛrəli ˈdɛmənˌstreɪt ðət rɪˈlɪʤən ˌɪtˈsɛlf ɪz ˌprɑbləˈmætɪk, bət ˈoʊnli ðoʊz hu kleɪm tɪ bi rɪˈlɪʤəs. ɪn ˈɔrdər tɪ bi ˈtruli ˈifɛktɪv ɪn dɪˈvɔrsɪŋ rɪˈlɪʤən ənd ˌmɔˈræləˌti, ˈhɪʧənz nidz tɪ ʃoʊ ðət rɪˈlɪʤən ˌɪtˈsɛlf ɪz kənˈsɛpʧuəli ˌɪˈmɔrəl. ɪn ˈʧæptər ˈilɛvən, ˈloʊli stæmp əv ðɛr origin”*”: kərəpt beginnings”*”, ˈhɪʧənz dɪˈskəsɪz ðə weɪ ɪn wɪʧ riˈlɪʤənz ər ˈfaʊndɪd ɔn ðə krɪˈduləti əv ðə ˈʤɛnərəl ˈpɑpjələs: ðɪs ɪz ən ˈeɪnʧənt ˈprɑbləm. krɪˈduləti meɪ bi ə fɔrm əv ˈɪnəsəns, ənd ˈivɪn ˌɪˈnɑkjuəs ɪn ˌɪtˈsɛlf, bət ɪt prəˈvaɪdz ə ˈstændɪŋ ˌɪnvɪˈteɪʃən fər ðə ˈwɪkəd ənd ðə ˈklɛvər tɪ ˌɛkˈsplɔɪt ðɛr ˈbrəðərz ənd ˈsɪstər, ənd ɪz ðəs wən əv greɪt ˈwiknəsɪz. (pi. 161 ðɪs riˈleɪʃənˌʃɪp, wɛˈrɪn ðə ˈʤɛnərəl ˈpəblɪk ɪz bɪˈhoʊldən tɪ ðə rɪˈlɪʤəs ˈtiʧərz fər ˌdɪspənˈseɪʃən ənd sælˈveɪʃən θru ðə ˈdɑktrənz əv ðət rɪˈlɪʤən, ɪz raɪp wɪθ pəˈtɛnʃəl əˈbjuz. ˈfərðərˌmɔr: ðɛr ər, ˌɪnˈdid, ˈsɛvərəl weɪz ɪn wɪʧ rɪˈlɪʤən ɪz nɑt ʤɪst eɪˈmɔrəl, bət ˈpɑzətɪvli ˌɪˈmɔrəl. ənd ðiz fɔlts ənd kraɪmz ər nɑt tɪ bi faʊnd ɪn ðə bɪˈheɪvjər əv ɪts æˈdhɪrənts (wɪʧ kən ˈsəmˌtaɪmz bi ɪgˈzɛmpləri) bət ɪn ɪts ərˈɪʤənəl ˈpriˌsɛpts. ðiz ˌɪnˈklud: prɪˈzɛntɪŋ ə fɔls ˈpɪkʧər əv ðə wərld tɪ ðə ˈɪnəsənt ənd ðə ˈkrɛʤələs ðə ˈdɔktərɪn əv bləd ˈsækrəˌfaɪs ðə ˈdɔktərɪn əv əˈtoʊnmənt ðə ˈdɔktərɪn əv ɪˈtərnəl rɪˈwɔrd ˈpənɪʃmənt ðə ˌɪmpəˈzɪʃən əv ˌɪmˈpɑsəbəl tæsks ənd rulz (pi. 205 baɪ ˈpleɪsɪŋ ˈpipəl ɪn ə steɪt əv dɪˈpɛndənsi ənd ðɛn dɪˈmændɪŋ mɔr əv ðɛm ðən kən bi əˈʧivd, rɪˈlɪʤən ˌɪnˈspaɪrz ən əˈbjusɪv riˈleɪʃənˌʃɪp əv ˌɪntərtˈwaɪnd dɪˈpɛndəns ənd ˈʤəʤmənt. ˈhɪʧənz ɪz kwɪk tɪ noʊt ðət rɪˈlɪʤən kən ənd həz ˌɪnˈspaɪərd ˈpipəl tɪ gʊd, bət hi sɪz ðət ðɪs gʊd ɪz nɑt ˈriəˌlaɪzd bɪˈkəz əv rɪˈlɪʤən, bət ˈrəðər bɪˈkəz əv ðə seɪm ˈhjumənɪst ˌɪmˈpəlsɪz ðət ˈmoʊtəˌveɪt ðə tɪ ðə seɪm ˈmɔrəl əˈkɑmplɪʃmənts. dɪˈskəsɪŋ ðə ɪˈvɛnts əv ðə bʊk tʊr ðət prɪˈsidɪd ðə ˌpəblɪˈkeɪʃən əv gɑd ɪz nɑt greɪt, ˈhɪʧənz ˌriˈkaʊnts ə ˈʧælənʤ hi ˈɪʃud ˈdʊrɪŋ ə dəˈbeɪt: maɪ ˈʧælənʤ: neɪm ən ˈɛθɪkəl ˈsteɪtmənt ər ˈækʃən, meɪd ər pərˈfɔrmd baɪ ə ˈpərsən əv feɪθ, ðət kʊd nɑt hæv bɪn meɪd ər pərˈfɔrmd baɪ ə ˌnɑnbɪˈlivər. aɪ hæv sɪns æst ðɪs kˈwɛʃən æt ˈɛvəri stɑp ənd hæd ə rɪˈplaɪ jɛt. (pi. 289 ɪf rɪˈlɪʤən simz soʊ ˈkloʊsli taɪd tɪ ðə ˌɛkˈsɛsɪz əv ˌɪmərˈælɪti ənd soʊ ˈrɛdəli əˈbjusɪv tɪ ɪts æˈdhɪrənts, ðɛn haʊ kən wən kleɪm ðət rɪˈlɪʤən ɪz, ɪn ənd əv ˌɪtˈsɛlf, ˈmɔrəl? ɪn hitchens’*’ aɪz ðə ˈænsər ɪz klɪr, ənd ɪf ˈnəθɪŋ ɛls hɪz əˈtæk ʃʊd bi ɪˈnəf tɪ gɪv ˈɛni rɪˈlɪʤəs ˈpərsən kɔz fər kənˈsərn. aɪ faɪnd ðɪs laɪn əv əˈtæk ˌɪnˈtrigɪŋ bɪˈkəz ɪt ˈbaɪˌpæsɪz dɪˈskəʃənz əv ˈdɔktərɪn ənd əˈtæks rɪˈlɪʤən ɛz ən ˌɪnstɪˈtuʃən: ə ˈsɪstəm wɪθ wɪʧ ˈpipəl hæv ə ˌpɑˈtɪkjələr taɪp əv riˈleɪʃənˌʃɪp. ɪf ˈɛni ˌɪnˈkɑrˌneɪt ˈvərʒən əv rɪˈlɪʤən ˈpleɪsɪz ˈpipəl ˈɪntu ə riˈleɪʃənˌʃɪp əv ðə taɪp dɪˈskraɪbd baɪ ˈhɪʧənz, ðɛn ɪt simz rɪˈlɪʤən ɛz ˈpræktɪst baɪ moʊst æˈdhɪrənts ɪz ˌɪnˈhɛrəntli ˌɪˈmɔrəl. ʃʊd wən əˈtɛmpt tɪ ˈkaʊntər ðɪs əˈsərʃən wɪθ ə ˈvərʒən əv rɪˈlɪʤən ðət dɪz nɑt rɪˈzɛmbəl wət həz bɪn ˈpriviəsli dɪˈskraɪbd, aɪ θɪŋk ˈhɪʧənz wʊd ˈɑrgju ðət ðət θɪŋ wʊd nɑt bi rɪˈlɪʤən ɛz ˈnɔrməli dɪˈfaɪnd ənd ˌəndərˈstʊd. ɪf wi teɪk əˈweɪ ˈɛni əˈθɔrəˌteɪtɪv ˌkɛrɪktərˈɪstɪks əv rɪˈlɪʤən, ðɛn wi ər lɛft wɪθ ˈsəmθɪŋ mɔr ˈeɪkɪn tɪ ˌspɪrɪˌʧuˈæləˌti. ðət wɪʧ læks əˈθɔrəti ˈkænɑt ˈrɛdəli bi ˌɪmˈpoʊzd ɔn ˈəðərz, nɔr ɪz ɪt ˈlaɪkli tɪ lɛd tɪ ən əˈbjusɪv riˈleɪʃənˌʃɪp bɪtˈwin ðət əˈθɔrəti ənd ðoʊz ˈəndər ɪts ˈnɑmənəl kɛr. ˈkaʊntər əˈtæks ðə ɛnd əv ðə bʊk ˈfoʊkɪsɪz ɔn ænˈtɪsəˌpeɪtɪd rɪˈbətəlz baɪ rɪˈlɪʤəs prəˈpoʊnənts, ˈfɑloʊd baɪ ən ˌɪmˈpæʃənd bət ˈθɔtfəl ˈɑrgjəmənt fər ðə ˈdɑmənəns əv ˈsɛkjələrˌɪzəm, ˈplʊrəˌlɪzəm, ənd ˈskɛptɪˌsɪzəm. ˈʧæptər ˈsɛvənˈtin ˈkaʊntərz wət ˈhɪʧənz kɔlz ““case”*” əˈgɛnst secularism”*”, wɪʧ steɪts: ɛz bæd ɛz rɪˈlɪʤəsli ˈɔriˌɛntɪd səˈsaɪɪtiz hæv bɪn, ˈsɛkjələr səˈsaɪɪtiz hæv ˈdɛmənˌstreɪtɪd ðɛmˈsɛlvz tɪ bi fɑr wərs. ˈhɪʧənz ˈhjumərəsli əbˈzərvz ðət ɪz ˈɪntəˌrɛstɪŋ tɪ faɪnd ðət ˈpipəl əv feɪθ naʊ sik dɪˈfɛnsɪvli tɪ seɪ ðət ðeɪ ər noʊ wərs ðən ˈfæʃɪsts ər ˈnɑtsiz ər ˈstælɪnɪsts. wən maɪt hoʊp ðət rɪˈlɪʤən hæd rɪˈteɪnd mɔr sɛns əv ɪts ˈdɪgnəti ðən that.”*.” (pi. 230 ɔl ˈhjumər əˈsaɪd, ɪf ðɪs ˈɑrgjəmənt hoʊldz ɪt wʊd sim tɪ gɪv səm ˈkridəns tɪ ðə aɪˈdiə ðət rɪˈlɪʤən dɪz meɪk ˈpipəl ækt mɔr ˈmɔrəli, wɪʧ wʊd ɪn tərn ˈəndərˌmaɪn ðə θrəst əv məʧ əv wət ˈhɪʧənz həz sɛd əp tɪ ðɪs pɔɪnt ɪn ðə bʊk. hitchens’*’ rɪˈbətəl ˈhɪnʤɪz ɔn ðə ɪkˈweɪtɪŋ əv ˌtoʊˌtæləˈtɛriəˌnɪzəm ðə ˈsɪstəm əv ˈgəvərnmənt ðət ðə ““evil”*” ˈsɛkjələr rəˈʒimz əv ˈstɑlɪnɪst ˈrəʃə, ˈnɑtsi ˈʤərməni, ˈkɑmjənəst nɔrθ ˌkɔˈriə, ənd ðə laɪk hæv ˌɪmˈpoʊzd ɔn ðɛr rɪˈspɛktɪv ˈpipəlz tɪ ˌθiəˈkrætɪk rul. hi goʊz tɪ səm lɛŋθ tɪ drɔ ˈpɛrəˌlɛlz bɪtˈwin ˌtoʊˌtælɪˈtɛriən steɪts ənd ənd kərˈɛktli steɪts ðət ˈɑbʤɛkt əv pərˈfɛktɪŋ ðə ˈspiʃiz wɪʧ ɪz ðə ˈvɛri rut ənd sɔrs əv ðə ˌtoʊˌtælɪˈtɛriən ˌɪmˈpəls ɪz ɪn ˈɛsəns ə rɪˈlɪʤəs one.”*.” (pi. 232 ˈhɪʧənz goʊz ɔn tɪ kwoʊt ʤɔrʤ ˈɔrˌwɛl, hu sɛd ðət ə steɪt ɪz ɪn ˈifɛkt ə θiˈɑkrəsi, ənd ɪts ˈrulɪŋ kæst, ɪn ˈɔrdər tɪ kip ɪts pəˈzɪʃən, həz tɪ bi θɔt əv ɛz infallible.”*.” (pi. 232 ðə ˌɪmˈpəls təˈwɔrdz rɪˈlɪʤən ənd ðə sɔrt əv ðət kəmz frəm rɪˈlɪʤəs bɪˈlif ɪz ðə seɪm ˈmoʊtəˌveɪtɪŋ fɔrs ðət əˈlaʊz ˌtoʊˌtælɪˈtɛriən steɪts tɪ ˈɛksərˌsaɪz ðə kənˈtroʊl ənd ˈɪnfluəns ðeɪ du ˈoʊvər ðɛr ˈsɪtɪzənri. ðiz steɪts hæv nɑt ɪˈlɪməˌneɪtɪd rɪˈlɪʤən soʊ məʧ ɛz hæv ˌriˈpleɪst trəˈdɪʃənəl rɪˈlɪʤəs bɪˈlifs wɪθ nu ˈsɛkjələr wənz, ɪn wɪʧ ðə steɪt ˌɪtˈsɛlf bɪˈkəmz ə ˈdiəti ˈwərði əv ənkˈwɛsʧənɪŋ ˌædmərˈeɪʃən, ˈlɔɪəlti, ənd ˈwərʃɪp. ˈdraɪvɪŋ ðɪs pɔɪnt hoʊm, ˈhɪʧənz frəm ðə gɑd ðət feɪld (ə wərk kənˈsərnɪŋ ðə ˈrəʃən ˈkɑmjənəst steɪt), ˈsteɪtɪŋ ðət dɪd nɑt soʊ məʧ nɪˈgeɪt rɪˈlɪʤən, ɪn səˈsaɪɪtiz ðət ðeɪ wɛl ˌəndərˈstʊd wər ˈsæʧərˌeɪtɪd wɪθ feɪθ ənd ˌsupərˈstɪʃən, ɛz sik tɪ ˌriˈpleɪs it.”*.” (pi. 246 ˈhɪʧənz goʊz ɔn tɪ noʊt ðət ðɪs səˈpoʊzd ɪz ə sɔrd, sɪns ɪt wʊd sim tɪ ˈɪmplɪˌkeɪt rɪˈlɪʤən wɛˈnɛvər ðə ˈfɔrsɪz əv ðə steɪt ənd ðə ˈfɔrsɪz əv feɪθ hæv bɪˈkəm ˌɪntərtˈwaɪnd tɪ ðə ˈdɛtrəmənt əv ðə ˈʤɛnərəl ˌpɑpjəˈleɪʃən. hi ˈkɑmɛnts æt səm lɛŋθ ɔn ðə ˈkæθlɪk ˈkoʊzi riˈleɪʃənˌʃɪp wɪθ boʊθ ˈfæʃɪst ˈɪtəli ənd ˈnɑtsi ˈʤərməni, praɪər tɪ, ˈdʊrɪŋ, ənd ˈæftər wərld wɔr ii*. ɪf ˈsɛkjələrˌɪzəm ɪz tɪ bi hɛld əˈkaʊntəbəl fər ðə ˈtɛrəbəl didz ɑˈstɛnsəbli dən ɪn ɪts neɪm, ðɛn rɪˈlɪʤən ʃʊd bi hɛld əˈkaʊntəbəl wɪn ðə seɪm didz ər dən wɪθ əˈsɪstəns. ˈsɛkjələr ˈfɔrsɪz, səˈpoʊzədli ˈgaɪdɪd baɪ ˈræʃənəl ənd ˈhjumənɪst ˈprɪnsəpəlz, ər ɛz ˈfæləbəl ɛz ˈɛni ˈjumən ɪnˈdɛvər kən ənd wɪl bi. ðə ædˈvæntɪʤ fər ˈsɛkjələr ˈfɔrsɪz ɪz ðət həz ˈmɛni kraɪmz fər wɪʧ tɪ əˈpɑləˌʤaɪz. bət ɪt kən əˈpɑləˌʤaɪz fər ðɛm, ənd ˈɔlsoʊ kərˈɛkt ðɛm, ɪn ɪts oʊn tərmz ənd wɪˈθaʊt ˈhævɪŋ tɪ ʃeɪk ər ˈʧælənʤ ðə ˈbeɪsɪs əv ˈɛni əˈnɔltərəbəl ˈsɪstəm əv belief.”*.” (pi. 250 rɪˈlɪʤən, wɪʧ həz soʊ ˈɔfən ˈæktɪd ɛz ən ˌɪmˈpɛdəmənt tɪ ˈjumən ˈprɑˌgrɛs ɔn ɔl frənts, ɪz ˈsɪmpli lɛs wɛl ɪkˈwɪpt tɪ dil wɪθ ðiz ˌɛkˈsɛsɪz əv ˈjumən ˈneɪʧər. ˌɪnˈdid, ɪf ˈhɪʧənz həz ˈdɛmənˌstreɪtɪd ðə vəˈlɪdɪti əv hɪz ˈkrɪtɪˌsɪzəmz əv rɪˈlɪʤən, ɪt simz tɪ ˌɪmˈpoʊz ðoʊz ˌɛkˈsɛsɪz ɔn juˈmænɪti tɪ ðə ɪkˈspɛns əv ˈjuˈɛs ɔl. ə ˈbɛtər wərld ˈhɪʧənz ˈkloʊzɪz ðə wərk wɪθ tu ˈʧæptərz ðət dɪˈkraɪ ðə ˈɑbstəkəl rɪˈlɪʤən həz ˈpruvən ˌɪtˈsɛlf tɪ bi waɪl ˌsaɪməlˈteɪniəsli ˈædvəˌkeɪtɪŋ fər ðə ˈbɛtər əv ˈsɛkjələrˌɪzəm, ˈhjuməˌnɪzəm, ənd ˈskɛptɪˌsɪzəm. ðɪs ˈsɛkʃən əv ðə bʊk ɪz lɛs əv ən ˈɑrgjəmənt ənd mɔr əv ə pli. hi ə sɪgˈnɪfɪkənt əˈmaʊnt əv ˈɛfərt tɪ ʃoʊ haʊ ðə ˈskɛptɪkəl, ˈræʃənəl ˈmaɪndˌsɛt ɪz suˈpɪriər tɪ ðə rɪˈlɪʤəs, ˈmaɪndˌsɛt. fər ˈɪnstəns, hi dɪˈskəsɪz ðə traɪəl ənd əˈvɛnʧuəl ˌɛksəˈkjuʃən əv ˈsɑkrəˌtiz fər prəˈmoʊtɪŋ θɔt ənd ˌənriˈstrɪktɪd inquiry”*” ənd pɔɪnts aʊt ðət ˈsɑkrəˌtiz ˈsteɪtɪd ðət, "ɔl hi ˈrɪli ðə ɪkˈstɛnt əv hɪz oʊn ˈɪgnərəns. (ðɪs tɪ mi ɪz stɪl ðə ˌdɛfəˈnɪʃən əv ən ˈɛʤəˌkeɪtɪd person.)”*.)” (pi. 256 ˈhɪʧənz goʊz ɔn tɪ seɪ ðət: wɑz ˈmɑkɪŋ hɪz əˈkjuzərz ɪn ðɛr oʊn tərmz, seɪɪŋ ɪn ˈifɛkt: aɪ du nɑt noʊ fər ˈsərtən əˈbaʊt dɛθ ənd ðə gɑdz bət aɪ æm ɛz ˈsərtən ɛz aɪ kən bi ðɛr ju du nɑt noʊ, ˈiðər. (pi. 257 ðə ædˈvæntɪʤ ðət ˈsɛkjələrˌɪzəm hoʊldz ˈoʊvər rɪˈlɪʤən ɪz ðət ɪt ɪz wɪn ˈteɪkən ɪn kənˈʤəŋkʃən wɪθ ˈskɛptɪˌsɪzəm ənd ˈhjuməˌnɪzəm. ðə ˈsərtənti rikˈwaɪərd tɪ ˈʤəstəˌfaɪ səm əv moʊst ˈgrivəs ˈɛrərz ɪz ˈsɪmpli nɑt əˈveɪləbəl tɪ ˈɛniˌwən ˈwɪlɪŋ tɪ teɪk ðə taɪm tɪ ˈrizənəbəl kˈwɛʃən ˈɛvriˌθɪŋ waɪl ˈteɪkɪŋ ˈɪntu əˈkaʊnt ðə ˌfælɪˈbɪlɪti əv sɛlf ənd ˈkoʊhɔrts. ə dæʃ əv ðɪs goʊz ə lɔŋ weɪ. hæd ðɪs ˈmaɪndˌsɛt prɪˈveɪld θruaʊt ˈhɪstəri, wi maɪt nɑt hæv gɔn θru ðə dɪˈstrəkʃən əv ðə ˈeɪnʧənt ˈlaɪbrɛˌriz, ðə səˈprɛʃən əv ˌfɪləˈsɑfɪkəl θɔt, ənd ðə ˈlutɪŋ əv ɑr ˌɪnəˈlɛkʧuəl ˈhɛrɪtɪʤ baɪ ðoʊz huz ˈsərtənti əv feɪθ həz rɑbd ˈjuˈɛs ɔl. ðɪs ɪz nɑt tɪ seɪ ðət juˈmænɪti wʊd nɑt hæv ɪnˈdʊrd ə lɔŋ ənd ˈwaɪndɪŋ roʊd frəm ɑr tɪ ðə ˈmɑdərn deɪ. ɛz ˈhɪʧənz ˈraɪtli əbˈzərvz: noʊ daʊt ðɛr wʊd stɪl hæv bɪn məʧ ˈfulɪʃnəs ənd solipsism*. bət ðə kəˈnɛkʃən bɪtˈwin ˈæθənz ənd ˈhɪstəri ənd juˈmænɪti wʊd nɑt hæv bɪn soʊ sundered*, ənd ðə ʤuɪʃ ˈpipəl maɪt hæv bɪn ðə ˈkɛriərz əv fəˈlɑsəfi ˌɪnˈstɛd əv ˈɛrəd ˈmɑnəˌθiɪzəm, ənd ðə ˈeɪnʧənt skulz ənd ðɛr ˈwɪzdəm wʊd nɑt hæv bɪˈkəm ˌprihɪˈstɔrɪk tɪ ˈjuˈɛs. (pi. 274 wi ər æt ə pɔɪnt ɪn ˈhɪstəri wɛr wi kən ˈrizənəbli ʧuz tɪ θroʊ ɔf ðə ˈbərdənz əv rɪˈlɪʤən wɪˈθaʊt ˌɪˈmiˌdiətli ˌɪnˈkərɪŋ ɪts ræθ. ˌhaʊˈɛvər, rɪˈlɪʤən ɪz məʧ laɪk ə ˈwundɪd ˈænəməl, wɪʧ kən bi ðə moʊst ˈdeɪnʤərəs æt ɪts moʊst ˈvəlnərəbəl. ðə ˌɑpərˈtunəti ɪz ðɛr, bət wi məst bi ˈkɛrfəl ɪn ˈprɛsɪŋ ðə əˈtæk. wɪn kənˈfrəntɪd baɪ ðoʊz hu wʊd hæv ˈjuˈɛs ʧuz feɪθ ˈoʊvər ˈrizən, wi məst bi ˈwɪlɪŋ tɪ rɪˈspɑnd ˈrɛzəˌlutli: ɪn pɔɪnt əv fækt, wi du nɑt hæv ðə ˈɔpʃən əv ““choosing”*” ˈæbsəˌlut truθ, ər feɪθ. wi ˈoʊnli hæv ðə raɪt tɪ seɪ, əv ðoʊz hu du kleɪm tɪ noʊ ðə truθ əv ˌrɛvəˈleɪʃən, ðət ðeɪ ər dɪˈsivɪŋ ðɛmˈsɛlvz ənd əˈtɛmptɪŋ tɪ dɪˈsiv ər tɪ ˌɪnˈtɪmɪˌdeɪt ˈəðərz. əv kɔrs, ɪt ɪz ˈbɛtər ənd ˈhɛlθiər fər ðə maɪnd tɪ ““choose”*” ðə pæθ əv ˈskɛptɪˌsɪzəm ənd ˌɪnkˈwaɪˌri ɪn ˈɛni keɪs, bɪˈkəz ˈoʊnli baɪ kənˈtɪnjuəl ˈɛksərˌsaɪz əv ðiz ˈfækəltiz kən wi hoʊp tɪ əˈʧiv ˈɛniˌθɪŋ. (pp*. ˈhɪʧənz ˈstrɔŋli bɪˈlivz ðət ðə ˈkɑrənt steɪt əv ðə wərld ɪz wən ɪn wɪʧ rɪˈlɪʤən ˈpoʊzɪz ən ˈaʊˈtraɪt θrɛt tɪ ðə sərˈvaɪvəl əv ki ˈkəlʧərəl ˈvæljuz: fri spiʧ, ˌɪnkˈwaɪˌri, ənd ɪkˈsprɛʃən. wi lɪv æt ə taɪm wɪn rɪˈlɪʤəs ˈzɛləts kən ˌɪmˈpoʊz ðɛr wɪl wɪθ ˈfraɪtənɪŋ ˈifɛktɪv ˈvaɪələns. dɪˈsɛnt kən bi əˈblɪtərˌeɪtɪd wɪθ ðə pʊl əv ə ˈtrɪgər ər ðə ˈprɛsɪŋ əv ə ˈbətən. ˈsɛkjələrɪsts məst bi ˈwɪlɪŋ tɪ mit ðɪs foʊ, ən ˈɛnəmi ˈɔfən ˈvaɪələntli ˈfleɪlɪŋ ɛz ɪts ˌɪnˈkrisɪŋ ˌɪˈrɛləvəns bɪˈkəmz əˈpɛrənt tɪ mɔr ənd mɔr ˈpipəl. kənˈfrəntɪd wɪθ ˈvɪstəz ˌɪnˈsaɪd ɑr oʊn ɪˈvɑlvɪŋ ˈkɔrtɛks, ɪn ðə ˈfɑrðəst ˈriʧɪz əv ɑr ˈneɪʧər, rɪˈlɪʤən ˈɔfərz ˈiðər əˌnaɪəˈleɪʃən ɪn ðə neɪm əv gɑd, ər ɛls ðə fɔls ˈprɑməs ðət ɪf wi teɪk ə naɪf tɪ ɑr foreskins*, ər preɪ ɪn ðə raɪt dɪˈrɛkʃɪn, ər ˌɪnˈʤɛst ˈpisɪz əv ˈweɪfər, wi ʃæl bi ““saved.”*.” ɪt ɪz ɛz ɪf ˈsəmˌwən, ˈɔfərd ə dɪˈlɪʃəs ənd ˈfreɪgrənt frut, məˈtjʊrd ɪn ə ˈpeɪnˌsteɪkɪŋli ənd ˈləvɪŋli dɪˈzaɪnd ˈhɑˌthaʊs, ʃʊd θroʊ əˈweɪ ðə flɛʃ ənd ðə pəlp ənd nɔ ɔn ðə pɪt. (pi. 283 wi hæv ˈbɛtər ɔlˈtərnətɪvz æt ɑr dɪˈspoʊzəl. ðə lɔs əv rɪˈlɪʤən ɪz ˈəltəmətli, ˈhɪʧənz bɪˈlivz, ˈsəmθɪŋ ðət wɪl fri ˈjuˈɛs tɪ bɪˈkəm ˈbɛtər ðən wi kəˈlɛktɪvli ər. wi nid noʊ ˈlɔŋgər bi baʊnd tɪ ˈeɪnʧənt toʊmz, fɪld wɪθ wərdz ðət ər ˌɪnˈkrisɪŋgli ˈdeɪtɪd ənd dɪˈvɔɪd əv ˈminɪŋfəl ˈgaɪdəns. ˌhaʊˈɛvər: ðə lɔs əv feɪθ kən bi ˈkɑmpənˌseɪtəd baɪ ðə nuər ənd ˈfaɪnər ˈwəndərz ðət wi hæv ˌbiˈfɔr ˈjuˈɛs, ɛz wɛl ɛz baɪ ˌɪˈmərʒən ɪn ðə wərk əv ˈhoʊmər ənd ˈʃeɪkˌspir ənd ˈmɪltən ənd ˈtoʊlˌstɔɪ ənd prust, ɔl əv wɪʧ wɑz ˈɔlsoʊ ““man-made”*” (ðoʊ wən ˈsəmˌtaɪmz ˈwəndərz, ɛz ɪn ðə keɪs əv ˈmoʊzɑrt). (pi. 151 rɪˈlɪʤən həz hæd ɪts taɪm, ənd ˈhɪʧənz ɪz ˈædəmənt ðət ɪt həz ɪts ˈwɛlkəm. ðɛr ər fɑr ˈbɛtər ɔlˈtərnətɪvz ðət ər æt ɑr dɪˈspoʊzəl, ər ər ˈweɪtɪŋ tɪ bi dɪˈskəvərd, fər ðə ˌɪmˈpɔrtənt kˈwɛsʧənz wi məst ɔl feɪs. ɪt ɪz taɪm fər ˈsɛkjələrɪsts tɪ ˈæktɪvli ɪnˈgeɪʤ ən ˈɛnəmi ðət həz ˈhɔntɪd juˈmænɪti fər tu lɔŋ: thyself,”*,” sɛd ðə griks, ˈʤɛntli səˈʤɛstɪŋ ðə ˌkɑnsəˈleɪʃənz əv fəˈlɑsəfi. tɪ klɪr ðə maɪnd fər ðɪs ˈprɑʤɛkt, ɪt həz bɪˈkəm ˈnɛsəˌsɛri tɪ noʊ ðə ˈɛnəmi, ənd tɪ priˈpɛr tɪ faɪt ɪt. (pi. 283 aɪ, fər wən, kʊd nɑt əˈgri wɪθ ðə mæn mɔr. ˈfɑloʊ mi ɔn tˈwɪtər ənd ˈgugəl+ ənd ʧɛk bæk ˈwikli fər nu ˈɑrtɪkəlz ənd podcasts*. ju kən ˈɔlsoʊ ˈfɑloʊ 37g*] ɔn ˈfeɪsˌbʊk, tˈwɪtər, ˈgugəl+, ər ˈjuˌtub. |
after the conclusion of the current competitive cycle one of our main tasks was to make a decision whether or not we want to continue playing with our current line-up. on the one hand, we are overall satisfied with the performance and the commitment to practice of players individually. on the other hand, even in the end of the split our results in certain games resumed to be unsatisfactory. eventually our head coach and management agreed upon removing "forg1ven" from our starting line-up and moving him to a substitute position.
this decision obviously was not simple, since we expected to achieve more with him on our roster. even though individual performance was nothing short of outstanding, we failed to come up with an approach to the game that would allow him to transition his individual proficiency into a significant impact.
we are not interested in keeping on our bench until his contract expires by the end of lcs spring 2016. he has already experienced this unpleasant situation. besides, we believe that he will be able to himself in another team. consequently, we are putting him up for transfer and are ready to negotiate deals with interested parties. | ˈæftər ðə kənˈkluʒən əv ðə ˈkɑrənt kəmˈpɛtɪtɪv ˈsaɪkəl wən əv ɑr meɪn tæsks wɑz tɪ meɪk ə dɪˈsɪʒən ˈwɛðər ər nɑt wi wɔnt tɪ kənˈtɪnju pleɪɪŋ wɪθ ɑr ˈkɑrənt ˈlaɪˌnəp. ɔn ðə wən hænd, wi ər ˈoʊvərˌɔl ˈsætɪsˌfaɪd wɪθ ðə pərˈfɔrməns ənd ðə kəˈmɪtmənt tɪ ˈpræktɪs əv pleɪərz ˌɪndɪˈvɪʤəli. ɔn ðə ˈəðər hænd, ˈivɪn ɪn ðə ɛnd əv ðə splɪt ɑr rɪˈzəlts ɪn ˈsərtən geɪmz rɪˈzumd tɪ bi ˌənsətɪsˈfæktəri. ɪˈvɛnʧəwəli ɑr hɛd koʊʧ ənd ˈmænɪʤmənt əˈgrid əˈpɑn riˈmuvɪŋ "forg1ven*" frəm ɑr ˈstɑrtɪŋ ˈlaɪˌnəp ənd ˈmuvɪŋ ɪm tɪ ə ˈsəbstəˌtut pəˈzɪʃən. ðɪs dɪˈsɪʒən ˈɑbviəsli wɑz nɑt ˈsɪmpəl, sɪns wi ɪkˈspɛktɪd tɪ əˈʧiv mɔr wɪθ ɪm ɔn ɑr ˈrɑstər. ˈivɪn ðoʊ ˌɪndəˈvɪʤəwəl pərˈfɔrməns wɑz ˈnəθɪŋ ʃɔrt əv ˌaʊtˈstændɪŋ, wi feɪld tɪ kəm əp wɪθ ən əˈproʊʧ tɪ ðə geɪm ðət wʊd əˈlaʊ ɪm tɪ trænˈzɪʃən hɪz ˌɪndəˈvɪʤəwəl prəˈfɪʃənsi ˈɪntu ə sɪgˈnɪfɪkənt ˌɪmˈpækt. wi ər nɑt ˈɪntəˌrɛstɪd ɪn ˈkipɪŋ ɔn ɑr bɛnʧ ənˈtɪl hɪz ˈkɑnˌtrækt ɪkˈspaɪərz baɪ ðə ɛnd əv ˈɛlˈsiˈɛs spərɪŋ 2016 hi həz ɔˈrɛdi ɪkˈspɪriənst ðɪs ənˈplɛzənt ˌsɪʧuˈeɪʃən. ˌbiˈsaɪdz, wi bɪˈliv ðət hi wɪl bi ˈeɪbəl tɪ hɪmˈsɛlf ɪn əˈnəðər tim. ˈkɑnsəkˌwɛntli, wi ər ˈpʊtɪŋ ɪm əp fər ˈtrænsfər ənd ər ˈrɛdi tɪ nɪˈgoʊʃiˌeɪt dilz wɪθ ˈɪntəˌrɛstɪd ˈpɑrtiz. |
public universities must tolerate students’ speech even when it offends some, or most, of the student body. recent incidents at old dominion university (odu) and the ohio state university (osu) serve as reminders that this is not always what happens.
at both universities, students adorned their residences with signs offering a less than wholesome welcome to new and returning students. the banners at read, “rowdy and fun hope your baby girl is ready for a good time,” “freshman daughter drop off,” and “go ahead and drop mom off too.” signs at an apartment, which were taken down after day, read, “dads, take it from here,” and “daughter daycare the offending students at have also removed their banners after being contacted by their administration, and may face repercussions from their fraternity, sigma nu.
while these incidents may mark the first time in the new academic year that students at and encounter speech they find offensive or insulting, they will undoubtedly not be the last. as tyler shows in the huffington post today, suggestive signs like these are hardly uncommon in the university setting.
in a worrying response to the banners, the administration published a statement warning students that “[m]essages like the ones displayed yesterday by a few students on the balcony of their private residence are not and will not be tolerated” and that “[a]ny student found to have violated the code of conduct will be subject to disciplinary action.” an spokesperson made a similar threat, claiming that “student code violations go with a student regardless of whether it is on or off campus.”
these statements are troubling. and are welcome to take part in the marketplace of ideas and to criticize the messages on these banners, but they must do so without threatening the students with punishment for protected speech.
odu and, like all public universities, are not the arbiters of what students can and cannot say off campus. they even ban crude speech on campus. if students are found to be in violation of student codes of conduct solely for the content of these banners, and will have run afoul of the constitution.
in v. board of curators of the university of missouri (1973), the supreme court held that students cannot be punished simply because their speech contradicts a “conventions of decency.” and in iota xi chapter of sigma chi fraternity v. george mason university (1993), the u.s. court of appeals for the fourth circuit, the jurisdiction of which includes, ruled that even crude student speech enjoys first amendment protection. in these rulings, the courts held that the university of missouri and george mason university could not punish students simply because others were offended by their speech. likewise, neither can or.
additionally, universities do a disservice to their students when they censor controversial speech. if nothing else, these banners could serve the very useful purpose of helping students avoid places and people with whom they might rather not associate. students who find the ideas behind these banners offensive can more easily avoid the people who espouse them when they are literally proclaiming the ideas on their houses.
while addressing the issue in a letter to the campus community, president john broderick shared a reaction to the banners:
a young lady i talked to earlier today courageously described the true meaning of the hurt this caused. she thought seriously about going back home. but she was heartened, she explained, when she saw how fellow students were reacting to this incident on social media. she realized this callous and senseless act did not reflect the old dominion she has come to love.
this is what more speech looks like, and always the better alternative to censorship. suggestive banners have been around for a long time, and they show no sign of fading away. demanding the removal of these banners is not the same as refuting the ideas behind them. college students will never be able to avoid speech or ideas they find offensive, but they will benefit from and take part in the discussion that frequently results from the controversy surrounding such expression. | ˈpəblɪk ˌjunəˈvərsətiz məst ˈtɑlərˌeɪt students’*’ spiʧ ˈivɪn wɪn ɪt əˈfɛndz səm, ər moʊst, əv ðə ˈstudənt ˈbɑdi. ˈrisənt ˈɪnsədənts æt oʊld dəˈmɪnjən ˌjunəˈvərsəti (odu*) ənd ðə oʊˈhaɪoʊ steɪt ˌjunəˈvərsəti (osu*) sərv ɛz riˈmaɪndərz ðət ðɪs ɪz nɑt ˈɔlˌweɪz wət ˈhæpənz. æt boʊθ ˌjunəˈvərsətiz, ˈstudənts əˈdɔrnd ðɛr ˈrɛzɪdənsɪz wɪθ saɪnz ˈɔfərɪŋ ə lɛs ðən ˈhoʊlsəm ˈwɛlkəm tɪ nu ənd rɪˈtərnɪŋ ˈstudənts. ðə ˈbænərz æt rɛd, ənd fən hoʊp jʊr ˈbeɪbi gərl ɪz ˈrɛdi fər ə gʊd time,”*,” ˈdɔtər drɔp off,”*,” ənd əˈhɛd ənd drɔp mɑm ɔf too.”*.” saɪnz æt ən əˈpɑrtmənt, wɪʧ wər ˈteɪkən daʊn ˈæftər deɪ, rɛd, ““dads*, teɪk ɪt frəm here,”*,” ənd ˈdeɪˌkɛr ðə əˈfɛndɪŋ ˈstudənts æt hæv ˈɔlsoʊ riˈmuvd ðɛr ˈbænərz ˈæftər biɪŋ ˈkɑnˌtæktɪd baɪ ðɛr ædˌmɪnɪˈstreɪʃən, ənd meɪ feɪs ˌripərˈkəʃənz frəm ðɛr frəˈtərnɪti, ˈsɪgmə nu. waɪl ðiz ˈɪnsədənts meɪ mɑrk ðə fərst taɪm ɪn ðə nu ˌækəˈdɛmɪk jɪr ðət ˈstudənts æt ənd ɪnˈkaʊnər spiʧ ðeɪ faɪnd əˈfɛnsɪv ər ˌɪnˈsəltɪŋ, ðeɪ wɪl ənˈdaʊtɪdli nɑt bi ðə læst. ɛz ˈtaɪlər ʃoʊz ɪn ðə ˈhəfɪŋtən poʊst təˈdeɪ, səˈʤɛstɪv saɪnz laɪk ðiz ər ˈhɑrdli ənˈkɑmən ɪn ðə ˌjunəˈvərsəti ˈsɛtɪŋ. ɪn ə ˈwəriɪŋ rɪˈspɑns tɪ ðə ˈbænərz, ðə ædˌmɪnɪˈstreɪʃən ˈpəblɪʃt ə ˈsteɪtmənt ˈwɔrnɪŋ ˈstudənts ðət laɪk ðə wənz dɪˈspleɪd ˈjɛstərˌdeɪ baɪ ə fju ˈstudənts ɔn ðə ˈbælkəni əv ðɛr ˈpraɪvət ˈrɛzɪdəns ər nɑt ənd wɪl nɑt bi tolerated”*” ənd ðət ˈstudənt faʊnd tɪ hæv ˈvaɪəleɪtɪd ðə koʊd əv ˈkɑndəkt wɪl bi ˈsəbʤɪkt tɪ ˈdɪsəpləˌnɛri action.”*.” ən ˈspoʊkspərsən meɪd ə ˈsɪmələr θrɛt, ˈkleɪmɪŋ ðət koʊd vaɪəˈleɪʃənz goʊ wɪθ ə ˈstudənt rəˈgɑrdləs əv ˈwɛðər ɪt ɪz ɔn ər ɔf campus.”*.” ðiz ˈsteɪtmənts ər ˈtrəbəlɪŋ. ənd ər ˈwɛlkəm tɪ teɪk pɑrt ɪn ðə ˈmɑrkɪtˌpleɪs əv aɪˈdiəz ənd tɪ ˈkrɪtɪˌsaɪz ðə ˈmɛsɪʤɪz ɔn ðiz ˈbænərz, bət ðeɪ məst du soʊ wɪˈθaʊt θˈrɛtənɪŋ ðə ˈstudənts wɪθ ˈpənɪʃmənt fər prəˈtɛktɪd spiʧ. ənd, laɪk ɔl ˈpəblɪk ˌjunəˈvərsətiz, ər nɑt ðə ˈɑrbətərz əv wət ˈstudənts kən ənd ˈkænɑt seɪ ɔf ˈkæmpəs. ðeɪ ˈivɪn bæn krud spiʧ ɔn ˈkæmpəs. ɪf ˈstudənts ər faʊnd tɪ bi ɪn vaɪəˈleɪʃən əv ˈstudənt koʊdz əv ˈkɑndəkt ˈsoʊəli fər ðə ˈkɑntɛnt əv ðiz ˈbænərz, ənd wɪl hæv rən əˈfaʊl əv ðə ˌkɑnstəˈtuʃən. ɪn vi. bɔrd əv ˈkjʊrətərz əv ðə ˌjunəˈvərsəti əv məˈzʊri 1973 ðə səˈprim kɔrt hɛld ðət ˈstudənts ˈkænɑt bi ˈpənɪʃt ˈsɪmpli bɪˈkəz ðɛr spiʧ ˌkɑntrəˈdɪkts ə əv decency.”*.” ənd ɪn ˌaɪˈoʊtə ʃi ˈʧæptər əv ˈsɪgmə kaɪ frəˈtərnɪti vi. ʤɔrʤ ˈmeɪsən ˌjunəˈvərsəti 1993 ðə juz. kɔrt əv əˈpilz fər ðə fɔrθ ˈsərkət, ðə ˌʤʊrɪsˈdɪkʃən əv wɪʧ ˌɪnˈkludz, ruld ðət ˈivɪn krud ˈstudənt spiʧ ˌɛnˈʤɔɪz fərst əˈmɛndmənt prəˈtɛkʃən. ɪn ðiz ˈrulɪŋz, ðə kɔrts hɛld ðət ðə ˌjunəˈvərsəti əv məˈzʊri ənd ʤɔrʤ ˈmeɪsən ˌjunəˈvərsəti kʊd nɑt ˈpənɪʃ ˈstudənts ˈsɪmpli bɪˈkəz ˈəðərz wər əˈfɛndɪd baɪ ðɛr spiʧ. ˈlaɪkˌwaɪz, ˈniðər kən ər. əˈdɪʃəˌnəli, ˌjunəˈvərsətiz du ə dɪˈsərvəs tɪ ðɛr ˈstudənts wɪn ðeɪ ˈsɛnsər ˌkɑntrəˈvərʃəl spiʧ. ɪf ˈnəθɪŋ ɛls, ðiz ˈbænərz kʊd sərv ðə ˈvɛri ˈjusfəl ˈpərpəs əv ˈhɛlpɪŋ ˈstudənts əˈvɔɪd ˈpleɪsɪz ənd ˈpipəl wɪθ hum ðeɪ maɪt ˈrəðər nɑt əˈsoʊʃiˌeɪt. ˈstudənts hu faɪnd ðə aɪˈdiəz bɪˈhaɪnd ðiz ˈbænərz əˈfɛnsɪv kən mɔr ˈizəli əˈvɔɪd ðə ˈpipəl hu ɪˈspaʊz ðɛm wɪn ðeɪ ər ˈlɪtərəli proʊˈkleɪmɪŋ ðə aɪˈdiəz ɔn ðɛr ˈhaʊsɪz. waɪl æˈdrɛsɪŋ ðə ˈɪʃu ɪn ə ˈlɛtər tɪ ðə ˈkæmpəs kəmˈjunɪti, ˈprɛzɪdənt ʤɑn ˈbrɑdərɪk ʃɛrd ə riˈækʃən tɪ ðə ˈbænərz: ə jəŋ ˈleɪdi aɪ tɔkt tɪ ˈərliər təˈdeɪ kərˈeɪʤəsli dɪˈskraɪbd ðə tru ˈminɪŋ əv ðə hərt ðɪs kɔzd. ʃi θɔt ˈsɪriəsli əˈbaʊt goʊɪŋ bæk hoʊm. bət ʃi wɑz ˈhɑrtənd, ʃi ɪkˈspleɪnd, wɪn ʃi sɔ haʊ ˈfɛloʊ ˈstudənts wər riˈæktɪŋ tɪ ðɪs ˈɪnsədənt ɔn ˈsoʊʃəl ˈmidiə. ʃi ˈriəˌlaɪzd ðɪs ˈkæləs ənd ˈsɛnsləs ækt dɪd nɑt rɪˈflɛkt ðə oʊld dəˈmɪnjən ʃi həz kəm tɪ ləv. ðɪs ɪz wət mɔr spiʧ lʊks laɪk, ənd ˈɔlˌweɪz ðə ˈbɛtər ɔlˈtərnətɪv tɪ ˈsɛnsərˌʃɪp. səˈʤɛstɪv ˈbænərz hæv bɪn əraʊnd fər ə lɔŋ taɪm, ənd ðeɪ ʃoʊ noʊ saɪn əv ˈfeɪdɪŋ əˈweɪ. dɪˈmændɪŋ ðə rɪˈmuvəl əv ðiz ˈbænərz ɪz nɑt ðə seɪm ɛz rɪfˈjutɪŋ ðə aɪˈdiəz bɪˈhaɪnd ðɛm. ˈkɑlɪʤ ˈstudənts wɪl ˈnɛvər bi ˈeɪbəl tɪ əˈvɔɪd spiʧ ər aɪˈdiəz ðeɪ faɪnd əˈfɛnsɪv, bət ðeɪ wɪl ˈbɛnəfɪt frəm ənd teɪk pɑrt ɪn ðə dɪˈskəʃən ðət ˈfrikwɛntli rɪˈzəlts frəm ðə ˈkɑntrəˌvərsi sərˈaʊndɪŋ səʧ ɪkˈsprɛʃən. |
this episode of radio brought to you by chef, the automation platform for the workflow. you can use chef to automate and manage it all -- infrastructure, environments and applications. chef works in the cloud or in your data center, on physical servers, virtual machines and containers. get started with chef today at chef.io/runasradio.
about show #473 so what happens when a country gets hacked? richard talks to troy hunt about the significance of the attacks on turkey and the philippines, where entire voter registries have been exposed, including email addresses, passport information, even fingerprint data! troy digs into the ideas around biometric data, the tepid reactions of the governments in question and a larger conversation about where this will ultimately lead. if you are concerned about data privacy, there are steps you can take, but only to a limited degree - anywhere that you share your data is vulnerable, even your government. protect yourself! | ðɪs ˈɛpɪˌsoʊd əv ˈreɪdiˌoʊ brɔt tɪ ju baɪ ʃɛf, ðə ɔtəˈmeɪʃən ˈplætˌfɔrm fər ðə ˈwərkˌfloʊ. ju kən juz ʃɛf tɪ ˈɔtəˌmeɪt ənd ˈmænɪʤ ɪt ɔl ˌɪnfrəˈstrəkʧər, ɪnˈvaɪrənmənts ənd ˌæpləˈkeɪʃənz. ʃɛf wərks ɪn ðə klaʊd ər ɪn jʊr ˈdætə ˈsɛnər, ɔn ˈfɪzɪkəl ˈsərvərz, ˈvərʧuəl məˈʃinz ənd kənˈteɪnərz. gɪt ˈstɑrtɪd wɪθ ʃɛf təˈdeɪ æt chef.io/runasradio*. əˈbaʊt ʃoʊ 473 soʊ wət ˈhæpənz wɪn ə ˈkəntri gɪts hækt? ˈrɪʧərd tɔks tɪ trɔɪ hənt əˈbaʊt ðə sɪgˈnɪfɪkəns əv ðə əˈtæks ɔn ˈtərki ənd ðə ˈfɪləˌpinz, wɛr ɪnˈtaɪər ˈvoʊtər ˈrɛʤɪstriz hæv bɪn ɪkˈspoʊzd, ˌɪnˈkludɪŋ iˈmeɪl ˈæˈdrɛsɪz, ˈpæˌspɔrt ˌɪnˌfɔrˈmeɪʃən, ˈivɪn ˈfɪŋgərˌprɪnt ˈdætə! trɔɪ dɪgz ˈɪntu ðə aɪˈdiəz əraʊnd ˌbaɪəˈmɛtrək ˈdætə, ðə ˈtɛpɪd riˈækʃənz əv ðə ˈgəvərnmənts ɪn kˈwɛʃən ənd ə ˈlɑrʤər ˌkɑnvərˈseɪʃən əˈbaʊt wɛr ðɪs wɪl ˈəltəmətli lɛd. ɪf ju ər kənˈsərnd əˈbaʊt ˈdætə ˈpraɪvəsi, ðɛr ər stɛps ju kən teɪk, bət ˈoʊnli tɪ ə ˈlɪmɪtɪd dɪˈgri ˈɛniˌwɛr ðət ju ʃɛr jʊr ˈdætə ɪz ˈvəlnərəbəl, ˈivɪn jʊr ˈgəvərnmənt. prəˈtɛkt ˈjɔrsɛlf! |
redmond-based tech giant microsoft has revealed in a new report that it provided details of 1050 users to the australian government in the first half of 2013.
the company said that it received a total of 1219 requests for access to user data, with microsoft granting access to email addresses, locations, ip addresses, and names for 86 percent of them.
of course, redmond issued a statement to explain that it only shares user details based on federal requests, as it continues to treat private information very carefully.
“we place a premium on respecting and protecting the privacy of our users,” the company was quoted as saying by the daily telegraph.
“at the same time, microsoft recognises that law enforcement plays a critically important role in keeping our users and our technology safe and free from abuse or exploitation.”
as far as the rest of the world is concerned, the company received more than requests from a total of 64 governments, including the us, uk, france, germany, and turkey. the company complied with 80 percent of these requests, it said, with some including what it called imminent emergencies, such as suicide threats. | redmond-based* tɛk ʤaɪənt ˈmaɪˌkroʊˈsɔft həz rɪˈvild ɪn ə nu rɪˈpɔrt ðət ɪt prəˈvaɪdɪd ˈditeɪlz əv 1050 ˈjuzərz tɪ ðə ɔˈstreɪljən ˈgəvərnmənt ɪn ðə fərst hæf əv 2013 ðə ˈkəmpəˌni sɛd ðət ɪt rɪˈsivd ə ˈtoʊtəl əv 1219 rɪkˈwɛsts fər ˈækˌsɛs tɪ ˈjuzər ˈdætə, wɪθ ˈmaɪˌkroʊˈsɔft ˈgrænɪŋ ˈækˌsɛs tɪ iˈmeɪl ˈæˈdrɛsɪz, loʊˈkeɪʃənz, ˌaɪˌpi ˈæˈdrɛsɪz, ənd neɪmz fər 86 pərˈsɛnt əv ðɛm. əv kɔrs, ˈrɛdmənd ˈɪʃud ə ˈsteɪtmənt tɪ ɪkˈspleɪn ðət ɪt ˈoʊnli ʃɛrz ˈjuzər ˈditeɪlz beɪst ɔn ˈfɛdərəl rɪkˈwɛsts, ɛz ɪt kənˈtɪnjuz tɪ trit ˈpraɪvət ˌɪnˌfɔrˈmeɪʃən ˈvɛri ˈkɛrfəli. pleɪs ə ˈprimiəm ɔn riˈspɛktɪŋ ənd prəˈtɛktɪŋ ðə ˈpraɪvəsi əv ɑr users,”*,” ðə ˈkəmpəˌni wɑz kˈwoʊtɪd ɛz seɪɪŋ baɪ ðə ˈdeɪli ˈtɛləˌgræf. ðə seɪm taɪm, ˈmaɪˌkroʊˈsɔft ˈrɛkəgˌnaɪzɪz ðət lɔ ɛnˈfɔrsmənt pleɪz ə ˈkrɪtɪkəli ˌɪmˈpɔrtənt roʊl ɪn ˈkipɪŋ ɑr ˈjuzərz ənd ɑr tɛkˈnɑləʤi seɪf ənd fri frəm əˈbjuz ər exploitation.”*.” ɛz fɑr ɛz ðə rɛst əv ðə wərld ɪz kənˈsərnd, ðə ˈkəmpəˌni rɪˈsivd mɔr ðən rɪkˈwɛsts frəm ə ˈtoʊtəl əv 64 ˈgəvərnmənts, ˌɪnˈkludɪŋ ðə ˈjuˈɛs, uk*, fræns, ˈʤərməni, ənd ˈtərki. ðə ˈkəmpəˌni kəmˈplaɪd wɪθ 80 pərˈsɛnt əv ðiz rɪkˈwɛsts, ɪt sɛd, wɪθ səm ˌɪnˈkludɪŋ wət ɪt kɔld ˈɪmənənt ˈimərʤənsiz, səʧ ɛz ˈsuɪˌsaɪd θrɛts. |
there are many similarities to what happened when the iron curtain was removed in the late eighties and this current effective (self-proclaimed) lift of the ban on startup investments for the general public.
poor product quality compensated by abnormal demand
in the communist bloc territories in, after decades of the severe shortage of basic goods, consumers were happy to buy and drink alcohol produced in the west. in the environment, many investment products are consumable, but most are inferior. and the abnormal demand we see is the cause of most discussions including this one.
irresponsible business and deliberate exploitation of regulation vacuum
back then, many businessmen from prosperous parts of the world were selling trains of expired food, electronics, and counterfeit “branded” clothes to miserable ex-communists. they were not breaking the word of law, but they certainly realized the wrongdoing by the standards of their home countries. the same is true for many active supporters and entrepreneurs now. let me note here that the history of the nineties should have taught those ready to compromise themselves that the backfire is quite probable and painful. it should be expected from the side of wild consumers in the first place. when properly applied, the law stands in between the two parties and protects both buyers and sellers from each other, not one way only.
no professional elite at play
in the early years of transformation, global trade was represented in eastern europe and russia by sleek rascals with a questionable reputation at home in the west. now, the landscape lacks prominent and reputable people from the incumbent professional investment community as well. moreover, the more third-rate, you see on a team page, the more red flags you notice elsewhere on that due diligence list. blatant scams targeted to idiots have someone (or a ghost of someone) with a london city past as a must.
maintenance of morality a job for a few selfless heroes
now and then, exactly the opposite can be said about people standing on nonprofit, scientific and humanitarian grounds. swarms of various religion and meditation “gurus” aside, it was people who arranged scientific collaboration who allowed many good citizens living in ruins to not totally lose faith in humankind. now in crypto-space, only figures like andreas antonopoulos inspire unconditional respect. of course,s are only a subset of the broader movement, but the noise it produces hardly allows outside observers to hear anything else today.
local (inner circle) celebrities are mostly dangerous clowns
those who satisfied the demand on the territories locally distributed inferior goods to their compatriots (consumed it as well, by the way), wore but locally differentiating business suits, enjoyed life, and killed each other on a daily basis. today, by normal [old] standards there are no gentlemen in the space either.
disbalance in supply distribution by the nation states
the structure of trade back then did not correspond with normal global stats. business communities of few nations seemingly irrelevant to a particular industry segment took the lead and supplied at volumes. today, we can see manys originated in russia. for example, during the years not many innovations were born there. | ðɛr ər ˈmɛni ˌsɪməˈlɛrətiz tɪ wət ˈhæpənd wɪn ðə aɪərn ˈkərtən wɑz riˈmuvd ɪn ðə leɪt ˈeɪtiz ənd ðɪs ˈkɑrənt ˈifɛktɪv (self-proclaimed*) lɪft əv ðə bæn ɔn ˈstɑrˌtəp ˌɪnˈvɛstmənts fər ðə ˈʤɛnərəl ˈpəblɪk. pur ˈprɑdəkt kˈwɑləti ˈkɑmpənˌseɪtəd baɪ æbˈnɔrməl dɪˈmænd ɪn ðə ˈkɑmjənəst blɑk ˈtɛrəˌtɔriz ɪn ˈæftər ˈdɛkeɪdz əv ðə səˈvɪr ˈʃɔrtɪʤ əv ˈbeɪsɪk gʊdz, kənˈsumərz wər ˈhæpi tɪ baɪ ənd drɪŋk ˈælkəˌhɑl prəˈdust ɪn ðə wɛst. ɪn ðə ɪnˈvaɪrənmənt, ˈmɛni ˌɪnˈvɛstmənt ˈprɑdəkts ər kənˈsuməbəl, bət moʊst ər ˌɪnˈfɪriər. ənd ðə æbˈnɔrməl dɪˈmænd wi si ɪz ðə kɔz əv moʊst dɪˈskəʃənz ˌɪnˈkludɪŋ ðɪs wən. ˌɪrəˈspɑnsəbəl ˈbɪznɪs ənd dɪˈlɪbərˌeɪt ˌɛkˌsplɔɪˈteɪʃən əv ˌrɛgjəˈleɪʃən ˈvækjum bæk ðɛn, ˈmɛni ˈbɪznɪsˌmɛn frəm ˈprɑspərəs pɑrts əv ðə wərld wər ˈsɛlɪŋ treɪnz əv ɪkˈspaɪrd fud, ˌɪˌlɛkˈtrɑnɪks, ənd ˈkaʊnərˌfɪt ““branded”*” kloʊðz tɪ ˈmɪzərəbəl ex-communists*. ðeɪ wər nɑt ˈbreɪkɪŋ ðə wərd əv lɔ, bət ðeɪ ˈsərtənli ˈriəˌlaɪzd ðə ˈrɔŋduɪŋ baɪ ðə ˈstændərdz əv ðɛr hoʊm ˈkəntriz. ðə seɪm ɪz tru fər ˈmɛni ˈæktɪv səˈpɔrtərz ənd ˌɑntrəprəˈnərz naʊ. lɛt mi noʊt hir ðət ðə ˈhɪstəri əv ðə ˈnaɪntiz ʃʊd hæv tɔt ðoʊz ˈrɛdi tɪ ˈkɑmprəˌmaɪz ðɛmˈsɛlvz ðət ðə ˈbækˌfaɪr ɪz kwaɪt ˈprɑbəbəl ənd ˈpeɪnfəl. ɪt ʃʊd bi ɪkˈspɛktɪd frəm ðə saɪd əv waɪld kənˈsumərz ɪn ðə fərst pleɪs. wɪn ˈprɑpərli əˈplaɪd, ðə lɔ stændz ɪn bɪtˈwin ðə tu ˈpɑrtiz ənd prəˈtɛkts boʊθ baɪərz ənd ˈsɛlərz frəm iʧ ˈəðər, nɑt wən weɪ ˈoʊnli. noʊ prəˈfɛʃənəl ɪˈlit æt pleɪ ɪn ðə ˈərli jɪrz əv ˌtrænsfərˈmeɪʃən, ˈgloʊbəl treɪd wɑz ˌrɛprɪˈzɛnɪd ɪn ˈistərn ˈjʊrəp ənd ˈrəʃə baɪ slik ˈræskəlz wɪθ ə kˈwɛsʧənəbəl ˌrɛpjəˈteɪʃən æt hoʊm ɪn ðə wɛst. naʊ, ðə ˈlænˌskeɪp læks ˈprɑmənənt ənd ˈrɛpjətəbəl ˈpipəl frəm ðə ˌɪnˈkəmbənt prəˈfɛʃənəl ˌɪnˈvɛstmənt kəmˈjunɪti ɛz wɛl. mɔˈroʊvər, ðə mɔr third-rate*, ju si ɔn ə tim peɪʤ, ðə mɔr rɛd flægz ju ˈnoʊtɪs ˈɛlsˌwɛr ɔn ðət du ˈdɪlɪʤəns lɪst. ˈbleɪtənt skæmz ˈtɑrgətɪd tɪ ˈɪˌdiəts hæv ˈsəmˌwən (ər ə goʊst əv ˈsəmˌwən) wɪθ ə ˈləndən ˈsɪti pæst ɛz ə məst. ˈmeɪntənəns əv ˌmɔˈræləˌti ə ʤɑb fər ə fju ˈsɛlfləs ˈhɪroʊz naʊ ənd ðɛn, ɪgˈzæktli ðə ˈɑpəzɪt kən bi sɛd əˈbaʊt ˈpipəl ˈstændɪŋ ɔn nɑnˈprɑfət, ˌsaɪənˈtɪfɪk ənd ˌjuˌmænəˈtɛriən graʊnz. swɔrmz əv ˈvɛriəs rɪˈlɪʤən ənd ˌmɛdəˈteɪʃən ““gurus”*” əˈsaɪd, ɪt wɑz ˈpipəl hu əreɪnʤd ˌsaɪənˈtɪfɪk kəˌlæbərˈeɪʃən hu əˈlaʊd ˈmɛni gʊd ˈsɪtɪzənz ˈlɪvɪŋ ɪn ruɪnz tɪ nɑt ˈtoʊtəli luz feɪθ ɪn ˈhjumənˌkaɪnd. naʊ ɪn crypto-space*, ˈoʊnli ˈfɪgjərz laɪk ɑnˈdreɪəs æntəˈnɑpəlɪs ˌɪnˈspaɪr ˌənkənˈdɪʃənəl rɪˈspɛkt. əv kɔrs, ər ˈoʊnli ə ˈsəbˌsɛt əv ðə ˈbrɔdər ˈmuvmənt, bət ðə nɔɪz ɪt prəˈdusɪz ˈhɑrdli əˈlaʊz ˈaʊtˈsaɪd əbˈzərvərz tɪ hir ˈɛniˌθɪŋ ɛls təˈdeɪ. ˈloʊkəl (ˈɪnər ˈsərkəl) səˈlɛbrɪtiz ər ˈmoʊstli ˈdeɪnʤərəs klaʊnz ðoʊz hu ˈsætɪsˌfaɪd ðə dɪˈmænd ɔn ðə ˈtɛrəˌtɔriz ˈloʊkəli dɪˈstrɪbjətəd ˌɪnˈfɪriər gʊdz tɪ ðɛr kəmˈpeɪtriəts (kənˈsumd ɪt ɛz wɛl, baɪ ðə weɪ), wɔr bət ˈloʊkəli ˌdɪfərˈɛnʧiˌeɪtɪŋ ˈbɪznɪs suts, ˌɛnˈʤɔɪd laɪf, ənd kɪld iʧ ˈəðər ɔn ə ˈdeɪli ˈbeɪsɪs. təˈdeɪ, baɪ ˈnɔrməl [oʊld] ˈstændərdz ðɛr ər noʊ ˈʤɛnəlmɪn ɪn ðə speɪs ˈiðər. ɪn səˈplaɪ ˌdɪstrəˈbjuʃən baɪ ðə ˈneɪʃən steɪts ðə ˈstrəkʧər əv treɪd bæk ðɛn dɪd nɑt ˌkɔrəˈspɑnd wɪθ ˈnɔrməl ˈgloʊbəl stæts. ˈbɪznɪs kəmˈjunɪtiz əv fju ˈneɪʃənz ˈsimɪŋli ˌɪˈrɛləvənt tɪ ə ˌpɑˈtɪkjələr ˈɪndəstri ˌsɛgˈmɛnt tʊk ðə lɛd ənd səˈplaɪd æt ˈvɑljumz. təˈdeɪ, wi kən si ˈmɛni ərˈɪʤəˌneɪtəd ɪn ˈrəʃə. fər ɪgˈzæmpəl, ˈdʊrɪŋ ðə jɪrz nɑt ˈmɛni ˌɪnəˈveɪʃənz wər bɔrn ðɛr. |
dr. remains a riddle in his death, just as he was in his life.
the man who for a large part of the israeli intelligence community is considered the most senior spy in the history of the state, the one who warned on the eve of yom kippur in 1973 that war was about to break out, was also, according to others, a double agent who was trying to get the israelis to fall into his trap with some success.
he was an egyptian billionaire, and happened to be the son-in-law of former egyptian president gamal abdel nasser. he also served in the presidential office under nasser and was a close aide to successor, anwar june 27, 2007, at the age of 63, he died do not have to prove to anyone that our sources were first-class,” says, head of the mossad in 1973, and the one who met with on october 5 in london and heard about the date of the military intelligence, they treated him as a double agent without having any proof. we proved that he was not. i hope you will understand the importance of such intelligence at a time when war was expected. was an unparalleled source in our, who was the head of military intelligence during the yom kippur war, led the theory, but it turns out that in the intelligence division, alone in his theory: maj.-gen. (res.) believes contribution was mostly harmful, since the warning he delivered came only hours before the outbreak of the percent [certain that] was a double agent,” volunteered. “i did not care about his death, but the phenomenon is important to me. i have a clear opinion whether he was a real agent or a double agent that the damage he caused was terrible. if we used, the state of israel, being led by the idf, would have prepared for the war a week earlier when news began to arrive about what was happening in egypt. but they said that if tell us about it, it serious, it was just an exercise. that mean he was a double agent. but the fact is that when you have a a agent you are enslaved to lugano, switzerland, i caught up with dr. bregman, who lives in london and teaches at college in the department of war studies. bregman was the man who revealed’s name in 2002, and he was the israeli who was closest to the egyptian spy in his last years, particularly in his last year bregman published a book called the spy who fell to earth about his relationship with.“double agent? my opinion any better than yours or joe schmo’s,” bregman says. “but i think the opposite of what has a clear interest in not being ruled to be a double agent, because what a failure it would be if he were a double agent. when people think about spies, they think like straight out of the cold my opinion, like that. what was important to was. he had a lot of fun in terms of his status when moshe dayan, golda meir and yitzhak rabin wanted to hear his opinion, or when met with inflated his ego, and why he loved the game. in the moment of truth, moments before the war, i think he asked himself, ‘am i an israeli or an egyptian?’ he came to the conclusion that he was egyptian and he misled us. the story of.’”on june 26, 2007, the day before his death, left bregman three messages on his answering machine, asking him to call him back. the relationship between the two came about in a strange way: bregman, who had written several books, became obsessed with discovering the identity of the spy known as “babylon” or “angel.”by putting together a puzzle of clues, he was able to arrive at, who had unbelievable connections. the man was son-in-law, and was very close with the egyptian did not want to cooperate with me, because after all he had written a book of his own,” says bregman. “there was a need for verification, and rami tal, a very well-known journalist, edited’s book. understand what kind of an obsession i had. i flew to tel aviv to meet him. i knew he say the name but they probably told was i doing? i was observing from his body language whether was the spy. i rehearsed at home in front of the mirror. nine minutes into the conversation and i decided that i would burst out, randomly: ‘ashraf is the spy,’ and then i looked in the direction of his face and tel beit sokolow, nine minutes on the dot into a casual conversation, i said, ‘ashraf is the spy.’ i got my the book he did not explicitly write the name but dropped clear and obvious hints. the egyptian journalists put the pieces together and asked if he was the denied it, but then a journalist from met with bregman in london, where the professor defended his reputation and named the few days after comments were published in egypt, it was on the phone, asking to meet with i spoke, he immediately felt that i was sorry for what i had done,” bregman says today. “marwan was a sick could hear his heavy breathing, and suddenly you feel bad about what done. i went from being a journalist trying to uncover him, getting a massive scoop, to having to use all my energy to defend myself. we journalists sometimes run after the goal blindly, and as soon as we get it, we come to our senses... i understood that it was stupid. he the ‘angel,’ he was someone who had undergone three heart said, ‘whoa, going to kill him.’” the two agreed to meet at the intercontinental hotel, after bregman rejected the offer of meeting at the dorchester hotel, because he remembered that they had tried to assassinate ambassador there in 1982, a shot that sparked the first lebanon took side streets to the hotel, checking constantly that no one was following was very angry at the mossad because at the last meeting with them, he discovered that they had recorded him, and as far as he was concerned, they had broken the rules,” he the meeting we were both crazy. i thought he was going to kill me, and he thought i was recording him. it was a very anxious conversation. he was nervous and i was nervous, but after that, for years, we would talk on the phone just as you and i are talking now. some of the conversations were informational, and some were for him to pour his heart out and complain, because who could he talk to? his wife know, he was protecting his children, and, so, there was only bregman. he was very in his life, but as a spy, he was very felt obliged to update on the dispute that developed during the yom kippur war between, head of the mossad, and head of military intelligence eli.in 2004, accused of exposing the identity of senior source in egypt, thus damaging ability to recruit agents. in april 2005 filed a libel suit against.retired judge theodore orr was appointed arbitrator, and he decided to accept’s version. in his decision, the name “ashraf” appeared more than once. it was no longer just an israeli academic who was asserting that spied for israel, but now it was the courts that had established the claim as truth. the decision was issued on june 14, 2007, two weeks less a day before’s first time i told him that and were fighting, and that the case could go to court, he said, ‘it will never get to that point,’” bregman recalls, “ashraf really understand our system, and why when his name was published it stunned him.”mona, his widow, said that in his final days had lost 10 kg. as a result of the tension, he would always check whether the door was closed, something he done in their 38 years of marriage, and he often complained that he was afraid they were trying to kill him. in an autopsy, they found traces of june 26, left three messages for bregman on his answering machine. the next day, only a few hundred meters from piccadilly circus, at p.m., he fell to his death in the rose garden under his apartment in carlton house terrace. pushed or jumped, the question.prof. uri of the school of political sciences at the university of haifa has a theory about the events. in 2010, published his book the angel, which became a film, slated for release next [president anwar] sadat decided to choose [hosni] mubarak as his deputy, it really annoyed, who thought that mubarak very smart,” sadat was assassinated in 1981 and mubarak took his place, it was clear to that he had nothing more to look for in egypt, and this was despite his and children being want to see near him, certainly not after it was published in that was agent babylon, or the angel, mohamed, the former editor in chief of, wrote in his last book before he died. at one of the ceremonies marking the anniversary of the yom kippur war, he wrote, mubarak saw and gave an order to put him on a plane the next day. mubarak understood that he was a source of embarrassment, especial- ly after the arbitration. this time the espionage was official, and the order to assassinate him was understood, wrote that he had asked mubarak several times: “‘maybe we should investigate whether he worked for the israelis?’ mubarak always replied: ‘forget it.’ he did not want to get involved in the issue; he just wanted to get rid of notes that death from falling off a high balcony in london a new idea for the egyptians. six years prior, on june 21, 2001, it was egyptian film star who fell from her balcony at her stuart tower residence, and it was also said about her that she was about to write a sensational memoir. in the same tower, in august 1973, nassaf, who founded and headed the republican guard in the days of nasser, fell to his death.coincidence?’s widow claimed that he had been murdered, blaming the mossad. not only that, she also said that his memoir had disappeared from the apartment on the day of his death. but in an email sent by a british detective knowledgeable about the case to an american colleague, it was said that there was no evidence of the remembers how the british detective asked him about the wanted to write a book myself, but said, ‘i will write and you will advise.’ why did he do that? maybe he was trying to prevent me from writing my book,” bregman spoke a lot, and i feared that he was trying to trick me. i would surprise him politely, asking ‘what’s the name of the book?’, ‘in which language?’ he said in english, because arabs read the book? “the detective asked: ‘do you have a copy?’ i said no. he asked if i had seen the book, and i replied that i had not. i was very embarrassed when i began to suspect that there was no book, because i told everyone that there was. i began to called every library you could think of to ask if had visited, and finally a librarian called mary, a deputy chief librarian in washington at the national archives, said had visited them twice, and she even gave me dates. she said he came with a cane, limped and said he was writing his memoirs. the second time he arrived, he brought her godiva chocolate as a gift. i sent a letter to the english detective and said, ‘here’s the proof.’ if there ever was a book? i hope so, otherwise pulled the wool over my came to court at the request. it was important for them to determine that death was murder, since suicide was considered an embarrassment in islam, especially for such a distinguished went to court and reinforced the murder theory,” bregman relates, “i told him that he had reasons to stay alive. he planned to meet me. he had a book he wanted to publish, and there was apparently something in the book that caused him to be murdered. if you ask me what i think? percent he was thrown, 51% he committed suicide. he want them to think he jumped, he wanted them to think he was murdered and why he used me. he had planned the story after his death. he called me the day before to leave a testimony, recording himself on the answering knew that i would save the messages. he knew me course i saved them. he knew i would tell the world that we had talked, that i would tell them that there was a it sounded a bit fanciful, but if you knew the man, you would understand that it makes perfect one knows exactly what happened in central london on june 27, 2007, but if there are those who can back up any theory, they are the eyewitnesses to’s death. there were four by coincidence or not who happened to be working in one of his companies. the four sat for a business meeting and waited for to join them. they even called and heard that he was running a bit late. suddenly one of them saw him fall to his was buried as a hero in egypt. president hosni mubarak said he was an egyptian patriot, not even mentioning the suspicion that the man had betrayed his gave him a funeral because they did not want to hurt the significance and importance of the egyptian aristocracy,” says. “to say he was a spy would cast a heavy shadow on the group that is considered protect him. the proof is that the intelligence sources and the idf, even with our pleas, let eli and his companions express themselves rudely and make persona non grata. there, i said more than willing to give too much thought to’s have no idea what happened. i was not aware, involved or connected. a client who led an adventurous lifestyle like he did be surprised if someone wants to kill seems that the mystery of’s life will remain unsolved, even after the anniversary of his death, but that does not mean that his exciting story be in the news do not know a case in history, at least in the century, of a spy who gave such critical information in such a critical period that had a significant impact on the way things turned out,” is only one in the same league is richard sorge, not because he gave incredible information that the germans were going to attack the soviet union in june 1941, but because he gave information about the japanese not going to attack the soviet union at the end of the year, enabling stalin to take his forces from the siberian front and bring them to defend given the warning of the war, i think that the golan heights would have fallen to the syrians on the second day of fighting, because there was no one there to defend bregman remains with one has said, ‘okay, he was a double agent,’ and no one said: ‘they threw him from the window and he commit suicide.’ it would have been the crowning moment of my career had it not been for the tragedy. you want on your conscience the thought that you made someone jump, or that you got him killed. you just say,’ not good what by benjamin glatt. originally published in ma’ariv.
join jerusalem post premium plus now for just $5 and upgrade your experience with an website and exclusive content. click here>> | ˈdɑktər. rɪˈmeɪnz ə ˈrɪdəl ɪn hɪz dɛθ, ʤɪst ɛz hi wɑz ɪn hɪz laɪf. ðə mæn hu fər ə lɑrʤ pɑrt əv ðə ˌɪzˈreɪli ˌɪnˈtɛləʤəns kəmˈjunɪti ɪz kənˈsɪdərd ðə moʊst ˈsinjər spaɪ ɪn ðə ˈhɪstəri əv ðə steɪt, ðə wən hu wɔrnd ɔn ðə iv əv jɑm ˈkɪpər ɪn 1973 ðət wɔr wɑz əˈbaʊt tɪ breɪk aʊt, wɑz ˈɔlsoʊ, əˈkɔrdɪŋ tɪ ˈəðərz, ə ˈdəbəl ˈeɪʤənt hu wɑz traɪɪŋ tɪ gɪt ðə ˌɪzˈreɪliz tɪ fɔl ˈɪntu hɪz træp wɪθ səm səkˈsɛs. hi wɑz ən ɪˈʤɪpʃən ˌbɪljəˈnɛr, ənd ˈhæpənd tɪ bi ðə ˈsənɪnˌlɔ əv ˈfɔrmər ɪˈʤɪpʃən ˈprɛzɪdənt gəˈmɑl ˈæbˌdɛl ˈnæsər. hi ˈɔlsoʊ sərvd ɪn ðə ˌprɛzɪˈdɛnʃəl ˈɔfəs ˈəndər ˈnæsər ənd wɑz ə kloʊz eɪd tɪ səkˈsɛsər, ˈɑnwɑr ʤun 27 2007 æt ðə eɪʤ əv 63 hi daɪd du nɑt hæv tɪ pruv tɪ ˈɛniˌwən ðət ɑr ˈsɔrsəz wər first-class,”*,” sɪz, hɛd əv ðə moʊˈsɑd ɪn 1973 ənd ðə wən hu mɛt wɪθ ɔn ɑkˈtoʊbər 5 ɪn ˈləndən ənd hərd əˈbaʊt ðə deɪt əv ðə ˈmɪlɪˌtɛri ˌɪnˈtɛləʤəns, ðeɪ ˈtritɪd ɪm ɛz ə ˈdəbəl ˈeɪʤənt wɪˈθaʊt ˈhævɪŋ ˈɛni pruf. wi pruvd ðət hi wɑz nɑt. aɪ hoʊp ju wɪl ˌəndərˈstænd ðə ˌɪmˈpɔrtəns əv səʧ ˌɪnˈtɛləʤəns æt ə taɪm wɪn wɔr wɑz ɪkˈspɛktɪd. wɑz ən ənˈpɛrəˌlɛld sɔrs ɪn ɑr, hu wɑz ðə hɛd əv ˈmɪlɪˌtɛri ˌɪnˈtɛləʤəns ˈdʊrɪŋ ðə jɑm ˈkɪpər wɔr, lɛd ðə ˈθɪri, bət ɪt tərnz aʊt ðət ɪn ðə ˌɪnˈtɛləʤəns dɪˈvɪʒən, əˈloʊn ɪn hɪz ˈθɪri: maj.-gen*. (reɪz.) bɪˈlivz ðət ˌkɑntrəˈbjuʃən wɑz ˈmoʊstli ˈhɑrmfəl, sɪns ðə ˈwɔrnɪŋ hi dɪˈlɪvərd keɪm ˈoʊnli aʊərz ˌbiˈfɔr ðə ˈaʊtˌbreɪk əv ðə pərˈsɛnt [ˈsərtən ðət] wɑz ə ˈdəbəl agent,”*,” ˌvɑlənˈtɪrd. dɪd nɑt kɛr əˈbaʊt hɪz dɛθ, bət ðə fəˈnɑməˌnɑn ɪz ˌɪmˈpɔrtənt tɪ mi. aɪ hæv ə klɪr əˈpɪnjən ˈwɛðər hi wɑz ə ril ˈeɪʤənt ər ə ˈdəbəl ˈeɪʤənt ðət ðə ˈdæmɪʤ hi kɔzd wɑz ˈtɛrəbəl. ɪf wi juzd, ðə steɪt əv ˈɪzriəl, biɪŋ lɛd baɪ ðə idf*, wʊd hæv priˈpɛrd fər ðə wɔr ə wik ˈərliər wɪn nuz bɪˈgæn tɪ əraɪv əˈbaʊt wət wɑz ˈhæpənɪŋ ɪn ˈiʤɪpt. bət ðeɪ sɛd ðət ɪf tɛl ˈjuˈɛs əˈbaʊt ɪt, ɪt ˈsɪriəs, ɪt wɑz ʤɪst ən ˈɛksərˌsaɪz. ðət min hi wɑz ə ˈdəbəl ˈeɪʤənt. bət ðə fækt ɪz ðət wɪn ju hæv ə ə ˈeɪʤənt ju ər ɛnsˈleɪvd tɪ luˈgɑnoʊ, sˈwɪtsərlənd, aɪ kɔt əp wɪθ ˈdɑktər. ˈbrɛgmən, hu lɪvz ɪn ˈləndən ənd ˈtiʧɪz æt ˈkɑlɪʤ ɪn ðə dɪˈpɑrtmənt əv wɔr ˈstədiz. ˈbrɛgmən wɑz ðə mæn hu rɪˈvild neɪm ɪn 2002 ənd hi wɑz ðə ˌɪzˈreɪli hu wɑz ˈkloʊsəst tɪ ðə ɪˈʤɪpʃən spaɪ ɪn hɪz læst jɪrz, ˌpɑrˈtɪkjələrli ɪn hɪz læst jɪr ˈbrɛgmən ˈpəblɪʃt ə bʊk kɔld ðə spaɪ hu fɛl tɪ ərθ əˈbaʊt hɪz riˈleɪʃənˌʃɪp wɪθ ˈeɪʤənt? maɪ əˈpɪnjən ˈɛni ˈbɛtər ðən jʊrz ər ʤoʊ schmo’s,”*,” ˈbrɛgmən sɪz. aɪ θɪŋk ðə ˈɑpəzɪt əv wət həz ə klɪr ˈɪntəˌrɛst ɪn nɑt biɪŋ ruld tɪ bi ə ˈdəbəl ˈeɪʤənt, bɪˈkəz wət ə ˈfeɪljər ɪt wʊd bi ɪf hi wər ə ˈdəbəl ˈeɪʤənt. wɪn ˈpipəl θɪŋk əˈbaʊt spaɪz, ðeɪ θɪŋk laɪk streɪt aʊt əv ðə koʊld maɪ əˈpɪnjən, laɪk ðət. wət wɑz ˌɪmˈpɔrtənt tɪ wɑz. hi hæd ə lɔt əv fən ɪn tərmz əv hɪz ˈstætəs wɪn ˈmoʊʃə deɪən, ˈgoʊldə meɪr ənd ˈjɪtsɑk ˌrɑˈbin ˈwɔntɪd tɪ hir hɪz əˈpɪnjən, ər wɪn mɛt wɪθ ˌɪnˈfleɪtɪd hɪz ˈigoʊ, ənd waɪ hi ləvd ðə geɪm. ɪn ðə ˈmoʊmənt əv truθ, ˈmoʊmənts ˌbiˈfɔr ðə wɔr, aɪ θɪŋk hi æst hɪmˈsɛlf, aɪ ən ˌɪzˈreɪli ər ən egyptian?’*?’ hi keɪm tɪ ðə kənˈkluʒən ðət hi wɑz ɪˈʤɪpʃən ənd hi mɪsˈlɛd ˈjuˈɛs. ðə ˈstɔri əv ʤun 26 2007 ðə deɪ ˌbiˈfɔr hɪz dɛθ, lɛft ˈbrɛgmən θri ˈmɛsɪʤɪz ɔn hɪz ˈænsərɪŋ məˈʃin, ˈæskɪŋ ɪm tɪ kɔl ɪm bæk. ðə riˈleɪʃənˌʃɪp bɪtˈwin ðə tu keɪm əˈbaʊt ɪn ə streɪnʤ weɪ: ˈbrɛgmən, hu hæd ˈrɪtən ˈsɛvərəl bʊks, bɪˈkeɪm əbˈsɛst wɪθ dɪˈskəvərɪŋ ðə aɪˈdɛntəˌti əv ðə spaɪ noʊn ɛz ““babylon”*” ər ˈpʊtɪŋ təˈgɛðər ə ˈpəzəl əv kluz, hi wɑz ˈeɪbəl tɪ əraɪv æt, hu hæd ˌənbəˈlivəbəl kəˈnɛkʃənz. ðə mæn wɑz ˈsənɪnˌlɔ, ənd wɑz ˈvɛri kloʊz wɪθ ðə ɪˈʤɪpʃən dɪd nɑt wɔnt tɪ kˈwɑpərˌeɪt wɪθ mi, bɪˈkəz ˈæftər ɔl hi hæd ˈrɪtən ə bʊk əv hɪz own,”*,” sɪz ˈbrɛgmən. wɑz ə nid fər ˌvɛrəfəˈkeɪʃən, ənd ˈrɑmi tɑl, ə ˈvɛri ˈwɛlˈnoʊn ˈʤərnəlɪst, ˈɛdɪtɪd bʊk. ˌəndərˈstænd wət kaɪnd əv ən əbˈsɛʃən aɪ hæd. aɪ flu tɪ tɛl ɑˈviv tɪ mit ɪm. aɪ nu hi seɪ ðə neɪm bət ðeɪ ˈprɑbəˌbli toʊld wɑz aɪ duɪŋ? aɪ wɑz əbˈzərvɪŋ frəm hɪz ˈbɑdi ˈlæŋgwɪʤ ˈwɛðər wɑz ðə spaɪ. aɪ riˈhərst æt hoʊm ɪn frənt əv ðə ˈmɪrər. naɪn ˈmɪnəts ˈɪntu ðə ˌkɑnvərˈseɪʃən ənd aɪ ˌdɪˈsaɪdɪd ðət aɪ wʊd bərst aʊt, ˈrændəmli: ɪz ðə spy,’*,’ ənd ðɛn aɪ lʊkt ɪn ðə dɪˈrɛkʃɪn əv hɪz feɪs ənd tɛl beɪt ˈsɑkəloʊ, naɪn ˈmɪnəts ɔn ðə dɑt ˈɪntu ə ˈkæʒəwəl ˌkɑnvərˈseɪʃən, aɪ sɛd, ɪz ðə spy.’*.’ aɪ gɑt maɪ ðə bʊk hi dɪd nɑt ɪkˈsplɪsətli raɪt ðə neɪm bət drɑpt klɪr ənd ˈɑbviəs hɪnts. ðə ɪˈʤɪpʃən ˈʤərnəlɪsts pʊt ðə ˈpisɪz təˈgɛðər ənd æst ɪf hi wɑz ðə dɪˈnaɪd ɪt, bət ðɛn ə ˈʤərnəlɪst frəm mɛt wɪθ ˈbrɛgmən ɪn ˈləndən, wɛr ðə prəˈfɛsər dɪˈfɛndɪd hɪz ˌrɛpjəˈteɪʃən ənd neɪmd ðə fju deɪz ˈæftər ˈkɑmɛnts wər ˈpəblɪʃt ɪn ˈiʤɪpt, ɪt wɑz ɔn ðə foʊn, ˈæskɪŋ tɪ mit wɪθ aɪ spoʊk, hi ˌɪˈmiˌdiətli fɛlt ðət aɪ wɑz ˈsɑri fər wət aɪ hæd done,”*,” ˈbrɛgmən sɪz təˈdeɪ. wɑz ə sɪk kʊd hir hɪz ˈhɛvi ˈbriðɪŋ, ənd ˈsədənli ju fil bæd əˈbaʊt wət dən. aɪ wɛnt frəm biɪŋ ə ˈʤərnəlɪst traɪɪŋ tɪ ənˈkəvər ɪm, ˈgɪtɪŋ ə ˈmæsɪv skup, tɪ ˈhævɪŋ tɪ juz ɔl maɪ ˈɛnərʤi tɪ dɪˈfɛnd ˌmaɪˈsɛlf. wi ˈʤərnəlɪsts ˈsəmˌtaɪmz rən ˈæftər ðə goʊl ˈblaɪndli, ənd ɛz sun ɛz wi gɪt ɪt, wi kəm tɪ ɑr ˈsɛnsɪz... aɪ ˌəndərˈstʊd ðət ɪt wɑz ˈstupɪd. hi ðə ‘‘angel,’*,’ hi wɑz ˈsəmˌwən hu hæd ˌəndərˈgɔn θri hɑrt sɛd, ‘‘whoa*, goʊɪŋ tɪ kɪl him.’”*.’” ðə tu əˈgrid tɪ mit æt ðə ˌɪntərˌkɑntəˈnɛntəl hoʊˈtɛl, ˈæftər ˈbrɛgmən rɪˈʤɛktɪd ðə ˈɔfər əv ˈmitɪŋ æt ðə ˈdɔˌrʧɛstər hoʊˈtɛl, bɪˈkəz hi rɪˈmɛmbərd ðət ðeɪ hæd traɪd tɪ əˈsæsəˌneɪt æmˈbæsədər ðɛr ɪn 1982 ə ʃɑt ðət spɑrkt ðə fərst ˈlɛbənən tʊk saɪd strits tɪ ðə hoʊˈtɛl, ˈʧɛkɪŋ ˈkɑnstəntli ðət noʊ wən wɑz ˈfɑloʊɪŋ wɑz ˈvɛri ˈæŋgri æt ðə moʊˈsɑd bɪˈkəz æt ðə læst ˈmitɪŋ wɪθ ðɛm, hi dɪˈskəvərd ðət ðeɪ hæd rɪˈkɔrdɪd ɪm, ənd ɛz fɑr ɛz hi wɑz kənˈsərnd, ðeɪ hæd ˈbroʊkən ðə rules,”*,” hi ðə ˈmitɪŋ wi wər boʊθ ˈkreɪzi. aɪ θɔt hi wɑz goʊɪŋ tɪ kɪl mi, ənd hi θɔt aɪ wɑz rɪˈkɔrdɪŋ ɪm. ɪt wɑz ə ˈvɛri ˈæŋʃəs ˌkɑnvərˈseɪʃən. hi wɑz ˈnərvəs ənd aɪ wɑz ˈnərvəs, bət ˈæftər ðət, fər jɪrz, wi wʊd tɔk ɔn ðə foʊn ʤɪst ɛz ju ənd aɪ ər ˈtɔkɪŋ naʊ. səm əv ðə ˌkɑnvərˈseɪʃənz wər ˌɪnˈfɔrˌmeɪʃənəl, ənd səm wər fər ɪm tɪ pɔr hɪz hɑrt aʊt ənd kəmˈpleɪn, bɪˈkəz hu kʊd hi tɔk tɪ? hɪz waɪf noʊ, hi wɑz prəˈtɛktɪŋ hɪz ˈʧɪldrən, ənd, soʊ, ðɛr wɑz ˈoʊnli ˈbrɛgmən. hi wɑz ˈvɛri ɪn hɪz laɪf, bət ɛz ə spaɪ, hi wɑz ˈvɛri fɛlt əˈblaɪʤd tɪ ˈəpˌdeɪt ɔn ðə dɪˈspjut ðət dɪˈvɛləpt ˈdʊrɪŋ ðə jɑm ˈkɪpər wɔr bɪtˈwin, hɛd əv ðə moʊˈsɑd, ənd hɛd əv ˈmɪlɪˌtɛri ˌɪnˈtɛləʤəns ˈilaɪ 2004 əˈkjuzd əv ɪkˈspoʊzɪŋ ðə aɪˈdɛntəˌti əv ˈsinjər sɔrs ɪn ˈiʤɪpt, ðəs ˈdæmɪʤɪŋ əˈbɪləˌti tɪ rɪˈkrut ˈeɪʤənts. ɪn ˈeɪprəl 2005 faɪld ə ˈlaɪbɛl sut əˈgɛnst ʤəʤ ˈθiəˌdɔr ɔr wɑz əˈpɔɪntɪd ˈɑrbɪˌtreɪtər, ənd hi ˌdɪˈsaɪdɪd tɪ əkˈsɛpt ˈvərʒən. ɪn hɪz dɪˈsɪʒən, ðə neɪm marwan”*” əˈpɪrd mɔr ðən wəns. ɪt wɑz noʊ ˈlɔŋgər ʤɪst ən ˌɪzˈreɪli ˌækəˈdɛmɪk hu wɑz əˈsərtɪŋ ðət spaɪd fər ˈɪzriəl, bət naʊ ɪt wɑz ðə kɔrts ðət hæd ɪˈstæblɪʃt ðə kleɪm ɛz truθ. ðə dɪˈsɪʒən wɑz ˈɪʃud ɔn ʤun 14 2007 tu wiks lɛs ə deɪ ˌbiˈfɔr fərst taɪm aɪ toʊld ɪm ðət ənd wər ˈfaɪtɪŋ, ənd ðət ðə keɪs kʊd goʊ tɪ kɔrt, hi sɛd, wɪl ˈnɛvər gɪt tɪ ðət point,’”*,’” ˈbrɛgmən ˈriˌkɔlz, ˈrɪli ˌəndərˈstænd ɑr ˈsɪstəm, ənd waɪ wɪn hɪz neɪm wɑz ˈpəblɪʃt ɪt stənd him.”mona*, hɪz ˈwɪdoʊ, sɛd ðət ɪn hɪz ˈfaɪnəl deɪz hæd lɔst 10 kg*. ɛz ə rɪˈzəlt əv ðə ˈtɛnʃən, hi wʊd ˈɔlˌweɪz ʧɛk ˈwɛðər ðə dɔr wɑz kloʊzd, ˈsəmθɪŋ hi dən ɪn ðɛr 38 jɪrz əv ˈmɛrɪʤ, ənd hi ˈɔfən kəmˈpleɪnd ðət hi wɑz əˈfreɪd ðeɪ wər traɪɪŋ tɪ kɪl ɪm. ɪn ən ˈɔˌtɑpsi, ðeɪ faʊnd ˈtreɪsɪz əv ʤun 26 lɛft θri ˈmɛsɪʤɪz fər ˈbrɛgmən ɔn hɪz ˈænsərɪŋ məˈʃin. ðə nɛkst deɪ, ˈoʊnli ə fju ˈhənərd ˈmitərz frəm ˈpɪkəˌdɪli ˈsərkəs, æt p.m*., hi fɛl tɪ hɪz dɛθ ɪn ðə roʊz ˈgɑrdən ˈəndər hɪz əˈpɑrtmənt ɪn ˈkɑrltən haʊs ˈtɛrəs. pʊʃt ər ʤəmpt, ðə question.prof*. ˈjəri əv ðə skul əv pəˈlɪtɪkəl ˈsaɪənsɪz æt ðə ˌjunəˈvərsəti əv ˈhaɪfə həz ə ˈθɪri əˈbaʊt ðə ɪˈvɛnts. ɪn 2010 ˈpəblɪʃt hɪz bʊk ðə ˈeɪnʤəl, wɪʧ bɪˈkeɪm ə fɪlm, sˈleɪtɪd fər riˈlis nɛkst [ˈprɛzɪdənt ˈɑnwɑr] səˈdæt ˌdɪˈsaɪdɪd tɪ ʧuz [ˈhɔsni] muˈbɑrɪk ɛz hɪz ˈdɛpjəti, ɪt ˈrɪli əˈnɔɪd, hu θɔt ðət muˈbɑrɪk ˈvɛri smart,”*,” səˈdæt wɑz əˈsæsəˌneɪtəd ɪn 1981 ənd muˈbɑrɪk tʊk hɪz pleɪs, ɪt wɑz klɪr tɪ ðət hi hæd ˈnəθɪŋ mɔr tɪ lʊk fər ɪn ˈiʤɪpt, ənd ðɪs wɑz dɪˈspaɪt hɪz ənd ˈʧɪldrən biɪŋ wɔnt tɪ si nɪr ɪm, ˈsərtənli nɑt ˈæftər ɪt wɑz ˈpəblɪʃt ɪn ðət wɑz ˈeɪʤənt ˈbæbəˌlɑn, ər ðə ˈeɪnʤəl, moʊˈhɑmɛd, ðə ˈfɔrmər ˈɛdɪtər ɪn ʧif əv, roʊt ɪn hɪz læst bʊk ˌbiˈfɔr hi daɪd. æt wən əv ðə ˈsɛrəˌmoʊniz ˈmɑrkɪŋ ðə ˌænəˈvərsəri əv ðə jɑm ˈkɪpər wɔr, hi roʊt, muˈbɑrɪk sɔ ənd geɪv ən ˈɔrdər tɪ pʊt ɪm ɔn ə pleɪn ðə nɛkst deɪ. muˈbɑrɪk ˌəndərˈstʊd ðət hi wɑz ə sɔrs əv ɪmˈbɛrəsmənt, əˈspɛʃəl- laɪ ˈæftər ðə ˌɑrbɪˈtreɪʃən. ðɪs taɪm ðə ˈɛspiənɑʤ wɑz əˈfɪʃəl, ənd ðə ˈɔrdər tɪ əˈsæsəˌneɪt ɪm wɑz ˌəndərˈstʊd, roʊt ðət hi hæd æst muˈbɑrɪk ˈsɛvərəl taɪmz: wi ʃʊd ˌɪnˈvɛstəˌgeɪt ˈwɛðər hi wərkt fər ðə israelis?’*?’ muˈbɑrɪk ˈɔlˌweɪz rɪˈplaɪd: it.’*.’ hi dɪd nɑt wɔnt tɪ gɪt ˌɪnˈvɑlvd ɪn ðə ˈɪʃu; hi ʤɪst ˈwɔntɪd tɪ gɪt rɪd əv noʊts ðət dɛθ frəm ˈfɑlɪŋ ɔf ə haɪ ˈbælkəni ɪn ˈləndən ə nu aɪˈdiə fər ðə ɪˈʤɪpʃənz. sɪks jɪrz praɪər, ɔn ʤun 21 2001 ɪt wɑz ɪˈʤɪpʃən fɪlm stɑr hu fɛl frəm hər ˈbælkəni æt hər stɔrt taʊər ˈrɛzɪdəns, ənd ɪt wɑz ˈɔlsoʊ sɛd əˈbaʊt hər ðət ʃi wɑz əˈbaʊt tɪ raɪt ə sɛnˈseɪʃənəl ˈmɛmˌwɑr. ɪn ðə seɪm taʊər, ɪn ˈɔgəst 1973 nassaf*, hu ˈfaʊndɪd ənd ˈhɛdɪd ðə rɪˈpəblɪkən gɑrd ɪn ðə deɪz əv ˈnæsər, fɛl tɪ hɪz death.coincidence*? ˈwɪdoʊ kleɪmd ðət hi hæd bɪn ˈmərdərd, ˈbleɪmɪŋ ðə moʊˈsɑd. nɑt ˈoʊnli ðət, ʃi ˈɔlsoʊ sɛd ðət hɪz ˈmɛmˌwɑr hæd ˌdɪsəˈpɪrd frəm ðə əˈpɑrtmənt ɔn ðə deɪ əv hɪz dɛθ. bət ɪn ən iˈmeɪl sɛnt baɪ ə ˈbrɪtɪʃ dɪˈtɛktɪv ˈnɑləʤəbəl əˈbaʊt ðə keɪs tɪ ən əˈmɛrɪkən ˈkɑlig, ɪt wɑz sɛd ðət ðɛr wɑz noʊ ˈɛvədəns əv ðə rɪˈmɛmbərz haʊ ðə ˈbrɪtɪʃ dɪˈtɛktɪv æst ɪm əˈbaʊt ðə ˈwɔntɪd tɪ raɪt ə bʊk ˌmaɪˈsɛlf, bət sɛd, wɪl raɪt ənd ju wɪl advise.’*.’ waɪ dɪd hi du ðət? ˈmeɪbi hi wɑz traɪɪŋ tɪ prɪˈvɛnt mi frəm ˈraɪtɪŋ maɪ book,”*,” ˈbrɛgmən spoʊk ə lɔt, ənd aɪ fɪrd ðət hi wɑz traɪɪŋ tɪ trɪk mi. aɪ wʊd səˈpraɪz ɪm pəˈlaɪtli, ˈæskɪŋ ðə neɪm əv ðə book?’*?’, wɪʧ language?’*?’ hi sɛd ɪn ˈɪŋlɪʃ, bɪˈkəz ˈærəbz rɛd ðə bʊk? dɪˈtɛktɪv æst: ju hæv ə copy?’*?’ aɪ sɛd noʊ. hi æst ɪf aɪ hæd sin ðə bʊk, ənd aɪ rɪˈplaɪd ðət aɪ hæd nɑt. aɪ wɑz ˈvɛri ɪmˈbɛrəst wɪn aɪ bɪˈgæn tɪ ˈsəˌspɛkt ðət ðɛr wɑz noʊ bʊk, bɪˈkəz aɪ toʊld ˈɛvriˌwən ðət ðɛr wɑz. aɪ bɪˈgæn tɪ kɔld ˈɛvəri ˈlaɪbrɛˌri ju kʊd θɪŋk əv tɪ æsk ɪf hæd ˈvɪzɪtɪd, ənd ˈfaɪnəli ə laɪˈbrɛˌriən kɔld ˈmɛri, ə ˈdɛpjəti ʧif laɪˈbrɛˌriən ɪn ˈwɔʃɪŋtən æt ðə ˈnæʃənəl ˈɑrˌkaɪvz, sɛd hæd ˈvɪzɪtɪd ðɛm twaɪs, ənd ʃi ˈivɪn geɪv mi deɪts. ʃi sɛd hi keɪm wɪθ ə keɪn, lɪmpt ənd sɛd hi wɑz ˈraɪtɪŋ hɪz ˈmɛmˌwɑrz. ðə ˈsɛkənd taɪm hi əraɪvd, hi brɔt hər gəˈdaɪvə ˈʧɔklət ɛz ə gɪft. aɪ sɛnt ə ˈlɛtər tɪ ðə ˈɪŋlɪʃ dɪˈtɛktɪv ənd sɛd, ðə proof.’*.’ ɪf ðɛr ˈɛvər wɑz ə bʊk? aɪ hoʊp soʊ, ˈəðərˌwaɪz pʊld ðə wʊl ˈoʊvər maɪ keɪm tɪ kɔrt æt ðə rɪkˈwɛst. ɪt wɑz ˌɪmˈpɔrtənt fər ðɛm tɪ dɪˈtərmən ðət dɛθ wɑz ˈmərdər, sɪns ˈsuɪˌsaɪd wɑz kənˈsɪdərd ən ɪmˈbɛrəsmənt ɪn ˌɪsˈlɑm, əˈspɛʃəli fər səʧ ə dɪˈstɪŋgwɪʃt wɛnt tɪ kɔrt ənd ˌriɪnˈfɔrst ðə ˈmərdər theory,”*,” ˈbrɛgmən rɪˈleɪts, toʊld ɪm ðət hi hæd ˈrizənz tɪ steɪ əˈlaɪv. hi plænd tɪ mit mi. hi hæd ə bʊk hi ˈwɔntɪd tɪ ˈpəblɪʃ, ənd ðɛr wɑz əˈpɛrəntli ˈsəmθɪŋ ɪn ðə bʊk ðət kɔzd ɪm tɪ bi ˈmərdərd. ɪf ju æsk mi wət aɪ θɪŋk? pərˈsɛnt hi wɑz θroʊn, 51 hi kəˈmɪtɪd ˈsuɪˌsaɪd. hi wɔnt ðɛm tɪ θɪŋk hi ʤəmpt, hi ˈwɔntɪd ðɛm tɪ θɪŋk hi wɑz ˈmərdərd ənd waɪ hi juzd mi. hi hæd plænd ðə ˈstɔri ˈæftər hɪz dɛθ. hi kɔld mi ðə deɪ ˌbiˈfɔr tɪ liv ə ˈtɛstɪˌmoʊni, rɪˈkɔrdɪŋ hɪmˈsɛlf ɔn ðə ˈænsərɪŋ nu ðət aɪ wʊd seɪv ðə ˈmɛsɪʤɪz. hi nu mi kɔrs aɪ seɪvd ðɛm. hi nu aɪ wʊd tɛl ðə wərld ðət wi hæd tɔkt, ðət aɪ wʊd tɛl ðɛm ðət ðɛr wɑz ə ɪt ˈsaʊndɪd ə bɪt ˈfænsɪfəl, bət ɪf ju nu ðə mæn, ju wʊd ˌəndərˈstænd ðət ɪt meɪks ˈpərˌfɪkt wən noʊz ɪgˈzæktli wət ˈhæpənd ɪn ˈsɛntrəl ˈləndən ɔn ʤun 27 2007 bət ɪf ðɛr ər ðoʊz hu kən bæk əp ˈɛni ˈθɪri, ðeɪ ər ðə ˈaɪˌwɪtnəsɪz tɪ dɛθ. ðɛr wər fɔr baɪ koʊˈɪnsɪdəns ər nɑt hu ˈhæpənd tɪ bi ˈwərkɪŋ ɪn wən əv hɪz ˈkəmpəˌniz. ðə fɔr sæt fər ə ˈbɪznɪs ˈmitɪŋ ənd ˈweɪtɪd fər tɪ ʤɔɪn ðɛm. ðeɪ ˈivɪn kɔld ənd hərd ðət hi wɑz ˈrənɪŋ ə bɪt leɪt. ˈsədənli wən əv ðɛm sɔ ɪm fɔl tɪ hɪz wɑz ˈbɛrid ɛz ə ˈhɪroʊ ɪn ˈiʤɪpt. ˈprɛzɪdənt ˈhɔsni muˈbɑrɪk sɛd hi wɑz ən ɪˈʤɪpʃən ˈpeɪtriət, nɑt ˈivɪn ˈmɛnʃənɪŋ ðə səˈspɪʃən ðət ðə mæn hæd bɪˈtreɪd hɪz geɪv ɪm ə fˈjunərəl bɪˈkəz ðeɪ dɪd nɑt wɔnt tɪ hərt ðə sɪgˈnɪfɪkəns ənd ˌɪmˈpɔrtəns əv ðə ɪˈʤɪpʃən aristocracy,”*,” sɪz. seɪ hi wɑz ə spaɪ wʊd kæst ə ˈhɛvi ˈʃæˌdoʊ ɔn ðə grup ðət ɪz kənˈsɪdərd prəˈtɛkt ɪm. ðə pruf ɪz ðət ðə ˌɪnˈtɛləʤəns ˈsɔrsəz ənd ðə idf*, ˈivɪn wɪθ ɑr pliz, lɛt ˈilaɪ ənd hɪz kəmˈpænjənz ɪkˈsprɛs ðɛmˈsɛlvz ˈrudli ənd meɪk pərˈsoʊnə nɑn ˈgrɑtə. ðɛr, aɪ sɛd mɔr ðən ˈwɪlɪŋ tɪ gɪv tu məʧ θɔt tɪ hæv noʊ aɪˈdiə wət ˈhæpənd. aɪ wɑz nɑt əˈwɛr, ˌɪnˈvɑlvd ər kəˈnɛktɪd. ə klaɪənt hu lɛd ən ædˈvɛnʧərəs ˈlaɪfˌstaɪl laɪk hi dɪd bi səˈpraɪzd ɪf ˈsəmˌwən wɔnts tɪ kɪl simz ðət ðə ˈmɪstəri əv laɪf wɪl rɪˈmeɪn ənˈsɑlvd, ˈivɪn ˈæftər ðə ˌænəˈvərsəri əv hɪz dɛθ, bət ðət dɪz nɑt min ðət hɪz ɪkˈsaɪtɪŋ ˈstɔri bi ɪn ðə nuz du nɑt noʊ ə keɪs ɪn ˈhɪstəri, æt list ɪn ðə ˈsɛnʧəri, əv ə spaɪ hu geɪv səʧ ˈkrɪtɪkəl ˌɪnˌfɔrˈmeɪʃən ɪn səʧ ə ˈkrɪtɪkəl ˈpɪriəd ðət hæd ə sɪgˈnɪfɪkənt ˌɪmˈpækt ɔn ðə weɪ θɪŋz tərnd out,”*,” ɪz ˈoʊnli wən ɪn ðə seɪm lig ɪz ˈrɪʧərd sɔrʤ, nɑt bɪˈkəz hi geɪv ˌɪnˈkrɛdəbəl ˌɪnˌfɔrˈmeɪʃən ðət ðə ˈʤərmənz wər goʊɪŋ tɪ əˈtæk ðə ˈsoʊviˌɛt ˈjunjən ɪn ʤun 1941 bət bɪˈkəz hi geɪv ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˌʤæpəˈniz nɑt goʊɪŋ tɪ əˈtæk ðə ˈsoʊviˌɛt ˈjunjən æt ðə ɛnd əv ðə jɪr, ɪˈneɪbəlɪŋ ˈstɑlən tɪ teɪk hɪz ˈfɔrsɪz frəm ðə saɪˈbɪriən frənt ənd brɪŋ ðɛm tɪ dɪˈfɛnd ˈgɪvɪn ðə ˈwɔrnɪŋ əv ðə wɔr, aɪ θɪŋk ðət ðə ˈgoʊlən haɪts wʊd hæv ˈfɑlən tɪ ðə ˈsɪriənz ɔn ðə ˈsɛkənd deɪ əv ˈfaɪtɪŋ, bɪˈkəz ðɛr wɑz noʊ wən ðɛr tɪ dɪˈfɛnd ˈbrɛgmən rɪˈmeɪnz wɪθ wən həz sɛd, ‘‘okay*, hi wɑz ə ˈdəbəl agent,’*,’ ənd noʊ wən sɛd: θru ɪm frəm ðə ˈwɪndoʊ ənd hi kəˈmɪt suicide.’*.’ ɪt wʊd hæv bɪn ðə ˈkraʊnɪŋ ˈmoʊmənt əv maɪ kərɪr hæd ɪt nɑt bɪn fər ðə ˈtræʤədi. ju wɔnt ɔn jʊr ˈkɑnʃəns ðə θɔt ðət ju meɪd ˈsəmˌwən ʤəmp, ər ðət ju gɑt ɪm kɪld. ju ʤɪst say,’*,’ nɑt gʊd wət baɪ ˈbɛnʤəmən glæt. ərˈɪʤənəli ˈpəblɪʃt ɪn ma’ariv*. ʤɔɪn ʤərˈusələm poʊst ˈprimiəm pləs naʊ fər ʤɪst 5 ənd ˈəpˈgreɪd jʊr ɪkˈspɪriəns wɪθ ən ˈwɛbˌsaɪt ənd ɪkˈsklusɪv ˈkɑntɛnt. klɪk hir>> |
the plans of obama and the progressive elite to transform america by inhibiting suburban and living and propping up urban utopias instead for the sake of “affirmatively furthering fair housing” has been previously commented on. however, the progressive elite have also been using the fear of immanent climate doom to pack people into little urban hovels while enjoying the urban hip hangouts, which is somehow familiar…
of course, this ecological doom is just an excuse, as urban density in the san francisco bay area has increased while people are driving… more:
“the data also show that crowding people together really effective at reducing emissions or addressing other urban concerns. population densities in the san jose urban areas have already grown by nearly 60 percent since 1990, yet driving still has increased.”
further:
“advocates argue that the demand for homes is about to drop as retiring baby boomers and will prefer to live in neighborhoods with high densities and easy pedestrian access to stores and entertainment. “this claim supported by actual behavior. the vast majority of population growth continues to be in suburbs. surveys of show that more than three out of four aspire to live in a home with a yard.”
the true “will of the people” is to live in suburban environments where they own their own home and have to share walls with other people, this stop the elitists who want to ride their pristine picnic and nature grounds with yokels. their plans continue regardless:
“currently, 56 percent of households in the bay area live in homes. that number would drop to 48 percent by 2030, under a development blueprint called plan bay area, recently enacted by the association of bay area governments and the metropolitan transportation commission. “even if not without precedent, plan bay area could still be revolutionary because of the rationale behind it. it could help spur a nationwide movement for “transit-oriented” development in the name of reducing global warming. the federal government has signed on. the obama administration has told metropolitan areas to include regulations in the transportation plans that federal law requires them to update every five years. washington is also giving communities “livability grants” aimed at promoting development.”
livability? this is no different than shoving a bunch of rats in a cage. the rabid delusional utopian visions be inflicted on them, but only on the hoi polloi who will have to “enjoy” being crammed together to the point where even elijah baley would feel claustrophobic!
the utopian future of the progressives is that of the future of metropolis.
tweet | ðə plænz əv ˌoʊˈbɑmə ənd ðə prəˈgrɛsɪv ɪˈlit tɪ ˈtrænsfɔrm əˈmɛrɪkə baɪ ˌɪnˈhɪbətɪŋ səˈbərbən ənd ˈlɪvɪŋ ənd ˈprɑpɪŋ əp ˈərbən juˈtoʊpiəz ˌɪnˈstɛd fər ðə seɪk əv ˈfərðərɪŋ fɛr housing”*” həz bɪn ˈpriviəsli ˈkɑmɛntəd ɔn. ˌhaʊˈɛvər, ðə prəˈgrɛsɪv ɪˈlit hæv ˈɔlsoʊ bɪn ˈjuzɪŋ ðə fɪr əv ˈɪmənənt ˈklaɪmɪt dum tɪ pæk ˈpipəl ˈɪntu ˈlɪtəl ˈərbən ˈhəvəlz waɪl ˌɛnˈʤɔɪɪŋ ðə ˈərbən hɪp ˈhæˌŋaʊts, wɪʧ ɪz ˈsəmˌhaʊ familiar…*… əv kɔrs, ðɪs ɛkəˈlɑʤɪkəl dum ɪz ʤɪst ən ɪkˈskjuz, ɛz ˈərbən ˈdɛnsɪti ɪn ðə sæn frænˈsɪskoʊ beɪ ˈɛriə həz ˌɪnˈkrist waɪl ˈpipəl ər driving…*… mɔr: ˈdætə ˈɔlsoʊ ʃoʊ ðət ˈkraʊdɪŋ ˈpipəl təˈgɛðər ˈrɪli ˈifɛktɪv æt rɪˈdusɪŋ ɪˈmɪʃənz ər æˈdrɛsɪŋ ˈəðər ˈərbən kənˈsərnz. ˌpɑpjəˈleɪʃən ˈdɛnsətiz ɪn ðə sæn ˌhoʊˈzeɪ ˈərbən ˈɛriəz hæv ɔˈrɛdi groʊn baɪ ˈnɪrli 60 pərˈsɛnt sɪns 1990 jɛt ˈdraɪvɪŋ stɪl həz increased.”*.” ˈfərðər: ˈɑrgju ðət ðə dɪˈmænd fər hoʊmz ɪz əˈbaʊt tɪ drɔp ɛz rɪˈtaɪrɪŋ ˈbeɪbi ˈbumərz ənd wɪl prɪˈfər tɪ lɪv ɪn ˈneɪbərˌhʊdz wɪθ haɪ ˈdɛnsətiz ənd ˈizi pəˈdɛstriən ˈækˌsɛs tɪ stɔrz ənd ˌɛnərˈteɪnmənt. kleɪm səˈpɔrtɪd baɪ ˈækʧəwəl bɪˈheɪvjər. ðə væst məˈʤɔrəti əv ˌpɑpjəˈleɪʃən groʊθ kənˈtɪnjuz tɪ bi ɪn ˈsəbərbz. ˈsərˌveɪz əv ʃoʊ ðət mɔr ðən θri aʊt əv fɔr əˈspaɪr tɪ lɪv ɪn ə hoʊm wɪθ ə yard.”*.” ðə tru əv ðə people”*” ɪz tɪ lɪv ɪn səˈbərbən ɪnˈvaɪrənmənts wɛr ðeɪ oʊn ðɛr oʊn hoʊm ənd hæv tɪ ʃɛr wɔlz wɪθ ˈəðər ˈpipəl, ðɪs stɑp ðə ɪˈlitɪsts hu wɔnt tɪ raɪd ðɛr ˈprɪstin ˈpɪkˌnɪk ənd ˈneɪʧər graʊnz wɪθ yokels*. ðɛr plænz kənˈtɪnju rəˈgɑrdləs: ““currently*, 56 pərˈsɛnt əv ˈhaʊsˌhoʊldz ɪn ðə beɪ ˈɛriə lɪv ɪn hoʊmz. ðət ˈnəmbər wʊd drɔp tɪ 48 pərˈsɛnt baɪ 2030 ˈəndər ə dɪˈvɛləpmənt ˈbluˌprɪnt kɔld plæn beɪ ˈɛriə, ˈrisəntli ɛˈnæktəd baɪ ðə əˌsoʊʃiˈeɪʃən əv beɪ ˈɛriə ˈgəvərnmənts ənd ðə ˌmɛtrəˈpɑlətən ˌtrænspərˈteɪʃən kəˈmɪʃən. ɪf nɑt wɪˈθaʊt ˈprɛsɪdənt, plæn beɪ ˈɛriə kʊd stɪl bi ˌrɛvəˈluʃəˌnɛri bɪˈkəz əv ðə ˌræʃəˈnæl bɪˈhaɪnd ɪt. ɪt kʊd hɛlp spər ə ˈneɪʃənˈwaɪd ˈmuvmənt fər ““transit-oriented”*” dɪˈvɛləpmənt ɪn ðə neɪm əv rɪˈdusɪŋ ˈgloʊbəl ˈwɔrmɪŋ. ðə ˈfɛdərəl ˈgəvərnmənt həz saɪnd ɔn. ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən həz toʊld ˌmɛtrəˈpɑlətən ˈɛriəz tɪ ˌɪnˈklud ˌrɛgjəˈleɪʃənz ɪn ðə ˌtrænspərˈteɪʃən plænz ðət ˈfɛdərəl lɔ rikˈwaɪərz ðɛm tɪ ˈəpˌdeɪt ˈɛvəri faɪv jɪrz. ˈwɔʃɪŋtən ɪz ˈɔlsoʊ ˈgɪvɪŋ kəmˈjunɪtiz grants”*” eɪmd æt prəˈmoʊtɪŋ development.”*.” livability*? ðɪs ɪz noʊ ˈdɪfərənt ðən ˈʃəvɪŋ ə bənʧ əv ræts ɪn ə keɪʤ. ðə ˈræbɪd dɪˈluʒənəl juˈtoʊpiən ˈvɪʒənz bi ˌɪnˈflɪktɪd ɔn ðɛm, bət ˈoʊnli ɔn ðə hɔɪ ˌpɑˈlɔɪ hu wɪl hæv tɪ ““enjoy”*” biɪŋ kræmd təˈgɛðər tɪ ðə pɔɪnt wɛr ˈivɪn ɛˈlaɪʤə ˈbeɪli wʊd fil ˌklɔstrəˈfoʊbɪk! ðə juˈtoʊpiən fˈjuʧər əv ðə prɑˈgrɛsɪvz ɪz ðət əv ðə fˈjuʧər əv məˈtrɑpələs. twit |
albuquerque police have released lapel camera footage that shows an officer shooting at a fleeing suspect.
in october 2013, officers were called about an erratic driver who was running drivers off the road and firing a weapon from his vehicle. officers said the man, joaquin ortega, tried to carjack drivers after crashing his own car.
the footage seems to contradict the story that police initially reported. police chief allen banks would not release more than a single frame of the lapel video after the incident, stating that he going to allow the case to be tried in the media. he told reporters, "i'm going to do things my way.”
banks initially claimed that the single image he released showed that ortega turned toward officer brian pitzer with a gun.
later, banks said that ortega actually point a gun at pitzer, but that the officer was justified in shooting at him anyway because the suspect was a “perceived threat.”
here is the video footage of what occurred after officers caught up with ortega:
the video footage shows ortega outside an auto repair shop. here is an explanation of the scene:
officer pitzer yells "let me see your hands," and refers to ortega as "dude" and "bro."
ortega runs along the front of the building, walks between two cars and then turns to the right to head toward the sidewalk. pitzer fires twice.
ortega appears to toss a gun over his shoulder while two more shots are fired. ortega continues to bolt down the sidewalk, his back turned to pitzer, as the officer fires the remaining shots.
ortega stumbles at the edge of the sidewalk, falls and is handcuffed.
he was wounded at least once in the shoulder. the video shows authorities tending to a moaning ortega as he says, “please, please.” is is not clear how many times ortega was shot.
in november, he was indicted on charges of child abuse, armed robbery, aggravated assault with a deadly weapon and aggravated assault upon a peace officer with a deadly weapon. the court case has been on hold because the officers still finished their police report something which kari morrissey, attorney, said is unacceptable:
"quite frankly, why it takes the department this long to complete a report for an incident like this is inexcusable.” morrissey said the footage show any evidence of ortega acting aggressively towards the officer, so she does not believe the aggravated assault charge will stick. she also said the video will be “quite helpful” in a lawsuit against the officers for injuring ortega.
the albuquerque police department has been under investigation by the department of justice since november 2012 over several high-profile abuse cases and three dozen shootings since 2010. in spite of that, the man who designs the training programs has been teaching officers to use more deadly force.
the city has already paid out millions in police misconduct lawsuits.
ortega’s shooting was officer third in his six and a half years with the department.
morrissey told the los angeles times that the case is typical of the department:
"unfortunately, this is par for the course for the albuquerque police department. you have an officer who's demonstrated an inability to handle the job, but i'm guessing they are worried about showing any weakness by firing him and admitting they mistakenly hired him." _
lily dane is a staff writer for the daily sheeple. her goal is to help people to “wake the flock up!” | ˈælbəkərki pəˈlis hæv riˈlist ləˈpɛl ˈkæmərə ˈfʊtɪʤ ðət ʃoʊz ən ˈɔfɪsər ˈʃutɪŋ æt ə fliɪŋ ˈsəˌspɛkt. ɪn ɑkˈtoʊbər 2013 ˈɔfɪsərz wər kɔld əˈbaʊt ən ɪˈrætɪk ˈdraɪvər hu wɑz ˈrənɪŋ ˈdraɪvərz ɔf ðə roʊd ənd ˈfaɪərrɪŋ ə ˈwɛpən frəm hɪz ˈviɪkəl. ˈɔfɪsərz sɛd ðə mæn, ˌwɑˈkin ɔrˈteɪgə, traɪd tɪ ˈkɑˌrʤæk ˈdraɪvərz ˈæftər ˈkræʃɪŋ hɪz oʊn kɑr. ðə ˈfʊtɪʤ simz tɪ ˌkɑntrəˈdɪkt ðə ˈstɔri ðət pəˈlis ˌɪˈnɪʃəli ˌriˈpɔrtəd. pəˈlis ʧif ˈælən bæŋks wʊd nɑt riˈlis mɔr ðən ə ˈsɪŋgəl freɪm əv ðə ləˈpɛl ˈvɪdioʊ ˈæftər ðə ˈɪnsədənt, ˈsteɪtɪŋ ðət hi goʊɪŋ tɪ əˈlaʊ ðə keɪs tɪ bi traɪd ɪn ðə ˈmidiə. hi toʊld rɪˈpɔrtərz, "əm goʊɪŋ tɪ du θɪŋz maɪ way.”*.” bæŋks ˌɪˈnɪʃəli kleɪmd ðət ðə ˈsɪŋgəl ˈɪmɪʤ hi riˈlist ʃoʊd ðət ɔrˈteɪgə tərnd təˈwɔrd ˈɔfɪsər braɪən ˈpɪtzər wɪθ ə gən. ˈleɪtər, bæŋks sɛd ðət ɔrˈteɪgə ˈæˌkʧuəli pɔɪnt ə gən æt ˈpɪtzər, bət ðət ðə ˈɔfɪsər wɑz ˈʤəstəˌfaɪd ɪn ˈʃutɪŋ æt ɪm ˈɛniˌweɪ bɪˈkəz ðə ˈsəˌspɛkt wɑz ə threat.”*.” hir ɪz ðə ˈvɪdioʊ ˈfʊtɪʤ əv wət əˈkərd ˈæftər ˈɔfɪsərz kɔt əp wɪθ ɔrˈteɪgə: ðə ˈvɪdioʊ ˈfʊtɪʤ ʃoʊz ɔrˈteɪgə ˈaʊtˈsaɪd ən ˈɔtoʊ rɪˈpɛr ʃɑp. hir ɪz ən ˌɛkspləˈneɪʃən əv ðə sin: ˈɔfɪsər ˈpɪtzər jɛlz "lɛt mi si jʊr hænz," ənd rɪˈfərz tɪ ɔrˈteɪgə ɛz "dud" ənd "broʊ." ɔrˈteɪgə rənz əˈlɔŋ ðə frənt əv ðə ˈbɪldɪŋ, wɔks bɪtˈwin tu kɑz ənd ðɛn tərnz tɪ ðə raɪt tɪ hɛd təˈwɔrd ðə ˈsaɪdˌwɔk. ˈpɪtzər faɪərz twaɪs. ɔrˈteɪgə əˈpɪrz tɪ tɔs ə gən ˈoʊvər hɪz ˈʃoʊldər waɪl tu mɔr ʃɑts ər faɪərd. ɔrˈteɪgə kənˈtɪnjuz tɪ boʊlt daʊn ðə ˈsaɪdˌwɔk, hɪz bæk tərnd tɪ ˈpɪtzər, ɛz ðə ˈɔfɪsər faɪərz ðə rɪˈmeɪnɪŋ ʃɑts. ɔrˈteɪgə ˈstəmbəlz æt ðə ɛʤ əv ðə ˈsaɪdˌwɔk, fɔlz ənd ɪz ˈhændˌkəft. hi wɑz ˈwundɪd æt list wəns ɪn ðə ˈʃoʊldər. ðə ˈvɪdioʊ ʃoʊz əˈθɔrətiz ˈtɛndɪŋ tɪ ə ˈmoʊnɪŋ ɔrˈteɪgə ɛz hi sɪz, ““please*, please.”*.” ɪz ɪz nɑt klɪr haʊ ˈmɛni taɪmz ɔrˈteɪgə wɑz ʃɑt. ɪn noʊˈvɛmbər, hi wɑz ˌɪnˈdaɪtɪd ɔn ˈʧɑrʤɪz əv ʧaɪld əˈbjuz, ɑrmd ˈrɑbəri, ˈægrəˌveɪtɪd əˈsɔlt wɪθ ə ˈdɛdli ˈwɛpən ənd ˈægrəˌveɪtɪd əˈsɔlt əˈpɑn ə pis ˈɔfɪsər wɪθ ə ˈdɛdli ˈwɛpən. ðə kɔrt keɪs həz bɪn ɔn hoʊld bɪˈkəz ðə ˈɔfɪsərz stɪl ˈfɪnɪʃt ðɛr pəˈlis rɪˈpɔrt ˈsəmθɪŋ wɪʧ ˈkɛri ˈmɔrɪsi, əˈtərni, sɛd ɪz ˌənækˈsɛptəbəl: "kwaɪt ˈfræŋkli, waɪ ɪt teɪks ðə dɪˈpɑrtmənt ðɪs lɔŋ tɪ kəmˈplit ə rɪˈpɔrt fər ən ˈɪnsədənt laɪk ðɪs ɪz inexcusable.”*.” ˈmɔrɪsi sɛd ðə ˈfʊtɪʤ ʃoʊ ˈɛni ˈɛvədəns əv ɔrˈteɪgə ˈæktɪŋ əˈgrɛsɪvli təˈwɔrdz ðə ˈɔfɪsər, soʊ ʃi dɪz nɑt bɪˈliv ðə ˈægrəˌveɪtɪd əˈsɔlt ʧɑrʤ wɪl stɪk. ʃi ˈɔlsoʊ sɛd ðə ˈvɪdioʊ wɪl bi helpful”*” ɪn ə ˈlɔˌsut əˈgɛnst ðə ˈɔfɪsərz fər ˈɪnʤərɪŋ ɔrˈteɪgə. ðə ˈælbəkərki pəˈlis dɪˈpɑrtmənt həz bɪn ˈəndər ˌɪnˌvɛstəˈgeɪʃən baɪ ðə dɪˈpɑrtmənt əv ˈʤəstɪs sɪns noʊˈvɛmbər 2012 ˈoʊvər ˈsɛvərəl ˌhaɪˈproʊfaɪl əˈbjuz ˈkeɪsɪz ənd θri ˈdəzən ˈʃutɪŋz sɪns 2010 ɪn spaɪt əv ðət, ðə mæn hu dɪˈzaɪnz ðə ˈtreɪnɪŋ ˈproʊˌgræmz həz bɪn ˈtiʧɪŋ ˈɔfɪsərz tɪ juz mɔr ˈdɛdli fɔrs. ðə ˈsɪti həz ɔˈrɛdi peɪd aʊt ˈmɪljənz ɪn pəˈlis mɪˈskɑndəkt ˈlɔˌsuts. ˈʃutɪŋ wɑz ˈɔfɪsər θərd ɪn hɪz sɪks ənd ə hæf jɪrz wɪθ ðə dɪˈpɑrtmənt. ˈmɔrɪsi toʊld ðə lɔs ˈænʤəlɪs taɪmz ðət ðə keɪs ɪz ˈtɪpɪkəl əv ðə dɪˈpɑrtmənt: "ənˈfɔrʧənətli, ðɪs ɪz pɑr fər ðə kɔrs fər ðə ˈælbəkərki pəˈlis dɪˈpɑrtmənt. ju hæv ən ˈɔfɪsər huz ˈdɛmənˌstreɪtɪd ən ˌɪnəˈbɪlɪti tɪ ˈhændəl ðə ʤɑb, bət əm ˈgɛsɪŋ ðeɪ ər ˈwərid əˈbaʊt ʃoʊɪŋ ˈɛni ˈwiknəs baɪ ˈfaɪərrɪŋ ɪm ənd ədˈmɪtɪŋ ðeɪ mɪˈsteɪkənli haɪərd ɪm." ˈlɪli deɪn ɪz ə stæf ˈraɪtər fər ðə ˈdeɪli sheeple*. hər goʊl ɪz tɪ hɛlp ˈpipəl tɪ ðə flɑk up!”*!” |
getty images
before loss to the colts, jay glazer reported that, if broncos coach john fox were to become available, other teams would be interested. after loss to the colts, a separate report emerged that the broncos plan to make fox available.
citing multiple unnamed sources, mike of the denver post reports that the broncos “had never discussed firing fox.” points to three-year contract from early 2014 as proof of the intent to keep him around.
“i’ve seen all kind of reports in the past, sure see some moving forward. i make those decisions, i control that,” fox told reporters after the game. “my intentions are to be a denver bronco and have been since i got here. not about me; about this football team.”
klis speculates that report could mean that fox in considering retirement. but glazer said nothing about fox walking away; glazer said that if fox is “available,” other teams would be interested.
the report from could mean that the broncos think fox may be hoping to become available, and that the team be making it easy for fox and a new team by firing him. the deeper message could be that if, as glazer believes, other teams are interested in fox, those other teams should approach the broncos about a possible trade.
even if the broncos would otherwise be inclined to move on from fox, it would be foolish at this point for the broncos not to wait and see whether the jets, bears, 49ers, falcons, raiders make a phone call and in turn make an offer. | ˈgɛti ˈɪmɪʤɪz ˌbiˈfɔr lɔs tɪ ðə koʊlts, ʤeɪ ˈgleɪzər ˌriˈpɔrtəd ðət, ɪf ˈbrɑŋkoʊz koʊʧ ʤɑn fɑks wər tɪ bɪˈkəm əˈveɪləbəl, ˈəðər timz wʊd bi ˈɪntəˌrɛstɪd. ˈæftər lɔs tɪ ðə koʊlts, ə ˈsɛpərˌeɪt rɪˈpɔrt ˈimərʤd ðət ðə ˈbrɑŋkoʊz plæn tɪ meɪk fɑks əˈveɪləbəl. ˈsaɪtɪŋ ˈməltəpəl ənˈneɪmd ˈsɔrsəz, maɪk əv ðə ˈdɛnvər poʊst rɪˈpɔrts ðət ðə ˈbrɑŋkoʊz ˈnɛvər dɪˈskəst ˈfaɪərrɪŋ fox.”*.” pɔɪnts tɪ θˈriˌjɪr ˈkɑnˌtrækt frəm ˈərli 2014 ɛz pruf əv ðə ˌɪnˈtɛnt tɪ kip ɪm əraʊnd. sin ɔl kaɪnd əv rɪˈpɔrts ɪn ðə pæst, ʃʊr si səm ˈmuvɪŋ ˈfɔrwərd. aɪ meɪk ðoʊz dɪˈsɪʒənz, aɪ kənˈtroʊl that,”*,” fɑks toʊld rɪˈpɔrtərz ˈæftər ðə geɪm. ˌɪnˈtɛnʧənz ər tɪ bi ə ˈdɛnvər ˈbrɑŋkoʊ ənd hæv bɪn sɪns aɪ gɑt hir. nɑt əˈbaʊt mi; əˈbaʊt ðɪs ˈfʊtˌbɔl team.”*.” ˈspɛkjəˌleɪts ðət rɪˈpɔrt kʊd min ðət fɑks ɪn kənˈsɪdərɪŋ rɪˈtaɪərmənt. bət ˈgleɪzər sɛd ˈnəθɪŋ əˈbaʊt fɑks ˈwɔkɪŋ əˈweɪ; ˈgleɪzər sɛd ðət ɪf fɑks ɪz ““available,”*,” ˈəðər timz wʊd bi ˈɪntəˌrɛstɪd. ðə rɪˈpɔrt frəm kʊd min ðət ðə ˈbrɑŋkoʊz θɪŋk fɑks meɪ bi ˈhoʊpɪŋ tɪ bɪˈkəm əˈveɪləbəl, ənd ðət ðə tim bi ˈmeɪkɪŋ ɪt ˈizi fər fɑks ənd ə nu tim baɪ ˈfaɪərrɪŋ ɪm. ðə ˈdipər ˈmɛsɪʤ kʊd bi ðət ɪf, ɛz ˈgleɪzər bɪˈlivz, ˈəðər timz ər ˈɪntəˌrɛstɪd ɪn fɑks, ðoʊz ˈəðər timz ʃʊd əˈproʊʧ ðə ˈbrɑŋkoʊz əˈbaʊt ə ˈpɑsəbəl treɪd. ˈivɪn ɪf ðə ˈbrɑŋkoʊz wʊd ˈəðərˌwaɪz bi ˌɪnˈklaɪnd tɪ muv ɔn frəm fɑks, ɪt wʊd bi ˈfulɪʃ æt ðɪs pɔɪnt fər ðə ˈbrɑŋkoʊz nɑt tɪ weɪt ənd si ˈwɛðər ðə ʤɛts, bɛrz, 49ers*, ˈfælkənz, ˈreɪdərz meɪk ə foʊn kɔl ənd ɪn tərn meɪk ən ˈɔfər. |
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nearmiss
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activity: 448
merit: 250
sr. memberactivity: 448merit: 250 re: per coin][vardiff] ~ december 24, 2013, pm #1802 there's been a breach this afternoon with a number of users reporting payout addresses being changed and manual payouts being triggered to the new address. all payouts have been disabled and we are working on determining the scope of the issue. while its unlikely passwords have been compromised (and nothing is stored plain text in the anyways), its not a bad practice to assume the worst and change passwords anyways.
40.8 total has been lost. we can't really comment much further on account until we gather data on the full picture. obviously with the time of year, we all have commitments outside, but we are working every spare moment we've got.
i advise people to stop by the channel if possible, where live discussions can happen and up to date news provided.
the cows apologize to everyone involved, its a terrible time of year to wake up to such things. there will be 0% fees on anything earned as of now and today's earned (keeping in mind payout is disabled for the time being).
nearmiss pool w/ -> keep the we mine or for. in addition can be paid out in any of: 365, ac, bc,, c2, cinni, comm, fac, hbn, mint, pmc, qrk, rdd, wc,
gsrcrxsi
offline
activity: 294
merit: 250
sr. memberactivity: 294merit: 250 re: per coin][vardiff] ~ december 24, 2013, pm #1803 what the mother fuck?!
0.045+ gone.
i assume that won't do anything about refunding people??
such a sad state. first the horrible payouts and connection issues, and now they allow everyone to be compromised and have their shit stolen. a lot of good that 4 digit pin for payouts did huh?
i was already moved off of due to the other issues and now this? yeah. safe to say i can never trust this pool again...
bronxbob
offline
activity: 9
merit: 0
newbieactivity: 9merit: 0 re: per coin][vardiff] ~ december 24, 2013, pm #1805 quote from: on december 24, 2013, pm what the mother fuck?!
0.045+ gone.
i assume that won't do anything about refunding people??
such a sad state. first the horrible payouts and connection issues, and now they allow everyone to be compromised and have their shit stolen. a lot of good that 4 digit pin for payouts did huh?
i was already moved off of due to the other issues and now this? yeah. safe to say i can never trust this pool again...
well to be honest you really can't trust the majority of pools. its not like we know the backgrounds of the people running this.
i assume that a lot of sites are rife with security issues. doesn't stop me from mining of course, but i am wary of it all.
well to be honest you really can't trust the majority of pools. its not like we know the backgrounds of the people running assume that a lot of sites are rife with security issues. doesn't stop me from mining of course, but i am wary of it all.
billionaire
offline
activity: 154
merit: 100
full memberactivity: 154merit: 100 re: per coin][vardiff] ~ december 24, 2013, pm #1806 woke up to find stolen from my account. it went to the same address that stole everyone else's. i even had my withdraw limit set to, but it was changed to auto at the same time the person changed the address.
i have never had any of the pools or exchanges i frequent ever have my account hacked. even the lowly operations. i use a different password and pin at each site too.
40 seems like a lot for this site to be able to cover in reimbursements due to its own security flaws (which it clearly was since so many were affected). i certainly hope i get paid back, but not holding my breath either. it must be very tempting to simply close down the site and not pay $25,000+ dollars worth of coin to users because of the site's security problems. that's if even has enough funds to pay people to begin with.
needless to say, i will not mine on the site or any other future pools that might be created by team until i am fully reimbursed. if i am, i will gladly come back.
gsrcrxsi
offline
activity: 294
merit: 250
sr. memberactivity: 294merit: 250 re: per coin][vardiff] ~ december 24, 2013, pm #1807 i'm sure the amount that has been taking in from fees and their own mining is plenty to cover this loss. the right thing for them to do would be to own up to it and just refund what was taken from each person. as well as fix the security.
that's pretty much the only thing they can do to earn the trust of their miners again.
spiffy_1
offline
activity: 234
merit: 100
full memberactivity: 234merit: 100 re: per coin][vardiff] ~ december 24, 2013, pm #1809 yeah, not impressed... log on to see a manual payout with no fee to the address of 13r87ropkdkzdeuveqox64kkclvpwvdtkh. this pool had better do something to fix this issue.. i had a 16 digit random password generated for this site before it was hacked.. i have regenerated another now and my and spyware detector come up negative on my side. this was a hole in and i expect to be reinbursed. if you like what i've posted, mine for me on whatever you like on for a minute using my address:
eaglejam
offline
activity: 7
merit: 0
newbieactivity: 7merit: 0 re: per coin][vardiff] ~ december 24, 2013, pm #1812
what is even more scary is they got by the pin that is mandatory to set.
clearly there is a big security issue here, most likely several of the boxes running have been r00ted. clean should be restored and the servers wiped and rebuilt.
it would be nice to have compensation. i also got hit by 13r87ropkdkzdeuveqox64kkclvpwvdtkh, lost that didn't get a chance to there is a big security issue here, most likely several of the boxes running have been r00ted. clean should be restored and the servers wiped and would be nice to have compensation.
bronxbob
offline
activity: 9
merit: 0
newbieactivity: 9merit: 0 re: per coin][vardiff] ~ december 24, 2013, pm #1813 quote from: on december 24, 2013, pm
what is even more scary is they got by the pin that is mandatory to set.
clearly there is a big security issue here, most likely several of the boxes running have been r00ted. clean should be restored and the servers wiped and rebuilt.
it would be nice to have compensation.
i also got hit by 13r87ropkdkzdeuveqox64kkclvpwvdtkh, lost that didn't get a chance to there is a big security issue here, most likely several of the boxes running have been r00ted. clean should be restored and the servers wiped and would be nice to have compensation.
oh yah no doubt they have had a full compromise.
it will be interesting to see if they figure out how, and whether they know how to fix it and whether they disclose how it happened.
we'll learn a lot about's in the next few days... oh yah no doubt they have had a full will be interesting to see if they figure out how, and whether they know how to fix it and whether they disclose how it learn a lot about's in the next few days... | jʊr trænˈzækʃənz ðə ˈəltəmət ˈmɪksər meɪd ˈtruli əˈnɑnəməs. wɪθ ən ədˈvænst tɛkˈnɑləʤi. mɪks kɔɪnz ˌædvərˈtaɪzd saɪts ər nɑt ɛnˈdɔrst baɪ ðə ˈfɔrəm. ðeɪ meɪ bi ənˈseɪf, ənˈtrəstˌwərði, ər ˌɪˈligəl ɪn jʊr ˌʤʊrɪsˈdɪkʃən. ˈædvərˌtaɪz hir. ˈɔˌflaɪn ækˈtɪvɪti: 448 ˈmɛrət: 250 ˈsɪstər. memberactivity*: 448merit*: 250 ri: pər coin][vardiff*] dɪˈsɛmbər 24 2013 piɛm 1802 ðɛrz bɪn ə briʧ ðɪs ˌæftərˈnun wɪθ ə ˈnəmbər əv ˈjuzərz rɪˈpɔrtɪŋ peɪaʊt ˈæˈdrɛsɪz biɪŋ ʧeɪnʤd ənd ˈmænjuəl peɪaʊts biɪŋ ˈtrɪgərd tɪ ðə nu ˈæˌdrɛs. ɔl peɪaʊts hæv bɪn dɪˈseɪbəld ənd wi ər ˈwərkɪŋ ɔn dɪˈtərmənɪŋ ðə skoʊp əv ðə ˈɪʃu. waɪl ɪts ənˈlaɪkli ˈpæsˌwərdz hæv bɪn ˈkɑmprəˌmaɪzd (ənd ˈnəθɪŋ ɪz stɔrd pleɪn tɛkst ɪn ðə ˈɛniˌweɪz), ɪts nɑt ə bæd ˈpræktɪs tɪ əˈsum ðə wərst ənd ʧeɪnʤ ˈpæsˌwərdz ˈɛniˌweɪz. ˈtoʊtəl həz bɪn lɔst. wi kænt ˈrɪli ˈkɑmɛnt məʧ ˈfərðər ɔn əˈkaʊnt ənˈtɪl wi ˈgæðər ˈdætə ɔn ðə fʊl ˈpɪkʧər. ˈɑbviəsli wɪθ ðə taɪm əv jɪr, wi ɔl hæv kəˈmɪtmənts ˈaʊtˈsaɪd, bət wi ər ˈwərkɪŋ ˈɛvəri spɛr ˈmoʊmənt wiv gɑt. aɪ ədˈvaɪz ˈpipəl tɪ stɑp baɪ ðə ˈʧænəl ɪf ˈpɑsəbəl, wɛr lɪv dɪˈskəʃənz kən ˈhæpən ənd əp tɪ deɪt nuz prəˈvaɪdɪd. ðə kaʊz əˈpɑləˌʤaɪz tɪ ˈɛvriˌwən ˌɪnˈvɑlvd, ɪts ə ˈtɛrəbəl taɪm əv jɪr tɪ weɪk əp tɪ səʧ θɪŋz. ðɛr wɪl bi 0 fiz ɔn ˈɛniˌθɪŋ ərnd ɛz əv naʊ ənd ˈtudeɪz ərnd (ˈkipɪŋ ɪn maɪnd peɪaʊt ɪz dɪˈseɪbəld fər ðə taɪm biɪŋ). pul ˈdəbəlju/ kip ðə wi maɪn ər fər. ɪn əˈdɪʃən kən bi peɪd aʊt ɪn ˈɛni əv: 365 ˈeɪˈsi, bc*,, ˈsiˈtu cinni*, kɑm, fæk, hbn*, mɪnt, pmc*, qrk*, rdd*, wc*, ˈɔˌflaɪn ækˈtɪvɪti: 294 ˈmɛrət: 250 ˈsɪstər. memberactivity*: 294merit*: 250 ri: pər coin][vardiff*] dɪˈsɛmbər 24 2013 piɛm 1803 wət ðə ˈməðər fək?! gɔn. aɪ əˈsum ðət woʊnt du ˈɛniˌθɪŋ əˈbaʊt rɪˈfəndɪŋ ˈpipəl?? səʧ ə sæd steɪt. fərst ðə ˈhɔrəbəl peɪaʊts ənd kəˈnɛkʃən ˈɪʃuz, ənd naʊ ðeɪ əˈlaʊ ˈɛvriˌwən tɪ bi ˈkɑmprəˌmaɪzd ənd hæv ðɛr ʃɪt ˈstoʊlən. ə lɔt əv gʊd ðət 4 ˈdɪʤɪt pɪn fər peɪaʊts dɪd hə? aɪ wɑz ɔˈrɛdi muvd ɔf əv du tɪ ðə ˈəðər ˈɪʃuz ənd naʊ ðɪs? jæ. seɪf tɪ seɪ aɪ kən ˈnɛvər trəst ðɪs pul əˈgɛn... ˈɔˌflaɪn ækˈtɪvɪti: 9 ˈmɛrət: 0 newbieactivity*: 9merit*: 0 ri: pər coin][vardiff*] dɪˈsɛmbər 24 2013 piɛm 1805 kwoʊt frəm: ɔn dɪˈsɛmbər 24 2013 piɛm wət ðə ˈməðər fək?! gɔn. aɪ əˈsum ðət woʊnt du ˈɛniˌθɪŋ əˈbaʊt rɪˈfəndɪŋ ˈpipəl?? səʧ ə sæd steɪt. fərst ðə ˈhɔrəbəl peɪaʊts ənd kəˈnɛkʃən ˈɪʃuz, ənd naʊ ðeɪ əˈlaʊ ˈɛvriˌwən tɪ bi ˈkɑmprəˌmaɪzd ənd hæv ðɛr ʃɪt ˈstoʊlən. ə lɔt əv gʊd ðət 4 ˈdɪʤɪt pɪn fər peɪaʊts dɪd hə? aɪ wɑz ɔˈrɛdi muvd ɔf əv du tɪ ðə ˈəðər ˈɪʃuz ənd naʊ ðɪs? jæ. seɪf tɪ seɪ aɪ kən ˈnɛvər trəst ðɪs pul əˈgɛn... wɛl tɪ bi ˈɑnəst ju ˈrɪli kænt trəst ðə məˈʤɔrəti əv pulz. ɪts nɑt laɪk wi noʊ ðə ˈbækˌgraʊndz əv ðə ˈpipəl ˈrənɪŋ ðɪs. aɪ əˈsum ðət ə lɔt əv saɪts ər raɪf wɪθ sɪˈkjʊrəti ˈɪʃuz. ˈdəzənt stɑp mi frəm ˈmaɪnɪŋ əv kɔrs, bət aɪ æm ˈwɛri əv ɪt ɔl. wɛl tɪ bi ˈɑnəst ju ˈrɪli kænt trəst ðə məˈʤɔrəti əv pulz. ɪts nɑt laɪk wi noʊ ðə ˈbækˌgraʊndz əv ðə ˈpipəl ˈrənɪŋ əˈsum ðət ə lɔt əv saɪts ər raɪf wɪθ sɪˈkjʊrəti ˈɪʃuz. ˈdəzənt stɑp mi frəm ˈmaɪnɪŋ əv kɔrs, bət aɪ æm ˈwɛri əv ɪt ɔl. ˌbɪljəˈnɛr ˈɔˌflaɪn ækˈtɪvɪti: 154 ˈmɛrət: 100 fʊl memberactivity*: 154merit*: 100 ri: pər coin][vardiff*] dɪˈsɛmbər 24 2013 piɛm 1806 woʊk əp tɪ faɪnd ˈstoʊlən frəm maɪ əˈkaʊnt. ɪt wɛnt tɪ ðə seɪm ˈæˌdrɛs ðət stoʊl ˈɛvriˌwən ˈɛlsɪz. aɪ ˈivɪn hæd maɪ wɪθˈdrɔ ˈlɪmət sɛt tɪ, bət ɪt wɑz ʧeɪnʤd tɪ ˈɔtoʊ æt ðə seɪm taɪm ðə ˈpərsən ʧeɪnʤd ðə ˈæˌdrɛs. aɪ hæv ˈnɛvər hæd ˈɛni əv ðə pulz ər ɪksˈʧeɪnʤɪz aɪ ˈfrikˌwɛnt ˈɛvər hæv maɪ əˈkaʊnt hækt. ˈivɪn ðə ˈloʊli ˌɑpərˈeɪʃənz. aɪ juz ə ˈdɪfərənt ˈpæsˌwərd ənd pɪn æt iʧ saɪt tu. 40 simz laɪk ə lɔt fər ðɪs saɪt tɪ bi ˈeɪbəl tɪ ˈkəvər ɪn ˌriɪmˈbərsmənts du tɪ ɪts oʊn sɪˈkjʊrəti flɔz (wɪʧ ɪt ˈklɪrli wɑz sɪns soʊ ˈmɛni wər əˈfɛktɪd). aɪ ˈsərtənli hoʊp aɪ gɪt peɪd bæk, bət nɑt ˈhoʊldɪŋ maɪ brɛθ ˈiðər. ɪt məst bi ˈvɛri ˈtɛmptɪŋ tɪ ˈsɪmpli kloʊz daʊn ðə saɪt ənd nɑt peɪ ˈdɔlərz wərθ əv kɔɪn tɪ ˈjuzərz bɪˈkəz əv ðə saɪts sɪˈkjʊrəti ˈprɑbləmz. ðæts ɪf ˈivɪn həz ɪˈnəf fəndz tɪ peɪ ˈpipəl tɪ bɪˈgɪn wɪθ. ˈnidləs tɪ seɪ, aɪ wɪl nɑt maɪn ɔn ðə saɪt ər ˈɛni ˈəðər fˈjuʧər pulz ðət maɪt bi kriˈeɪtɪd baɪ tim ənˈtɪl aɪ æm ˈfʊli ˌriɪmˈbərst. ɪf aɪ æm, aɪ wɪl ˈglædli kəm bæk. ˈɔˌflaɪn ækˈtɪvɪti: 294 ˈmɛrət: 250 ˈsɪstər. memberactivity*: 294merit*: 250 ri: pər coin][vardiff*] dɪˈsɛmbər 24 2013 piɛm 1807 əm ʃʊr ðə əˈmaʊnt ðət həz bɪn ˈteɪkɪŋ ɪn frəm fiz ənd ðɛr oʊn ˈmaɪnɪŋ ɪz ˈplɛnti tɪ ˈkəvər ðɪs lɔs. ðə raɪt θɪŋ fər ðɛm tɪ du wʊd bi tɪ oʊn əp tɪ ɪt ənd ʤɪst ˈriˌfənd wət wɑz ˈteɪkən frəm iʧ ˈpərsən. ɛz wɛl ɛz fɪks ðə sɪˈkjʊrəti. ðæts ˈprɪti məʧ ðə ˈoʊnli θɪŋ ðeɪ kən du tɪ ərn ðə trəst əv ðɛr ˈmaɪnərz əˈgɛn. ˈɔˌflaɪn ækˈtɪvɪti: 234 ˈmɛrət: 100 fʊl memberactivity*: 234merit*: 100 ri: pər coin][vardiff*] dɪˈsɛmbər 24 2013 piɛm 1809 jæ, nɑt ˌɪmˈprɛst... lɔg ɔn tɪ si ə ˈmænjuəl peɪaʊt wɪθ noʊ fi tɪ ðə ˈæˌdrɛs əv 13r87ropkdkzdeuveqox64kkclvpwvdtkh*. ðɪs pul hæd ˈbɛtər du ˈsəmθɪŋ tɪ fɪks ðɪs ˈɪʃu.. aɪ hæd ə 16 ˈdɪʤɪt ˈrændəm ˈpæsˌwərd ˈʤɛnərˌeɪtɪd fər ðɪs saɪt ˌbiˈfɔr ɪt wɑz hækt.. aɪ hæv riˈʤɛnərˌeɪtɪd əˈnəðər naʊ ənd maɪ ənd ˈspaɪˌwɛr dɪˈtɛktər kəm əp ˈnɛgətɪv ɔn maɪ saɪd. ðɪs wɑz ə hoʊl ɪn ənd aɪ ɪkˈspɛkt tɪ bi reinbursed*. ɪf ju laɪk wət aɪv ˈpoʊstɪd, maɪn fər mi ɔn ˌwəˈtɛvər ju laɪk ɔn fər ə ˈmɪnət ˈjuzɪŋ maɪ ˈæˌdrɛs: ˈɔˌflaɪn ækˈtɪvɪti: 7 ˈmɛrət: 0 newbieactivity*: 7merit*: 0 ri: pər coin][vardiff*] dɪˈsɛmbər 24 2013 piɛm 1812 wət ɪz ˈivɪn mɔr ˈskɛri ɪz ðeɪ gɑt baɪ ðə pɪn ðət ɪz ˈmændəˌtɔri tɪ sɛt. ˈklɪrli ðɛr ɪz ə bɪg sɪˈkjʊrəti ˈɪʃu hir, moʊst ˈlaɪkli ˈsɛvərəl əv ðə ˈbɑksɪz ˈrənɪŋ hæv bɪn r00ted*. klin ʃʊd bi rɪˈstɔrd ənd ðə ˈsərvərz waɪpt ənd riˈbɪlt. ɪt wʊd bi nis tɪ hæv ˌkɑmpənˈseɪʃən. aɪ ˈɔlsoʊ gɑt hɪt baɪ 13r87ropkdkzdeuveqox64kkclvpwvdtkh*, lɔst ðət ˈdɪdənt gɪt ə ʧæns tɪ ðɛr ɪz ə bɪg sɪˈkjʊrəti ˈɪʃu hir, moʊst ˈlaɪkli ˈsɛvərəl əv ðə ˈbɑksɪz ˈrənɪŋ hæv bɪn r00ted*. klin ʃʊd bi rɪˈstɔrd ənd ðə ˈsərvərz waɪpt ənd wʊd bi nis tɪ hæv ˌkɑmpənˈseɪʃən. ˈɔˌflaɪn ækˈtɪvɪti: 9 ˈmɛrət: 0 newbieactivity*: 9merit*: 0 ri: pər coin][vardiff*] dɪˈsɛmbər 24 2013 piɛm 1813 kwoʊt frəm: ɔn dɪˈsɛmbər 24 2013 piɛm wət ɪz ˈivɪn mɔr ˈskɛri ɪz ðeɪ gɑt baɪ ðə pɪn ðət ɪz ˈmændəˌtɔri tɪ sɛt. ˈklɪrli ðɛr ɪz ə bɪg sɪˈkjʊrəti ˈɪʃu hir, moʊst ˈlaɪkli ˈsɛvərəl əv ðə ˈbɑksɪz ˈrənɪŋ hæv bɪn r00ted*. klin ʃʊd bi rɪˈstɔrd ənd ðə ˈsərvərz waɪpt ənd riˈbɪlt. ɪt wʊd bi nis tɪ hæv ˌkɑmpənˈseɪʃən. aɪ ˈɔlsoʊ gɑt hɪt baɪ 13r87ropkdkzdeuveqox64kkclvpwvdtkh*, lɔst ðət ˈdɪdənt gɪt ə ʧæns tɪ ðɛr ɪz ə bɪg sɪˈkjʊrəti ˈɪʃu hir, moʊst ˈlaɪkli ˈsɛvərəl əv ðə ˈbɑksɪz ˈrənɪŋ hæv bɪn r00ted*. klin ʃʊd bi rɪˈstɔrd ənd ðə ˈsərvərz waɪpt ənd wʊd bi nis tɪ hæv ˌkɑmpənˈseɪʃən. oʊ jɑ noʊ daʊt ðeɪ hæv hæd ə fʊl ˈkɑmprəˌmaɪz. ɪt wɪl bi ˈɪntəˌrɛstɪŋ tɪ si ɪf ðeɪ ˈfɪgjər aʊt haʊ, ənd ˈwɛðər ðeɪ noʊ haʊ tɪ fɪks ɪt ənd ˈwɛðər ðeɪ dɪˈskloʊz haʊ ɪt ˈhæpənd. wɪl lərn ə lɔt əˈbaʊt ɪn ðə nɛkst fju deɪz... oʊ jɑ noʊ daʊt ðeɪ hæv hæd ə fʊl wɪl bi ˈɪntəˌrɛstɪŋ tɪ si ɪf ðeɪ ˈfɪgjər aʊt haʊ, ənd ˈwɛðər ðeɪ noʊ haʊ tɪ fɪks ɪt ənd ˈwɛðər ðeɪ dɪˈskloʊz haʊ ɪt lərn ə lɔt əˈbaʊt ɪn ðə nɛkst fju deɪz... |
the washington post's paul kane speaks to libby casey about donald trump's unfounded claim that millions of people voted illegally for hillary clinton. (the washington post)
correction: politico columnist jack shafer did not advise journalists to “ignore,” donald. he wrote that journalists should think before in response and not take “the bait.”
commentators such as jack shafer argue the media should ignore donald outlandish because they are outlandish and because they distract us from things trump wants us to ignore. shafer has things exactly backward.
the aaron blake responds, “the job comes with the so-called bully pulpit, and what he says matters and will be the subject of debate no matter what the mainstream media does. everything he says reverberates. it matter if he says it on twitter or at a news conference; either way going to be consumed by tens of millions of people, and the media has an important role to play when it comes to and providing context.” we find that logic compelling and would add a few additional points.
first, the media can walk and chew gum at the same time. cable tv news has coverage. online editions of major newspapers and of the broadcast networks have virtually unlimited pixels at their disposal. even in print newspapers, the most format, room can be found not only for a headline “trump invents voter fraud,” but also “trump’s business connections threaten to deepen the swamp” and “trump’s ignorance of the constitution concerns.” if one suspects trump is trying to distract us, as opposed to getting himself distracted to an alarming degree, how much more important is it to explain, for example, that “trump takes to twitter to distract from secretary of state paralysis”? (but unless someone is privy to the inner thoughts of trump, we really do not know the “motive” for his.) in any event, covering does not negate coverage of his other missteps; to the contrary it should underscore his continued difficulty in performing a job he really never planned to hold.
[get ready for the cable news presidency]
second, we would argue that there is no more important story than the continuous stream of evidence of the’s irrationality and instability. hillary clinton certainly thought that was relevant to the campaign (it was); the mental and intellectual status of the man we elected should be of even greater concern. we can hardly think of more important topics than these:
how are we to trust the decision-making of a president so easily waylaid by nonsense?
does lack of attention span and refusal to read make him susceptible to conspiracy theories?
can he continue his willful indifference to reality and still govern?
do his personal grievances interfere with his ability to function as president?
who, if anyone, can reason with a man this irrational?
third, our allies and enemies are constantly taking the measure of our. they will continue to assess presidency throughout the next four years. (is he easily fooled? does he have the attention span to stick with issues? can he be confused and distracted? is his word reliable?) if every world leader takes into account public pronouncements and makes strategic decisions based, in part, on those utterances, the voters surely should be privy to the same information.
in sum, no one can assess at this stage whether trump strategically or compulsively, whether he means what he or simply to blow off steam, and whether he understands the importance of a words. perhaps clarity will come with time. for now, however, his utterances on twitter and elsewhere give critical insight into the of the least prepared man ever to win the presidency. the central task now and in the months ahead is to explain to the american people precisely who it is they elected his shortcomings, his blind-spots, his emotional state and his decision-making process. turning a blind eye to his unfiltered outbursts would be journalistic malpractice. worse, it would shield the public from the unpleasant reality, the consequences of their electoral decision, which they must now endure for four (if not eight) years. | ðə ˈwɔʃɪŋtən poʊsts pɔl keɪn spiks tɪ ˈlɪˌbi ˈkeɪsi əˈbaʊt ˈdɑnəld trəmps ənˈfaʊndɪd kleɪm ðət ˈmɪljənz əv ˈpipəl ˈvoʊtɪd ˌɪˈligəli fər ˈhɪləri ˈklɪntən. (ðə ˈwɔʃɪŋtən poʊst) kərˈɛkʃən: pəˈlɪtɪˌkoʊ ˈkɑləmnəst ʤæk ˈʃeɪfər dɪd nɑt ədˈvaɪz ˈʤərnəlɪsts tɪ ““ignore,”*,” ˈdɑnəld. hi roʊt ðət ˈʤərnəlɪsts ʃʊd θɪŋk ˌbiˈfɔr ɪn rɪˈspɑns ənd nɑt teɪk bait.”*.” ˈkɑmənˌteɪtərz səʧ ɛz ʤæk ˈʃeɪfər ˈɑrgju ðə ˈmidiə ʃʊd ˌɪgˈnɔr ˈdɑnəld aʊˈtlændɪʃ bɪˈkəz ðeɪ ər aʊˈtlændɪʃ ənd bɪˈkəz ðeɪ dɪˈstrækt ˈjuˈɛs frəm θɪŋz trəmp wɔnts ˈjuˈɛs tɪ ˌɪgˈnɔr. ˈʃeɪfər həz θɪŋz ɪgˈzæktli ˈbækwərd. ðə ˈɛrən bleɪk rɪˈspɑndz, ʤɑb kəmz wɪθ ðə ˈsoʊˈkɔld ˈbʊli ˈpʊlpɪt, ənd wət hi sɪz ˈmætərz ənd wɪl bi ðə ˈsəbʤɪkt əv dəˈbeɪt noʊ ˈmætər wət ðə ˈmeɪnˌstrim ˈmidiə dɪz. ˈɛvriˌθɪŋ hi sɪz rɪˈvərbərˌeɪts. ɪt ˈmætər ɪf hi sɪz ɪt ɔn tˈwɪtər ər æt ə nuz ˈkɑnfərəns; ˈiðər weɪ goʊɪŋ tɪ bi kənˈsumd baɪ tɛnz əv ˈmɪljənz əv ˈpipəl, ənd ðə ˈmidiə həz ən ˌɪmˈpɔrtənt roʊl tɪ pleɪ wɪn ɪt kəmz tɪ ənd prəˈvaɪdɪŋ context.”*.” wi faɪnd ðət ˈlɑʤɪk kəmˈpɛlɪŋ ənd wʊd æd ə fju əˈdɪʃənəl pɔɪnts. fərst, ðə ˈmidiə kən wɔk ənd ʧu gəm æt ðə seɪm taɪm. ˈkeɪbəl ˌtɛləˈvɪʒən nuz həz ˈkəvərɪʤ. ˈɔnˌlaɪn ɪˈdɪʃənz əv ˈmeɪʤər ˈnuzˌpeɪpərz ənd əv ðə ˈbrɔdˌkæst ˈnɛtˌwərks hæv ˈvərʧuəli ənˈlɪmɪtɪd ˈpɪksəlz æt ðɛr dɪˈspoʊzəl. ˈivɪn ɪn prɪnt ˈnuzˌpeɪpərz, ðə moʊst ˈfɔrˌmæt, rum kən bi faʊnd nɑt ˈoʊnli fər ə ˈhɛˌdlaɪn ˌɪnˈvɛnts ˈvoʊtər fraud,”*,” bət ˈɔlsoʊ ˈbɪznɪs kəˈnɛkʃənz θˈrɛtən tɪ ˈdipən ðə swamp”*” ənd ˈɪgnərəns əv ðə ˌkɑnstəˈtuʃən concerns.”*.” ɪf wən ˈsəˌspɛkts trəmp ɪz traɪɪŋ tɪ dɪˈstrækt ˈjuˈɛs, ɛz əˈpoʊzd tɪ ˈgɪtɪŋ hɪmˈsɛlf dɪˈstræktɪd tɪ ən əˈlɑrmɪŋ dɪˈgri, haʊ məʧ mɔr ˌɪmˈpɔrtənt ɪz ɪt tɪ ɪkˈspleɪn, fər ɪgˈzæmpəl, ðət teɪks tɪ tˈwɪtər tɪ dɪˈstrækt frəm ˈsɛkrəˌtɛri əv steɪt paralysis”*”? (bət ənˈlɛs ˈsəmˌwən ɪz ˈprɪvi tɪ ðə ˈɪnər θɔts əv trəmp, wi ˈrɪli du nɑt noʊ ðə ““motive”*” fər hɪz.) ɪn ˈɛni ɪˈvɛnt, ˈkəvərɪŋ dɪz nɑt nɪˈgeɪt ˈkəvərɪʤ əv hɪz ˈəðər mɪˈstɛps; tɪ ðə ˈkɑntrɛri ɪt ʃʊd ˌəndərˈskɔr hɪz kənˈtɪnjud ˈdɪfɪˌkəlti ɪn pərˈfɔrmɪŋ ə ʤɑb hi ˈrɪli ˈnɛvər plænd tɪ hoʊld. [gɪt ˈrɛdi fər ðə ˈkeɪbəl nuz ˈprɛzɪdənsi] ˈsɛkənd, wi wʊd ˈɑrgju ðət ðɛr ɪz noʊ mɔr ˌɪmˈpɔrtənt ˈstɔri ðən ðə kənˈtɪnjuəs strim əv ˈɛvədəns əv ðə ˌɪˌræʃəˈnæləti ənd ˌɪnstəˈbɪlɪti. ˈhɪləri ˈklɪntən ˈsərtənli θɔt ðət wɑz ˈrɛləvənt tɪ ðə kæmˈpeɪn (ɪt wɑz); ðə ˈmɛntəl ənd ˌɪnəˈlɛkʧuəl ˈstætəs əv ðə mæn wi ɪˈlɛktɪd ʃʊd bi əv ˈivɪn ˈgreɪtər kənˈsərn. wi kən ˈhɑrdli θɪŋk əv mɔr ˌɪmˈpɔrtənt ˈtɑpɪks ðən ðiz: haʊ ər wi tɪ trəst ðə dɪˈsɪʒənˌmeɪkɪŋ əv ə ˈprɛzɪdənt soʊ ˈizəli ˈweɪˌleɪd baɪ ˈnɑnsɛns? dɪz læk əv əˈtɛnʃən spæn ənd rɪfˈjuzəl tɪ rɛd meɪk ɪm səˈsɛptəbəl tɪ kənˈspɪrəsi ˈθɪriz? kən hi kənˈtɪnju hɪz ˈwɪlfəl ˌɪnˈdɪfərəns tɪ ˌriˈæləˌti ənd stɪl ˈgəvərn? du hɪz ˈpərsɪnəl ˈgrivənsɪz ˌɪnərˈfɪr wɪθ hɪz əˈbɪləˌti tɪ ˈfəŋkʃən ɛz ˈprɛzɪdənt? hu, ɪf ˈɛniˌwən, kən ˈrizən wɪθ ə mæn ðɪs ˌɪˈræʃənəl? θərd, ɑr ˈælaɪz ənd ˈɛnəmiz ər ˈkɑnstəntli ˈteɪkɪŋ ðə ˈmɛʒər əv ɑr. ðeɪ wɪl kənˈtɪnju tɪ əˈsɛs ˈprɛzɪdənsi θruaʊt ðə nɛkst fɔr jɪrz. (ɪz hi ˈizəli fuld? dɪz hi hæv ðə əˈtɛnʃən spæn tɪ stɪk wɪθ ˈɪʃuz? kən hi bi kənfˈjuzd ənd dɪˈstræktɪd? ɪz hɪz wərd rɪˈlaɪəbəl?) ɪf ˈɛvəri wərld ˈlidər teɪks ˈɪntu əˈkaʊnt ˈpəblɪk prəˈnaʊnsmənts ənd meɪks strəˈtiʤɪk dɪˈsɪʒənz beɪst, ɪn pɑrt, ɔn ðoʊz ˈətərənsɪz, ðə ˈvoʊtərz ˈʃʊrli ʃʊd bi ˈprɪvi tɪ ðə seɪm ˌɪnˌfɔrˈmeɪʃən. ɪn səm, noʊ wən kən əˈsɛs æt ðɪs steɪʤ ˈwɛðər trəmp strəˈtiʤɪkli ər kəmˈpəlsɪvli, ˈwɛðər hi minz wət hi ər ˈsɪmpli tɪ bloʊ ɔf stim, ənd ˈwɛðər hi ˌəndərˈstændz ðə ˌɪmˈpɔrtəns əv ə wərdz. pərˈhæps ˈklɛrɪti wɪl kəm wɪθ taɪm. fər naʊ, ˌhaʊˈɛvər, hɪz ˈətərənsɪz ɔn tˈwɪtər ənd ˈɛlsˌwɛr gɪv ˈkrɪtɪkəl ˈɪnˌsaɪt ˈɪntu ðə əv ðə list priˈpɛrd mæn ˈɛvər tɪ wɪn ðə ˈprɛzɪdənsi. ðə ˈsɛntrəl tæsk naʊ ənd ɪn ðə mənθs əˈhɛd ɪz tɪ ɪkˈspleɪn tɪ ðə əˈmɛrɪkən ˈpipəl prɪˈsaɪsli hu ɪt ɪz ðeɪ ɪˈlɛktɪd hɪz ˈʃɔrtˌkəmɪŋz, hɪz blind-spots*, hɪz ˈiˌmoʊʃənəl steɪt ənd hɪz dɪˈsɪʒənˌmeɪkɪŋ ˈprɔˌsɛs. ˈtərnɪŋ ə blaɪnd aɪ tɪ hɪz ənˈfɪltərd ˈaʊtˌbərsts wʊd bi ˌʤərnəˈlɪstɪk mælˈpræktɪs. wərs, ɪt wʊd ʃild ðə ˈpəblɪk frəm ðə ənˈplɛzənt ˌriˈæləˌti, ðə ˈkɑnsəkˌwɛnsəz əv ðɛr ɪˈlɛktərəl dɪˈsɪʒən, wɪʧ ðeɪ məst naʊ ɪnˈdʊr fər fɔr (ɪf nɑt eɪt) jɪrz. |
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bill baker, the legendary man who played a key role in land successful return to the u.s. market in 1986, died thursday after a battle with cancer at his home near laguna niguel, calif. he was 72.
baker, a broadcast newsman from ohio, caught attention in the early with his road test segments that aired in cleveland. ford offered baker a job on its broadcast media relations team. two years later, baker moved to volvo, and then held management positions at and ferrari.
baker then worked for sony corp. of america. and in 1983, opened his own shop and worked for chrysler before becoming one of the first american employees of land rover of north america in 1986.
land u.s. operations in the were small, fewer than 100 people, recalls charlie hughes, land north american ceo in the and 1990s. baker, hughes said, was given a small budget toomote a vehicle few americans had ever heard of -- the range rover.
not only was the range rover a new vehicle and brand in the u.s., it was creating a new segment -- the luxury suv.
“we were a very small company and we knew we had to do some exciting things to get noticed. you turn bill loose and all sorts of wonderful things happened,” hughes told automotive news.
car news jaguar and land rover want to make paying for gas easier with app paying for gas usually isn't a huge hassle (unless you have to stand in line behind someone who's buying dozens of lottery tickets) but jaguar and shell have teamed up to allow drivers to make ...
tough odds
the rover name was somewhat tarnished with american buyers. in 1973, british leyland, then owner of land rover, suddenly pulled the brand out of the u.s. market, leaving many of its dealers with nothing to sell.
seven years later, the rover name was back in the u.s. but on a car, the 1980 rover 3500. a mere units of the large powered hatchback were sold before the model was pulled from the u.s. market after just one year. it help that the 1986 range aluminum engine used the rover engine and was a castoff first used in a 1962 buick.
none of that bogged down baker.
as land rover was gearing up for the range u.s. launch, rover executives in england stepped back. still reeling from the embarrassing failure of the 1980 rover 3500, the company could not afford another failure. they wanted americans to run the north american launch, hughes recalled.
“when you are launching a vehicle and you have a very small advertising budget, we just made a decision to make sure spend whatever we needed to spend in the public relations area because we knew that money was going to be more important and more impactful.”
creative spark
the land rover brand ignited in baker a spark of creativity and passion that cemented his reputation as one of the most brilliant and strategic public relations executives in the industry.
hughes says range rover got traction at launch in part because of the catchy ads by grace & rothschild, which showed the vehicle in places such as luxurious long island homes, but also covered with mud -- a first in automotive advertising -- and the creative way bakeromoted the brand and the vehicles to the media.
baker dreamed up and then hosted extreme driving expeditions in north america, south america, and africa that put influential auto writers behind the wheel of land rugged vehicles in extremely hostile terrain.
baker knew one way to erase lingering quality concerns and other issues from the minds of skeptical reporters, was to let automotive journalists drive the rugged rovers through streams, up rocky mountainsides and on dangerously slippery roads.
jean jennings, former editor of automobile magazine, said: “bill baker put land rover on the map at a time when there was virtually nooduct. hisess trips spanned the globe, each a adventure. great divide, morocco, scotland, iceland, belize, and on and on.”
“land rover would certainly not be the unquestionably authentic brand it is in the u.s. market were it not for bill and charlie hughes building the stories, painting the pictures and making it thoroughly for so many writers and journalists. his legacy will endure,” jim resnick, one of former colleagues wrote on facebook.
stuart schorr, viceesident of communications and public affairs for land u.s. operations, said baker defined the land rover brand in north america. “everything we do today is informed by the vision and hard work of those land rover pioneers such as bill baker.”
baker went into from land rover in 2003. but he stayed in touch with hughes and with many of the journalists who attended his driving expeditions. he had been battling cancer and other health issues in recent years.
“bill was critical to our success,” hughes told automotive news. “arguably, he was the most creative person of his time.”
"bill baker, how put land rover on the map, dies at 72" was originally published at automotive news on. | ʃɛr iˈmeɪl bɪl ˈbeɪkər, ðə ˈlɛʤənˌdɛri mæn hu pleɪd ə ki roʊl ɪn lænd səkˈsɛsfəl rɪˈtərn tɪ ðə juz. ˈmɑrkɪt ɪn 1986 daɪd ˈθərzˌdeɪ ˈæftər ə ˈbætəl wɪθ ˈkænsər æt hɪz hoʊm nɪr ləˈgunə nɪˈgɛl, ˈkælɪf. hi wɑz 72 ˈbeɪkər, ə ˈbrɔdˌkæst ˈnuzˌmæn frəm oʊˈhaɪoʊ, kɔt əˈtɛnʃən ɪn ðə ˈərli wɪθ hɪz roʊd tɛst ˌsɛgˈmɛnts ðət ɛrd ɪn ˈklivlənd. fɔrd ˈɔfərd ˈbeɪkər ə ʤɑb ɔn ɪts ˈbrɔdˌkæst ˈmidiə riˈleɪʃənz tim. tu jɪrz ˈleɪtər, ˈbeɪkər muvd tɪ ˈvoʊlvoʊ, ənd ðɛn hɛld ˈmænɪʤmənt pəˈzɪʃənz æt ənd fərˈɑri. ˈbeɪkər ðɛn wərkt fər ˈsoʊni ˈkɔrpərˈeɪʃən. əv əˈmɛrɪkə. ənd ɪn 1983 ˈoʊpənd hɪz oʊn ʃɑp ənd wərkt fər ˈkraɪslər ˌbiˈfɔr bɪˈkəmɪŋ wən əv ðə fərst əˈmɛrɪkən ɪmˈplɔɪiz əv lænd ˈroʊvər əv nɔrθ əˈmɛrɪkə ɪn 1986 lænd juz. ˌɑpərˈeɪʃənz ɪn ðə wər smɔl, fjuər ðən 100 ˈpipəl, ˈriˌkɔlz ˈʧɑrli juz, lænd nɔrθ əˈmɛrɪkən ˈsiˌiˈoʊ ɪn ðə ənd 1990s*. ˈbeɪkər, juz sɛd, wɑz ˈgɪvɪn ə smɔl ˈbəʤɪt tɪ prəˈmoʊt ə ˈviɪkəl fju əˈmɛrɪkənz hæd ˈɛvər hərd əv ðə reɪnʤ ˈroʊvər. nɑt ˈoʊnli wɑz ðə reɪnʤ ˈroʊvər ə nu ˈviɪkəl ənd brænd ɪn ðə juz., ɪt wɑz kriˈeɪtɪŋ ə nu ˌsɛgˈmɛnt ðə ˈləgʒəri ˌɛsˌjuˈvi. wər ə ˈvɛri smɔl ˈkəmpəˌni ənd wi nu wi hæd tɪ du səm ɪkˈsaɪtɪŋ θɪŋz tɪ gɪt ˈnoʊtɪst. ju tərn bɪl lus ənd ɔl sɔrts əv ˈwəndərfəl θɪŋz happened,”*,” juz toʊld ˌɔtəˈmoʊtɪv nuz. kɑr nuz ˈʤægˌwɑr ənd lænd ˈroʊvər wɔnt tɪ meɪk peɪɪŋ fər gæs ˈiziər wɪθ æp peɪɪŋ fər gæs ˈjuʒəwəli ˈɪzənt ə juʤ ˈhæsəl (ənˈlɛs ju hæv tɪ stænd ɪn laɪn bɪˈhaɪnd ˈsəmˌwən huz baɪɪŋ ˈdəzənz əv ˈlɑtəri ˈtɪkɪts) bət ˈʤægˌwɑr ənd ʃɛl hæv timd əp tɪ əˈlaʊ ˈdraɪvərz tɪ meɪk təf ɑdz ðə ˈroʊvər neɪm wɑz ˈsəmˈwət ˈtɑrnɪʃt wɪθ əˈmɛrɪkən baɪərz. ɪn 1973 ˈbrɪtɪʃ ˈleɪlənd, ðɛn ˈoʊnər əv lænd ˈroʊvər, ˈsədənli pʊld ðə brænd aʊt əv ðə juz. ˈmɑrkɪt, ˈlivɪŋ ˈmɛni əv ɪts ˈdilərz wɪθ ˈnəθɪŋ tɪ sɛl. ˈsɛvən jɪrz ˈleɪtər, ðə ˈroʊvər neɪm wɑz bæk ɪn ðə juz. bət ɔn ə kɑr, ðə 1980 ˈroʊvər 3500 ə mɪr ˈjunɪts əv ðə lɑrʤ paʊərd ˈhæʧˌbæk wər soʊld ˌbiˈfɔr ðə ˈmɑdəl wɑz pʊld frəm ðə juz. ˈmɑrkɪt ˈæftər ʤɪst wən jɪr. ɪt hɛlp ðət ðə 1986 reɪnʤ əˈlumənəm ˈɪnʤən juzd ðə ˈroʊvər ˈɪnʤən ənd wɑz ə ˈkæˌstɔf fərst juzd ɪn ə 1962 bjuɪk. nən əv ðət bɔgd daʊn ˈbeɪkər. ɛz lænd ˈroʊvər wɑz ˈgɪrɪŋ əp fər ðə reɪnʤ juz. lɔnʧ, ˈroʊvər ɪgˈzɛkjətɪvz ɪn ˈɪŋglənd stɛpt bæk. stɪl ˈrilɪŋ frəm ðə ɪmˈbɛrəsɪŋ ˈfeɪljər əv ðə 1980 ˈroʊvər 3500 ðə ˈkəmpəˌni kʊd nɑt əˈfɔrd əˈnəðər ˈfeɪljər. ðeɪ ˈwɔntɪd əˈmɛrɪkənz tɪ rən ðə nɔrθ əˈmɛrɪkən lɔnʧ, juz rɪˈkɔld. ju ər ˈlɔnʧɪŋ ə ˈviɪkəl ənd ju hæv ə ˈvɛri smɔl ˈædvərˌtaɪzɪŋ ˈbəʤɪt, wi ʤɪst meɪd ə dɪˈsɪʒən tɪ meɪk ʃʊr spɛnd ˌwəˈtɛvər wi ˈnidɪd tɪ spɛnd ɪn ðə ˈpəblɪk riˈleɪʃənz ˈɛriə bɪˈkəz wi nu ðət ˈməni wɑz goʊɪŋ tɪ bi mɔr ˌɪmˈpɔrtənt ənd mɔr impactful.”*.” kriˈeɪtɪv spɑrk ðə lænd ˈroʊvər brænd ˌɪgˈnaɪtɪd ɪn ˈbeɪkər ə spɑrk əv ˌkrieɪˈtɪvəti ənd ˈpæʃən ðət sɪˈmɛntɪd hɪz ˌrɛpjəˈteɪʃən ɛz wən əv ðə moʊst ˈbrɪljənt ənd strəˈtiʤɪk ˈpəblɪk riˈleɪʃənz ɪgˈzɛkjətɪvz ɪn ðə ˈɪndəstri. juz sɪz reɪnʤ ˈroʊvər gɑt ˈtrækʃən æt lɔnʧ ɪn pɑrt bɪˈkəz əv ðə ˈkæˌʧi ædz baɪ greɪs ˈrɔθsˌʧaɪld, wɪʧ ʃoʊd ðə ˈviɪkəl ɪn ˈpleɪsɪz səʧ ɛz ləgˈʒəriəs lɔŋ ˈaɪlənd hoʊmz, bət ˈɔlsoʊ ˈkəvərd wɪθ məd ə fərst ɪn ˌɔtəˈmoʊtɪv ˈædvərˌtaɪzɪŋ ənd ðə kriˈeɪtɪv weɪ ˈbeɪkər prəˈmoʊtəd ðə brænd ənd ðə ˈviɪkəlz tɪ ðə ˈmidiə. ˈbeɪkər drimd əp ənd ðɛn ˈhoʊstɪd ɪkˈstrim ˈdraɪvɪŋ ˌɛkspəˈdɪʃənz ɪn nɔrθ əˈmɛrɪkə, saʊθ əˈmɛrɪkə, ənd ˈæfrɪkɑ ðət pʊt ˌɪnfluˈɛnʃəl ˈɔtoʊ ˈraɪtərz bɪˈhaɪnd ðə wil əv lænd ˈrəgəd ˈviɪkəlz ɪn ɪkˈstrimli ˈhɑstəl təreɪn. ˈbeɪkər nu wən weɪ tɪ ɪˈreɪs ˈlɪŋgərɪŋ kˈwɑləti kənˈsərnz ənd ˈəðər ˈɪʃuz frəm ðə maɪndz əv ˈskɛptɪkəl rɪˈpɔrtərz, wɑz tɪ lɛt ˌɔtəˈmoʊtɪv ˈʤərnəlɪsts draɪv ðə ˈrəgəd ˈroʊvərz θru strimz, əp ˈrɑki ˈmaʊntənˌsaɪdz ənd ɔn ˈdeɪnʤərəsli sˈlɪpəri roʊdz. ʤin ˈʤɛnɪŋz, ˈfɔrmər ˈɛdɪtər əv ˌɔtəmoʊˈbil ˈmægəˌzin, sɛd: ˈbeɪkər pʊt lænd ˈroʊvər ɔn ðə mæp æt ə taɪm wɪn ðɛr wɑz ˈvərʧuəli noʊ ˈprɑdəkt. hɪz prɛs trɪps spænd ðə gloʊb, iʧ ə ədˈvɛnʧər. greɪt dɪˈvaɪd, mərˈɑkoʊ, ˈskɑtlənd, ˈaɪslənd, bɛˈliz, ənd ɔn ənd on.”*.” ˈroʊvər wʊd ˈsərtənli nɑt bi ðə ənkˈwɛsʧənəbli əˈθɛnɪk brænd ɪt ɪz ɪn ðə juz. ˈmɑrkɪt wər ɪt nɑt fər bɪl ənd ˈʧɑrli juz ˈbɪldɪŋ ðə ˈstɔriz, ˈpeɪnɪŋ ðə ˈpɪkʧərz ənd ˈmeɪkɪŋ ɪt ˈθəroʊli fər soʊ ˈmɛni ˈraɪtərz ənd ˈʤərnəlɪsts. hɪz ˈlɛgəsi wɪl endure,”*,” ʤɪm ˈrɛznɪk, wən əv ˈfɔrmər ˈkɑligz roʊt ɔn ˈfeɪsˌbʊk. stɔrt ʃɔr, vaɪs ˈprɛzɪdənt əv kəmˌjunəˈkeɪʃənz ənd ˈpəblɪk əˈfɛrz fər lænd juz. ˌɑpərˈeɪʃənz, sɛd ˈbeɪkər dɪˈfaɪnd ðə lænd ˈroʊvər brænd ɪn nɔrθ əˈmɛrɪkə. wi du təˈdeɪ ɪz ˌɪnˈfɔrmd baɪ ðə ˈvɪʒən ənd hɑrd wərk əv ðoʊz lænd ˈroʊvər ˌpaɪəˈnɪrz səʧ ɛz bɪl baker.”*.” ˈbeɪkər wɛnt ˈɪntu frəm lænd ˈroʊvər ɪn 2003 bət hi steɪd ɪn təʧ wɪθ juz ənd wɪθ ˈmɛni əv ðə ˈʤərnəlɪsts hu əˈtɛndəd hɪz ˈdraɪvɪŋ ˌɛkspəˈdɪʃənz. hi hæd bɪn ˈbætəlɪŋ ˈkænsər ənd ˈəðər hɛlθ ˈɪʃuz ɪn ˈrisənt jɪrz. wɑz ˈkrɪtɪkəl tɪ ɑr success,”*,” juz toʊld ˌɔtəˈmoʊtɪv nuz. ““arguably*, hi wɑz ðə moʊst kriˈeɪtɪv ˈpərsən əv hɪz time.”*.” "bɪl ˈbeɪkər, haʊ pʊt lænd ˈroʊvər ɔn ðə mæp, daɪz æt 72 wɑz ərˈɪʤənəli ˈpəblɪʃt æt ˌɔtəˈmoʊtɪv nuz ɔn |
william mayer, a prolific composer who ranged from orchestral and chamber music to choral works, operas and more, all while displaying a whimsical streak to go along with his serious one, died at his home in manhattan on nov. 17, the day before his birthday.
his daughter the journalist jane mayer said the cause was heart failure.
mr. mayer received his first commission in 1952, for “essay for brass and winds,” and was still creating new works in the century. his ones included the opera “a death in the family,” first produced in 1983 by the minnesota opera company. his compositions were performed at major halls all over the world and recorded by ensembles of various sizes.
mr. mayer, though, was not confined to the usual classical music boxes. he once wrote a three-act, opera, “brief candle.”
“the brooklyn philharmonic can usually be relied upon to come up with something unusual,” tim page wrote in the new york times in his review of a 1985 performance that included “brief candle,” “and friday program at cooper union did not disappoint.” | ˈwɪljəm meɪər, ə proʊˈlɪfɪk kəmˈpoʊzər hu reɪnʤd frəm ɔrˈkɛstrəl ənd ˈʧeɪmbər mˈjuzɪk tɪ ˈkɔrəl wərks, ˈɑprəz ənd mɔr, ɔl waɪl dɪˈspleɪɪŋ ə ˈwɪmzɪkəl strik tɪ goʊ əˈlɔŋ wɪθ hɪz ˈsɪriəs wən, daɪd æt hɪz hoʊm ɪn mænˈhætən ɔn noʊv. 17 ðə deɪ ˌbiˈfɔr hɪz ˈbərθˌdeɪ. hɪz ˈdɔtər ðə ˈʤərnəlɪst ʤeɪn meɪər sɛd ðə kɔz wɑz hɑrt ˈfeɪljər. ˈmɪstər. meɪər rɪˈsivd hɪz fərst kəˈmɪʃən ɪn 1952 fər fər bræs ənd winds,”*,” ənd wɑz stɪl kriˈeɪtɪŋ nu wərks ɪn ðə ˈsɛnʧəri. hɪz wənz ˌɪnˈkludɪd ðə ˈɑprə dɛθ ɪn ðə family,”*,” fərst prəˈdust ɪn 1983 baɪ ðə ˌmɪnɪˈsoʊtə ˈɑprə ˈkəmpəˌni. hɪz ˌkɑmpəˈzɪʃənz wər pərˈfɔrmd æt ˈmeɪʤər hɔlz ɔl ˈoʊvər ðə wərld ənd rɪˈkɔrdɪd baɪ ɑnˈsɑmbəlz əv ˈvɛriəs ˈsaɪzɪz. ˈmɪstər. meɪər, ðoʊ, wɑz nɑt kənˈfaɪnd tɪ ðə ˈjuʒəwəl ˈklæsɪkəl mˈjuzɪk ˈbɑksɪz. hi wəns roʊt ə three-act*, ˈɑprə, candle.”*.” ˈbrʊklɪn ˌfɪˌlhɑrˈmɑnɪk kən ˈjuʒəwəli bi rɪˈlaɪd əˈpɑn tɪ kəm əp wɪθ ˈsəmθɪŋ unusual,”*,” tɪm peɪʤ roʊt ɪn ðə nu jɔrk taɪmz ɪn hɪz ˌrivˈju əv ə 1985 pərˈfɔrməns ðət ˌɪnˈkludɪd candle,”*,” ˈfraɪˌdeɪ ˈproʊˌgræm æt ˈkupər ˈjunjən dɪd nɑt disappoint.”*.” |
alternate history buffs are about to be whipped into a frenzy! ok, maybe not, but they will find this interesting.
an ancient “super-megalithic” site has been found in the siberian mountains. found recently in (mount) in southern siberia, this site consists of huge blocks of stone, which appear to be granite, with flat surfaces, right angles, and sharp corners. the blocks appear to be stacked, almost in the manner of cyclopean masonry, and enormous!
russia is no stranger to mysterious ancient sites, like or stonehenge, and the formation, just to name two, but the site at is unique in that, if man-made, the blocks used are undoubtedly the largest ever worked by human hands.
here’s the story, as reported by archaeologist john jensen via his personal blog and academia.edu:
“i subscribe to a couple of russian blogs and websites that post various data and information without the typical hype and filters of western science, academia and the press, let alone the fringe and “alien” crowd interests. the following are photos of some super from southern siberia near the mountains of. the super were found and photographed for the first time by georgy on a recent expedition to the southern siberian mountains. the following images are from valery russian website. there are no measurements given, but from the scale depicted by the human figures, these are much larger (as much as 2 to 3 times larger) than the largest known in the world. (example: the pregnant woman stone of baalbek, lebanon weighs in at approximately ton). some of these could easily weigh upwards of to tons. there is little commentary on site, so the images are displayed here without much comments, other than my own limited observations.”
as jensen pointed out, the monolith at baalbek is considered to be one of the largest single stones used in an ancient site, but the blocks or stones at are much, much larger.
you may recognize the name valery uvarov, but if you don’t, it should be known that he is foremost and a proponent of various alternate history theories. he was involved, as a primary player, in the russian screws scenario, some of the details of which are specious. his website is a veritable mountain of questionable but compelling claims about ancient civilizations, alternate explanations for constructions, and speculation.
it turns out that is also a proponent of unconventional theories regarding past. this necessarily warrant discounting the entire story, but it is important to understand that both men are known for seeking out evidence in support of their belief systems, as we all are wont to do to some degree.
at the release of this story, some are excitedly claiming that the site is evidence of an ancient lost civilization; a civilization capable of incredible feats of engineering that even with our modern technology would be virtually impossible. others though are wisely urging caution. the pictures are compelling, and the typical observer would be hard pressed to come up with a natural explanation, but there may be one.
in 1987 a group of recreational scuba divers stumbled onto another apparent site in japan. the monument, which sits off the coast of, which is the island of the island chain, is considered by some to be the most compelling evidence for a lost civilization in our past. others are less convinced, however.
boston university geologist robert schoch believes that the features of are the result of natural geological processes. he cites parallel bedding planes and earthquake activity, and since there are similar formations in the region that are known to be completely natural, this seems a safe bet.
the site, however, in an area prone to frequent earthquakes, and the stone involved is much harder than the sandstone of, but our weird world is known to have created some startling rock formations that defy explanation. the giants causeway of northern ireland and the waffle rock of west virginia come to mind. both of those sites are now known to have been completely natural, but when viewed from the perspective of the layman, it seems incredible to think that they artificial constructions.
in any event, the site at has yet to be studied by experts in the field, all we have at the moment are the pictures, which are quite impressive, but hardly conclusive. future investigation should prove interesting.
be sure to check out all of the pictures provided by jensen! | ˈɔltərˌneɪt ˈhɪstəri bəfs ər əˈbaʊt tɪ bi wɪpt ˈɪntu ə ˈfrɛnzi! ˈoʊˈkeɪ, ˈmeɪbi nɑt, bət ðeɪ wɪl faɪnd ðɪs ˈɪntəˌrɛstɪŋ. ən ˈeɪnʧənt ““super-megalithic”*” saɪt həz bɪn faʊnd ɪn ðə saɪˈbɪriən ˈmaʊntənz. faʊnd ˈrisəntli ɪn (maʊnt) ɪn ˈsəðərn saɪˈbɪriə, ðɪs saɪt kənˈsɪsts əv juʤ blɑks əv stoʊn, wɪʧ əˈpɪr tɪ bi ˈgrænɪt, wɪθ flæt ˈsərfəsɪz, raɪt ˈæŋgəlz, ənd ʃɑrp ˈkɔrnərz. ðə blɑks əˈpɪr tɪ bi stækt, ˈɔlˌmoʊst ɪn ðə ˈmænər əv ˌsaɪkləˈpiən ˈmeɪsənri, ənd ɪˈnɔrmɪs! ˈrəʃə ɪz noʊ ˈstreɪnʤər tɪ mɪˈstɪriəs ˈeɪnʧənt saɪts, laɪk ər ˈstoʊnˌhɛnʤ, ənd ðə fɔrˈmeɪʃən, ʤɪst tɪ neɪm tu, bət ðə saɪt æt ɪz juˈnik ɪn ðət, ɪf ˈmænˌmeɪd, ðə blɑks juzd ər ənˈdaʊtɪdli ðə ˈlɑrʤəst ˈɛvər wərkt baɪ ˈjumən hænz. ðə ˈstɔri, ɛz ˌriˈpɔrtəd baɪ ˌɑrkiˈɑləʤɪst ʤɑn ˈʤɛnsən ˈviə hɪz ˈpərsɪnəl blɔg ənd academia.edu*: səbˈskraɪb tɪ ə ˈkəpəl əv ˈrəʃən blɔgz ənd ˈwɛbˌsaɪts ðət poʊst ˈvɛriəs ˈdætə ənd ˌɪnˌfɔrˈmeɪʃən wɪˈθaʊt ðə ˈtɪpɪkəl haɪp ənd ˈfɪltərz əv ˈwɛstərn saɪəns, ˌækəˈdimiə ənd ðə prɛs, lɛt əˈloʊn ðə frɪnʤ ənd ““alien”*” kraʊd ˈɪntərɪsts. ðə ˈfɑloʊɪŋ ər ˈfoʊˌtoʊz əv səm ˈsupər frəm ˈsəðərn saɪˈbɪriə nɪr ðə ˈmaʊntənz əv. ðə ˈsupər wər faʊnd ənd ˈfoʊtəˌgræft fər ðə fərst taɪm baɪ ˈʤɔrʤi ɔn ə ˈrisənt ˌɛkspəˈdɪʃən tɪ ðə ˈsəðərn saɪˈbɪriən ˈmaʊntənz. ðə ˈfɑloʊɪŋ ˈɪmɪʤɪz ər frəm ˈvæləri ˈrəʃən ˈwɛbˌsaɪt. ðɛr ər noʊ ˈmɛʒərmənts ˈgɪvɪn, bət frəm ðə skeɪl dɪˈpɪktɪd baɪ ðə ˈjumən ˈfɪgjərz, ðiz ər məʧ ˈlɑrʤər (ɛz məʧ ɛz 2 tɪ 3 taɪmz ˈlɑrʤər) ðən ðə ˈlɑrʤəst noʊn ɪn ðə wərld. (ɪgˈzæmpəl: ðə ˈprɛgnənt ˈwʊmən stoʊn əv ˈbɑlbɛk, ˈlɛbənən weɪz ɪn æt əˈprɑksəmətli tən). səm əv ðiz kʊd ˈizəli weɪ ˈəpwərdz əv tɪ tənz. ðɛr ɪz ˈlɪtəl ˈkɑmənˌtɛri ɔn saɪt, soʊ ðə ˈɪmɪʤɪz ər dɪˈspleɪd hir wɪˈθaʊt məʧ ˈkɑmɛnts, ˈəðər ðən maɪ oʊn ˈlɪmɪtɪd observations.”*.” ɛz ˈʤɛnsən ˈpɔɪntɪd aʊt, ðə ˈmɑnəˌlɪθ æt ˈbɑlbɛk ɪz kənˈsɪdərd tɪ bi wən əv ðə ˈlɑrʤəst ˈsɪŋgəl stoʊnz juzd ɪn ən ˈeɪnʧənt saɪt, bət ðə blɑks ər stoʊnz æt ər məʧ, məʧ ˈlɑrʤər. ju meɪ ˈrɛkəgˌnaɪz ðə neɪm ˈvæləri uvarov*, bət ɪf ju don’t*, ɪt ʃʊd bi noʊn ðət hi ɪz ˈfɔrˌmoʊst ənd ə prəˈpoʊnənt əv ˈvɛriəs ˈɔltərˌneɪt ˈhɪstəri ˈθɪriz. hi wɑz ˌɪnˈvɑlvd, ɛz ə ˈpraɪˌmɛri pleɪər, ɪn ðə ˈrəʃən skruz sɪˈnɛrioʊ, səm əv ðə ˈditeɪlz əv wɪʧ ər ˈspiʃəs. hɪz ˈwɛbˌsaɪt ɪz ə ˈvɛrɪtəbəl ˈmaʊntən əv kˈwɛsʧənəbəl bət kəmˈpɛlɪŋ kleɪmz əˈbaʊt ˈeɪnʧənt ˌsɪvəlɪˈzeɪʃənz, ˈɔltərˌneɪt ˌɛkspləˈneɪʃənz fər kənˈstrəkʃənz, ənd ˌspɛkjəˈleɪʃən. ɪt tərnz aʊt ðət ɪz ˈɔlsoʊ ə prəˈpoʊnənt əv ˌənkənˈvɛnʃənəl ˈθɪriz rɪˈgɑrdɪŋ pæst. ðɪs ˌnɛsəˈsɛrəli ˈwɔrənt ˈdɪˌskaʊnɪŋ ðə ɪnˈtaɪər ˈstɔri, bət ɪt ɪz ˌɪmˈpɔrtənt tɪ ˌəndərˈstænd ðət boʊθ mɛn ər noʊn fər ˈsikɪŋ aʊt ˈɛvədəns ɪn səˈpɔrt əv ðɛr bɪˈlif ˈsɪstəmz, ɛz wi ɔl ər woʊnt tɪ du tɪ səm dɪˈgri. æt ðə riˈlis əv ðɪs ˈstɔri, səm ər ɪkˈsaɪtədli ˈkleɪmɪŋ ðət ðə saɪt ɪz ˈɛvədəns əv ən ˈeɪnʧənt lɔst ˌsɪvəlɪˈzeɪʃən; ə ˌsɪvəlɪˈzeɪʃən ˈkeɪpəbəl əv ˌɪnˈkrɛdəbəl fits əv ˈɛnʤəˈnɪrɪŋ ðət ˈivɪn wɪθ ɑr ˈmɑdərn tɛkˈnɑləʤi wʊd bi ˈvərʧuəli ˌɪmˈpɑsəbəl. ˈəðərz ðoʊ ər ˈwaɪzli ˈərʤɪŋ ˈkɔʃən. ðə ˈpɪkʧərz ər kəmˈpɛlɪŋ, ənd ðə ˈtɪpɪkəl əbˈzərvər wʊd bi hɑrd prɛst tɪ kəm əp wɪθ ə ˈnæʧərəl ˌɛkspləˈneɪʃən, bət ðɛr meɪ bi wən. ɪn 1987 ə grup əv ˌrɛkriˈeɪʃənəl ˈskubə ˈdaɪvərz ˈstəmbəld ˈɔntu əˈnəðər əˈpɛrənt saɪt ɪn ʤəˈpæn. ðə ˈmɑnjəmənt, wɪʧ sɪts ɔf ðə koʊst əv, wɪʧ ɪz ðə ˈaɪlənd əv ðə ˈaɪlənd ʧeɪn, ɪz kənˈsɪdərd baɪ səm tɪ bi ðə moʊst kəmˈpɛlɪŋ ˈɛvədəns fər ə lɔst ˌsɪvəlɪˈzeɪʃən ɪn ɑr pæst. ˈəðərz ər lɛs kənˈvɪnst, ˌhaʊˈɛvər. ˈbɔstən ˌjunəˈvərsəti ʤiˈɑləʤəst ˈrɑbərt ʃɑk bɪˈlivz ðət ðə ˈfiʧərz əv ər ðə rɪˈzəlt əv ˈnæʧərəl ˌʤiəˈlɑʤɪkəl ˈprɑsɛsəz. hi saɪts ˈpɛrəˌlɛl ˈbɛdɪŋ pleɪnz ənd ˈərθkˌweɪk ækˈtɪvɪti, ənd sɪns ðɛr ər ˈsɪmələr fɔrˈmeɪʃənz ɪn ðə ˈriʤən ðət ər noʊn tɪ bi kəmˈplitli ˈnæʧərəl, ðɪs simz ə seɪf bɛt. ðə saɪt, ˌhaʊˈɛvər, ɪn ən ˈɛriə proʊn tɪ ˈfrikˌwɛnt ˈərθkˌweɪks, ənd ðə stoʊn ˌɪnˈvɑlvd ɪz məʧ ˈhɑrdər ðən ðə ˈsænˌstoʊn əv, bət ɑr wɪrd wərld ɪz noʊn tɪ hæv kriˈeɪtɪd səm ˈstɑrtlɪŋ rɑk fɔrˈmeɪʃənz ðət dɪˈfaɪ ˌɛkspləˈneɪʃən. ðə ʤaɪənts ˈkɔzˌweɪ əv ˈnɔrðərn ˈaɪərlənd ənd ðə ˈwɑfəl rɑk əv wɛst vərˈʤɪnjə kəm tɪ maɪnd. boʊθ əv ðoʊz saɪts ər naʊ noʊn tɪ hæv bɪn kəmˈplitli ˈnæʧərəl, bət wɪn vjud frəm ðə pərˈspɛktɪv əv ðə ˈleɪmən, ɪt simz ˌɪnˈkrɛdəbəl tɪ θɪŋk ðət ðeɪ ˌɑrtəˈfɪʃəl kənˈstrəkʃənz. ɪn ˈɛni ɪˈvɛnt, ðə saɪt æt həz jɛt tɪ bi ˈstədid baɪ ˈɛkspərts ɪn ðə fild, ɔl wi hæv æt ðə ˈmoʊmənt ər ðə ˈpɪkʧərz, wɪʧ ər kwaɪt ˌɪmˈprɛsɪv, bət ˈhɑrdli kənˈklusɪv. fˈjuʧər ˌɪnˌvɛstəˈgeɪʃən ʃʊd pruv ˈɪntəˌrɛstɪŋ. bi ʃʊr tɪ ʧɛk aʊt ɔl əv ðə ˈpɪkʧərz prəˈvaɪdɪd baɪ ˈʤɛnsən! |
this is a rush transcript. copy may not be in its final form.
amy goodman: this is democracy now!, democracynow.org, the war and peace report. amy goodman, with juan gonzález.
juan gonzález: we turn now to north dakota, where on thursday hundreds of police with military equipment raided a resistance camp established by native american water protectors in the path of the proposed $3.8 billion dakota access pipeline, which has faced months of resistance from the standing rock sioux tribe and members of hundreds of other tribes from across the americas. on thursday afternoon, over a hundred officers in riot gear with automatic rifles lined up across north highway 1806, flanked by multiple ambush protected military cannon, humvees driven by national guardsmen, an armored police truck and a bulldozer. water protectors say that police deployed tear gas, mace, pepper spray and grenades and bean bag rounds against the native americans and shot rubber bullets at their horses. this is a video shot by unicorn riot, followed by a facebook live video from of the west coast women warriors media cooperative.
sacheen: been pepper-spraying.. tasered. thrown percussion bombs and smoke grenades at us. all for water. over 300 pigs. we are protecting the water. protecting oil. happening.
amy goodman: water protectors set up a blockade of the highway using cars, tires, fire in order to try to protect their camp, parts of which were demolished by police. four people locked themselves to a truck parked in the middle of the highway in order to stop the police advance. elders also led prayer ceremonies in front of the police line. some were arrested in the middle of prayer. in total, more than 100 people were arrested. ahead of the police raid, the federal aviation administration also issued a temporary zone for the airspace above the resistance camps for all aircraft except for those used by law enforcement. police appeared to be evicting the frontline camp in order to clear the way for the dakota access pipeline company to continue construction. company cranes and bulldozers were active thursday just behind the police line on the site of the sacred burial ground where dakota access security guards unleashed dogs on native americans on september. going to turn to dallas of the indigenous environmental network, this clip from the front line.
dallas: this is at the front line of the dakota access pipeline fight right here. and we are about two miles from the river to the west east, sorry. and to the west, right over this hill, dakota access is doing construction, trying to get to this road right here. so there is a police line on top of the hill here with dakota access workers and police protecting the workers.
amy goodman: dallas. and before that, you hear the lrad, the long-range acoustic device.
for more, joined by tara houska, national campaigns director for honor the earth.
welcome back to democracy now!, tara. explain what took place yesterday, i mean, the video and the photos that we have of the military hardware, a raid against the protesters.
tara houska: yesterday we saw know, we learned a lot about the relationship of people to fossil fuels. we learned a lot about the relationship of north dakota to native people. and we learned a lot about america and where we stand.
yesterday, we saw folks being. i was standing right next to a group of teenagers that were all in the face, all kinds of people. myself, i actually was almost shot in the face by bean bag round. it ricocheted off a truck right next to my head. these police were actively trying to hurt people, pushing them back to allow construction of the dakota access pipeline. they were defending monetary interests as human beings were being physically hurt. you know, i saw, right in front of me, a group of police officers pull a protester forward and begin beating him over the head with sticks. video of it that you can see. i mean, this was an all-out war that was waged on indigenous protectors that were doing nothing more than peacefully assembling. there was no fires, there was nothing like that, until the police began their violent attack on us.
juan gonzález: and, tara, where was this incident instance, in relationship to the september dog attacks at the tribal burial site?
tara houska: when dakota access jumped ahead over 20 miles to destroy the site that had just been identified by the tribe the day before as a sacred place, that happened on september. also the anniversary of the whitestone hill massacre. that was the exact place the day that dakota access was basically constructing its pipeline, right in the background, as literally hundreds and hundreds of people came to stand and pray and bring all of their energy forward to stop this from happening. and it was right at that site where native american men, women and children had been attacked by private security, by dogs and mace and all the same things that we saw incredible escalated violence against people that were doing nothing more than trying to stop the destruction of sacred sites right in front of their eyes.
amy goodman: tara, you saw rifles aimed directly at people, police aiming those rifles?
tara houska: yes, there were police walking around everywhere with assault rifles. directly across from us, there was actually a policeman holding his rifle trained on us, directly on us. bean bag rifle bag non-lethal weapons were also aimed at us. every time we put our hands up, put them down. as soon as our hands came down, they would aim back at us. police officers were smiling at us as they were doing these things. there were police officers filming this, laughing, as human beings were being attacked, being. i mean, it was a nightmarish scene. and it should be a shame to the federal government, it should be a shame to the american people, that this is happening within u.s. borders to indigenous people and to our allies, to all people that are trying to protect water. yesterday was a really shameful moment for this country and where we stand.
amy goodman: and the number of people you estimate were arrested, tara?
tara houska: i saw dozens of people being arrested. i mean, they were just pulling people out and arresting them. you know, i actually had to get pulled back from a group mean, the police were pushing forward and just grabbing people at will. we had a number of lockdowns, like that were right in front of us in this truck in the middle of the road, that was used to attempt to blockade these police from advancing forward. there were five people, actually, that were locked to that. they attempted to construct a in the middle, right behind people that were praying and singing. and were folks that locked down to that, or attempted to. the police ripped that down and ripped those people out. it was a really horrible scene yesterday. | ðɪs ɪz ə rəʃ ˈtrænˌskrɪpt. ˈkɑpi meɪ nɑt bi ɪn ɪts ˈfaɪnəl fɔrm. ˈeɪmi ˈgʊdmən: ðɪs ɪz dɪˈmɑkrəsi naʊ!, democracynow.org*, ðə wɔr ənd pis rɪˈpɔrt. ˈeɪmi ˈgʊdmən, wɪθ wɑn gonzález*. wɑn gonzález*: wi tərn naʊ tɪ nɔrθ dəˈkoʊtə, wɛr ɔn ˈθərzˌdeɪ ˈhənərdz əv pəˈlis wɪθ ˈmɪlɪˌtɛri ɪkˈwɪpmənt ˈreɪdɪd ə rɪˈzɪstəns kæmp ɪˈstæblɪʃt baɪ ˈneɪtɪv əˈmɛrɪkən ˈwɔtər prəˈtɛktərz ɪn ðə pæθ əv ðə prəˈpoʊzd ˈbɪljən dəˈkoʊtə ˈækˌsɛs ˈpaɪˌplaɪn, wɪʧ həz feɪst mənθs əv rɪˈzɪstəns frəm ðə ˈstændɪŋ rɑk su traɪb ənd ˈmɛmbərz əv ˈhənərdz əv ˈəðər traɪbz frəm əˈkrɔs ðə əˈmɛrɪkəz. ɔn ˈθərzˌdeɪ ˌæftərˈnun, ˈoʊvər ə ˈhənərd ˈɔfɪsərz ɪn raɪət gɪr wɪθ ˌɔtəˈmætɪk ˈraɪfəlz laɪnd əp əˈkrɔs nɔrθ ˈhaɪˌweɪ 1806 flæŋkt baɪ ˈməltəpəl ˈæmˌbʊʃ prəˈtɛktɪd ˈmɪlɪˌtɛri ˈkænən, ˈhəmˌviz ˈdrɪvən baɪ ˈnæʃənəl ˈgɑrdzmɪn, ən ˈɑrmərd pəˈlis trək ənd ə ˈbʊlˌdoʊzər. ˈwɔtər prəˈtɛktərz seɪ ðət pəˈlis dɪˈplɔɪd tɪr gæs, meɪs, ˈpɛpər spreɪ ənd grəˈneɪdz ənd bin bæg raʊnz əˈgɛnst ðə ˈneɪtɪv əˈmɛrɪkənz ənd ʃɑt ˈrəbər ˈbʊləts æt ðɛr ˈhɔrsɪz. ðɪs ɪz ə ˈvɪdioʊ ʃɑt baɪ ˈjunɪˌkɔrn raɪət, ˈfɑloʊd baɪ ə ˈfeɪsˌbʊk lɪv ˈvɪdioʊ frəm əv ðə wɛst koʊst ˈwɪmən ˈwɔrjərz ˈmidiə koʊˈɑpərˌeɪtɪv.: bɪn pepper-spraying*.. tasered*. θroʊn pərˈkəʃən bɑmz ənd smoʊk grəˈneɪdz æt ˈjuˈɛs. ɔl fər ˈwɔtər. ˈoʊvər 300 pɪgz. wi ər prəˈtɛktɪŋ ðə ˈwɔtər. prəˈtɛktɪŋ ɔɪl. ˈhæpənɪŋ. ˈeɪmi ˈgʊdmən: ˈwɔtər prəˈtɛktərz sɛt əp ə ˌblɑˈkeɪd əv ðə ˈhaɪˌweɪ ˈjuzɪŋ kɑz, taɪərz, faɪər ɪn ˈɔrdər tɪ traɪ tɪ prəˈtɛkt ðɛr kæmp, pɑrts əv wɪʧ wər dɪˈmɑlɪʃt baɪ pəˈlis. fɔr ˈpipəl lɑkt ðɛmˈsɛlvz tɪ ə trək pɑrkt ɪn ðə ˈmɪdəl əv ðə ˈhaɪˌweɪ ɪn ˈɔrdər tɪ stɑp ðə pəˈlis ədˈvæns. ˈɛldərz ˈɔlsoʊ lɛd prɛr ˈsɛrəˌmoʊniz ɪn frənt əv ðə pəˈlis laɪn. səm wər ərˈɛstɪd ɪn ðə ˈmɪdəl əv prɛr. ɪn ˈtoʊtəl, mɔr ðən 100 ˈpipəl wər ərˈɛstɪd. əˈhɛd əv ðə pəˈlis reɪd, ðə ˈfɛdərəl ˌeɪviˈeɪʃən ædˌmɪnɪˈstreɪʃən ˈɔlsoʊ ˈɪʃud ə ˈtɛmpərˌɛri zoʊn fər ðə ˈɛrˌspeɪs əˈbəv ðə rɪˈzɪstəns kæmps fər ɔl ˈɛrˌkræft ɪkˈsɛpt fər ðoʊz juzd baɪ lɔ ɛnˈfɔrsmənt. pəˈlis əˈpɪrd tɪ bi ɪˈvɪktɪŋ ðə ˈfrənˌtlaɪn kæmp ɪn ˈɔrdər tɪ klɪr ðə weɪ fər ðə dəˈkoʊtə ˈækˌsɛs ˈpaɪˌplaɪn ˈkəmpəˌni tɪ kənˈtɪnju kənˈstrəkʃən. ˈkəmpəˌni kreɪnz ənd ˈbʊlˌdoʊzərz wər ˈæktɪv ˈθərzˌdeɪ ʤɪst bɪˈhaɪnd ðə pəˈlis laɪn ɔn ðə saɪt əv ðə ˈseɪkrɪd ˈbɛriəl graʊnd wɛr dəˈkoʊtə ˈækˌsɛs sɪˈkjʊrəti gɑrdz ənˈliʃt dɔgz ɔn ˈneɪtɪv əˈmɛrɪkənz ɔn sɛpˈtɛmbər. goʊɪŋ tɪ tərn tɪ ˈdæləs əv ðə ˌɪnˈdɪʤənəs ɪnˌvaɪrənˈmɛnəl ˈnɛtˌwərk, ðɪs klɪp frəm ðə frənt laɪn. ˈdæləs: ðɪs ɪz æt ðə frənt laɪn əv ðə dəˈkoʊtə ˈækˌsɛs ˈpaɪˌplaɪn faɪt raɪt hir. ənd wi ər əˈbaʊt tu maɪəlz frəm ðə ˈrɪvər tɪ ðə wɛst ist, ˈsɑri. ənd tɪ ðə wɛst, raɪt ˈoʊvər ðɪs hɪl, dəˈkoʊtə ˈækˌsɛs ɪz duɪŋ kənˈstrəkʃən, traɪɪŋ tɪ gɪt tɪ ðɪs roʊd raɪt hir. soʊ ðɛr ɪz ə pəˈlis laɪn ɔn tɔp əv ðə hɪl hir wɪθ dəˈkoʊtə ˈækˌsɛs ˈwərkərz ənd pəˈlis prəˈtɛktɪŋ ðə ˈwərkərz. ˈeɪmi ˈgʊdmən: ˈdæləs. ənd ˌbiˈfɔr ðət, ju hir ðə lrad*, ðə ˈlɔŋˈreɪnʤ əˈkustɪk dɪˈvaɪs. fər mɔr, ʤɔɪnd baɪ ˈtɛrə ˈhaʊskə, ˈnæʃənəl kæmˈpeɪnz dɪˈrɛktər fər ˈɑnər ðə ərθ. ˈwɛlkəm bæk tɪ dɪˈmɑkrəsi naʊ!, ˈtɛrə. ɪkˈspleɪn wət tʊk pleɪs ˈjɛstərˌdeɪ, aɪ min, ðə ˈvɪdioʊ ənd ðə ˈfoʊˌtoʊz ðət wi hæv əv ðə ˈmɪlɪˌtɛri ˈhɑrdˌwɛr, ə reɪd əˈgɛnst ðə ˈproʊˌtɛstərz. ˈtɛrə ˈhaʊskə: ˈjɛstərˌdeɪ wi sɔ noʊ, wi ˈlərnɪd ə lɔt əˈbaʊt ðə riˈleɪʃənˌʃɪp əv ˈpipəl tɪ ˈfɑsəl fjuəlz. wi ˈlərnɪd ə lɔt əˈbaʊt ðə riˈleɪʃənˌʃɪp əv nɔrθ dəˈkoʊtə tɪ ˈneɪtɪv ˈpipəl. ənd wi ˈlərnɪd ə lɔt əˈbaʊt əˈmɛrɪkə ənd wɛr wi stænd. ˈjɛstərˌdeɪ, wi sɔ foʊks biɪŋ. aɪ wɑz ˈstændɪŋ raɪt nɛkst tɪ ə grup əv ˈtiˌneɪʤərz ðət wər ɔl ɪn ðə feɪs, ɔl kaɪnz əv ˈpipəl. ˌmaɪˈsɛlf, aɪ ˈæˌkʧuəli wɑz ˈɔlˌmoʊst ʃɑt ɪn ðə feɪs baɪ bin bæg raʊnd. ɪt ˈrɪkəˌʃeɪd ɔf ə trək raɪt nɛkst tɪ maɪ hɛd. ðiz pəˈlis wər ˈæktɪvli traɪɪŋ tɪ hərt ˈpipəl, ˈpʊʃɪŋ ðɛm bæk tɪ əˈlaʊ kənˈstrəkʃən əv ðə dəˈkoʊtə ˈækˌsɛs ˈpaɪˌplaɪn. ðeɪ wər dɪˈfɛndɪŋ ˈmɑnəˌtɛri ˈɪntərɪsts ɛz ˈjumən biɪŋz wər biɪŋ ˈfɪzɪkəli hərt. ju noʊ, aɪ sɔ, raɪt ɪn frənt əv mi, ə grup əv pəˈlis ˈɔfɪsərz pʊl ə ˈproʊˌtɛstər ˈfɔrwərd ənd bɪˈgɪn ˈbitɪŋ ɪm ˈoʊvər ðə hɛd wɪθ stɪks. ˈvɪdioʊ əv ɪt ðət ju kən si. aɪ min, ðɪs wɑz ən ˈɔˈlaʊt wɔr ðət wɑz weɪʤd ɔn ˌɪnˈdɪʤənəs prəˈtɛktərz ðət wər duɪŋ ˈnəθɪŋ mɔr ðən ˈpisfəli əˈsɛmbəlɪŋ. ðɛr wɑz noʊ faɪərz, ðɛr wɑz ˈnəθɪŋ laɪk ðət, ənˈtɪl ðə pəˈlis bɪˈgæn ðɛr ˈvaɪələnt əˈtæk ɔn ˈjuˈɛs. wɑn gonzález*: ənd, ˈtɛrə, wɛr wɑz ðɪs ˈɪnsədənt ˈɪnstəns, ɪn riˈleɪʃənˌʃɪp tɪ ðə sɛpˈtɛmbər dɔg əˈtæks æt ðə ˈtraɪbəl ˈbɛriəl saɪt? ˈtɛrə ˈhaʊskə: wɪn dəˈkoʊtə ˈækˌsɛs ʤəmpt əˈhɛd ˈoʊvər 20 maɪəlz tɪ dɪˈstrɔɪ ðə saɪt ðət hæd ʤɪst bɪn aɪˈdɛntəˌfaɪd baɪ ðə traɪb ðə deɪ ˌbiˈfɔr ɛz ə ˈseɪkrɪd pleɪs, ðət ˈhæpənd ɔn sɛpˈtɛmbər. ˈɔlsoʊ ðə ˌænəˈvərsəri əv ðə ˈwaɪtˌstoʊn hɪl ˈmæsəkər. ðət wɑz ðə ɪgˈzækt pleɪs ðə deɪ ðət dəˈkoʊtə ˈækˌsɛs wɑz ˈbeɪsɪkli kənˈstrəktɪŋ ɪts ˈpaɪˌplaɪn, raɪt ɪn ðə ˈbækˌgraʊnd, ɛz ˈlɪtərəli ˈhənərdz ənd ˈhənərdz əv ˈpipəl keɪm tɪ stænd ənd preɪ ənd brɪŋ ɔl əv ðɛr ˈɛnərʤi ˈfɔrwərd tɪ stɑp ðɪs frəm ˈhæpənɪŋ. ənd ɪt wɑz raɪt æt ðət saɪt wɛr ˈneɪtɪv əˈmɛrɪkən mɛn, ˈwɪmən ənd ˈʧɪldrən hæd bɪn əˈtækt baɪ ˈpraɪvət sɪˈkjʊrəti, baɪ dɔgz ənd meɪs ənd ɔl ðə seɪm θɪŋz ðət wi sɔ ˌɪnˈkrɛdəbəl ˈɛskəˌleɪtɪd ˈvaɪələns əˈgɛnst ˈpipəl ðət wər duɪŋ ˈnəθɪŋ mɔr ðən traɪɪŋ tɪ stɑp ðə dɪˈstrəkʃən əv ˈseɪkrɪd saɪts raɪt ɪn frənt əv ðɛr aɪz. ˈeɪmi ˈgʊdmən: ˈtɛrə, ju sɔ ˈraɪfəlz eɪmd dɪˈrɛkli æt ˈpipəl, pəˈlis ˈeɪmɪŋ ðoʊz ˈraɪfəlz? ˈtɛrə ˈhaʊskə: jɛs, ðɛr wər pəˈlis ˈwɔkɪŋ əraʊnd ˈɛvriˌwɛr wɪθ əˈsɔlt ˈraɪfəlz. dɪˈrɛkli əˈkrɔs frəm ˈjuˈɛs, ðɛr wɑz ˈæˌkʧuəli ə pəˈlismən ˈhoʊldɪŋ hɪz ˈraɪfəl treɪnd ɔn ˈjuˈɛs, dɪˈrɛkli ɔn ˈjuˈɛs. bin bæg ˈraɪfəl bæg nɑnˈliθəl ˈwɛpənz wər ˈɔlsoʊ eɪmd æt ˈjuˈɛs. ˈɛvəri taɪm wi pʊt ɑr hænz əp, pʊt ðɛm daʊn. ɛz sun ɛz ɑr hænz keɪm daʊn, ðeɪ wʊd eɪm bæk æt ˈjuˈɛs. pəˈlis ˈɔfɪsərz wər sˈmaɪlɪŋ æt ˈjuˈɛs ɛz ðeɪ wər duɪŋ ðiz θɪŋz. ðɛr wər pəˈlis ˈɔfɪsərz ˈfɪlmɪŋ ðɪs, ˈlæfɪŋ, ɛz ˈjumən biɪŋz wər biɪŋ əˈtækt, biɪŋ. aɪ min, ɪt wɑz ə ˈnaɪtˌmɛrɪʃ sin. ənd ɪt ʃʊd bi ə ʃeɪm tɪ ðə ˈfɛdərəl ˈgəvərnmənt, ɪt ʃʊd bi ə ʃeɪm tɪ ðə əˈmɛrɪkən ˈpipəl, ðət ðɪs ɪz ˈhæpənɪŋ wɪˈθɪn juz. ˈbɔrdərz tɪ ˌɪnˈdɪʤənəs ˈpipəl ənd tɪ ɑr ˈælaɪz, tɪ ɔl ˈpipəl ðət ər traɪɪŋ tɪ prəˈtɛkt ˈwɔtər. ˈjɛstərˌdeɪ wɑz ə ˈrɪli ˈʃeɪmfəl ˈmoʊmənt fər ðɪs ˈkəntri ənd wɛr wi stænd. ˈeɪmi ˈgʊdmən: ənd ðə ˈnəmbər əv ˈpipəl ju ˈɛstəˌmeɪt wər ərˈɛstɪd, ˈtɛrə? ˈtɛrə ˈhaʊskə: aɪ sɔ ˈdəzənz əv ˈpipəl biɪŋ ərˈɛstɪd. aɪ min, ðeɪ wər ʤɪst ˈpʊlɪŋ ˈpipəl aʊt ənd ərˈɛstɪŋ ðɛm. ju noʊ, aɪ ˈæˌkʧuəli hæd tɪ gɪt pʊld bæk frəm ə grup min, ðə pəˈlis wər ˈpʊʃɪŋ ˈfɔrwərd ənd ʤɪst ˈgræbɪŋ ˈpipəl æt wɪl. wi hæd ə ˈnəmbər əv lockdowns*, laɪk ðət wər raɪt ɪn frənt əv ˈjuˈɛs ɪn ðɪs trək ɪn ðə ˈmɪdəl əv ðə roʊd, ðət wɑz juzd tɪ əˈtɛmpt tɪ ˌblɑˈkeɪd ðiz pəˈlis frəm ədˈvænsɪŋ ˈfɔrwərd. ðɛr wər faɪv ˈpipəl, ˈæˌkʧuəli, ðət wər lɑkt tɪ ðət. ðeɪ əˈtɛmptəd tɪ ˈkɑnstrəkt ə ɪn ðə ˈmɪdəl, raɪt bɪˈhaɪnd ˈpipəl ðət wər preɪɪŋ ənd ˈsɪŋɪŋ. ənd wər foʊks ðət lɑkt daʊn tɪ ðət, ər əˈtɛmptəd tɪ. ðə pəˈlis rɪpt ðət daʊn ənd rɪpt ðoʊz ˈpipəl aʊt. ɪt wɑz ə ˈrɪli ˈhɔrəbəl sin ˈjɛstərˌdeɪ. |
× 1 dead, 1 injured after shooting outside concert
salt lake city police responded to a shooting that left one person dead and another person injured saturday night.
det. richard chipping of the salt lake city police department said the shooting occurred in the area of 700 west and 1400 south where a concert was taking place, and fox 13 news first heard reports of the shooting around p.m.
police said shots were fired as the victims were leaving the concert. one man was killed in the shooting and another male was injured.
the man who was killed was later identified as bradley hancock.
chipping said they were searching for a black jeep cherokee in connection with the shooting, and a press release issued sunday stated that a suspect believed to be responsible for the shooting had been arrested.
chipping said the concert was for a band called soul search. the group posted on their facebook page they were playing saturday night at the core, located at 700 west 1444 south.
fox 13 news will have more information as it becomes available. | ×* 1 dɛd, 1 ˈɪnʤərd ˈæftər ˈʃutɪŋ ˈaʊtˈsaɪd ˈkɑnsərt sɔlt leɪk ˈsɪti pəˈlis rɪˈspɑndɪd tɪ ə ˈʃutɪŋ ðət lɛft wən ˈpərsən dɛd ənd əˈnəðər ˈpərsən ˈɪnʤərd ˈsæˌtɪˌdeɪ naɪt. det*. ˈrɪʧərd ˈʧɪpɪŋ əv ðə sɔlt leɪk ˈsɪti pəˈlis dɪˈpɑrtmənt sɛd ðə ˈʃutɪŋ əˈkərd ɪn ðə ˈɛriə əv 700 wɛst ənd 1400 saʊθ wɛr ə ˈkɑnsərt wɑz ˈteɪkɪŋ pleɪs, ənd fɑks 13 nuz fərst hərd rɪˈpɔrts əv ðə ˈʃutɪŋ əraʊnd p.m*. pəˈlis sɛd ʃɑts wər faɪərd ɛz ðə ˈvɪktɪmz wər ˈlivɪŋ ðə ˈkɑnsərt. wən mæn wɑz kɪld ɪn ðə ˈʃutɪŋ ənd əˈnəðər meɪl wɑz ˈɪnʤərd. ðə mæn hu wɑz kɪld wɑz ˈleɪtər aɪˈdɛntəˌfaɪd ɛz ˈbrædli ˈhænˌkɑk. ˈʧɪpɪŋ sɛd ðeɪ wər ˈsərʧɪŋ fər ə blæk ʤip ˈʧɛrəˌki ɪn kəˈnɛkʃən wɪθ ðə ˈʃutɪŋ, ənd ə prɛs riˈlis ˈɪʃud ˈsənˌdi ˈsteɪtɪd ðət ə ˈsəˌspɛkt bɪˈlivd tɪ bi riˈspɑnsəbəl fər ðə ˈʃutɪŋ hæd bɪn ərˈɛstɪd. ˈʧɪpɪŋ sɛd ðə ˈkɑnsərt wɑz fər ə bænd kɔld soʊl sərʧ. ðə grup ˈpoʊstɪd ɔn ðɛr ˈfeɪsˌbʊk peɪʤ ðeɪ wər pleɪɪŋ ˈsæˌtɪˌdeɪ naɪt æt ðə kɔr, ˈloʊˌkeɪtəd æt 700 wɛst 1444 saʊθ. fɑks 13 nuz wɪl hæv mɔr ˌɪnˌfɔrˈmeɪʃən ɛz ɪt bɪˈkəmz əˈveɪləbəl. |
and pretty much every spread shows underlying techniques and tricks you likely never thought of. for instance, a simple salad with just requires a pressure cooker, and it's really takes just four minutes of cooking for the, something that never occurred to me to try, and includes the tip of freezing a baking sheet to cool the cooked grain for the salad. and cauliflower is rendered palatable (i.e., invisible) to doubters by being shaved over a or grated on a grater, mixed with green apple, celery, pine nuts, currants, and a and lemon dressing. easy, right? and good for winter. and not what you'd expect from this book.
some of the techniques that will likely change your own regular practices include oven steak," which involves first freezing steaks or any other tender cut of meat, quickly searing them, then putting it into the oven at the lowest temperature until a digital thermometer reads 133 f (or your desired degree of). this, explains, yields meat that's evenly done to exactly the degree you want, rather than meat with an overdone exterior and dead-center.
and there are unexpected forays, such as that just require a pressure cooker and provide incidental lessons in meat, which the authors extend on the next pages to other braised recipes: steamed omelets that, like the steak, result in a completely uniform and texture that the authors assure us is tender and delicate, as well as braised short ribs that, of course, require a setup, the $300-or-so and controlled machine that started being a foodie must last a set-up, on a larger scale, that most restaurant cooks routinely use for short ribs, though they almost always fail to say so.
i still think you should go into debt to get the that's just for hardcore cooks who want an invaluable reference. this is the book for anyone who wants to understand her or his kitchen better, and have a taste of what all the controversy over and gum has been about.
burma: rivers of flavor, by naomi duguid
naomi duguid, a tireless wanderer, a photographer with marvelous eye, and a teacher of cooking classes in chiang mai, thailand, has a deep knowledge of asia from her decades of chronicling and writing about village food in books like hot sour salty sweet and of rice. she traveled all over burma when the kind of cultural opening we saw this year was still a dream, and by good fortune the release of burma: rivers of flavor coincided with president obama's november visit.
she found a cuisine related to the thai food she knows so well--chiles, ginger, lemon grass, turmeric, fish sauce, tomatoes as a different in some of its building blocks, like oil, fried garlic, chile oil, and, for protein, toasted flour and peanuts. once you have a few of these on hand, you can make easy dishes like golden egg curry, the boiled eggs quickly to give them a sizzling crust, and put in a fresh sauce with fresh sliced cayenne chiles, or an easy of pork tenderloin with star anise and palm sugar water. and as usual, duguid has new ways to make rice, like jasmine rice withs, cinnamon stick, turmeric, and coconut milk, which sounds celebratory. the real influence the book is likely to have on your cooking, though, are the salads and sound to be the real glory of burmese assembled from various vegetables and leftover meats dressed with lime juice, oil, and various fresh herbs that give them new life.
from a polish country house kitchen: 90 recipes for the ultimate comfort food, by anne applebaum & danielle crittenden | ənd ˈprɪti məʧ ˈɛvəri sprɛd ʃoʊz ˌəndərˈlaɪɪŋ tɛkˈniks ənd trɪks ju ˈlaɪkli ˈnɛvər θɔt əv. fər ˈɪnstəns, ə ˈsɪmpəl ˈsæləd wɪθ ʤɪst rikˈwaɪərz ə ˈprɛʃər ˈkʊkər, ənd ɪts ˈrɪli teɪks ʤɪst fɔr ˈmɪnəts əv ˈkʊkɪŋ fər ðə, ˈsəmθɪŋ ðət ˈnɛvər əˈkərd tɪ mi tɪ traɪ, ənd ˌɪnˈkludz ðə tɪp əv ˈfrizɪŋ ə ˈbeɪkɪŋ ʃit tɪ kul ðə kʊkt greɪn fər ðə ˈsæləd. ənd ˈkɑləˌflaʊər ɪz ˈrɛndərd ˈpælətəbəl (i.e*., ˌɪnˈvɪzəbəl) tɪ ˈdaʊtərz baɪ biɪŋ ʃeɪvd ˈoʊvər ə ər ˈgreɪtɪd ɔn ə ˈgreɪtər, mɪkst wɪθ grin ˈæpəl, ˈsɛləri, paɪn nəts, currants*, ənd ə ənd ˈlɛmən ˈdrɛsɪŋ. ˈizi, raɪt? ənd gʊd fər ˈwɪntər. ənd nɑt wət jʊd ɪkˈspɛkt frəm ðɪs bʊk. səm əv ðə tɛkˈniks ðət wɪl ˈlaɪkli ʧeɪnʤ jʊr oʊn ˈrɛgjələr ˈpræktɪsɪz ˌɪnˈklud ˈəvən steɪk," wɪʧ ˌɪnˈvɑlvz fərst ˈfrizɪŋ steɪks ər ˈɛni ˈəðər ˈtɛndər kət əv mit, kˈwɪkli ˈsɪrɪŋ ðɛm, ðɛn ˈpʊtɪŋ ɪt ˈɪntu ðə ˈəvən æt ðə loʊəst ˈtɛmpərəʧər ənˈtɪl ə ˈdɪʤɪtəl θərˈmɑmətər ridz 133 ɛf (ər jʊr dɪˈzaɪərd dɪˈgri əv). ðɪs, ɪkˈspleɪnz, jildz mit ðæts ˈivənli dən tɪ ɪgˈzæktli ðə dɪˈgri ju wɔnt, ˈrəðər ðən mit wɪθ ən ˈoʊvərˈdən ɪkˈstɪriər ənd dead-center*. ənd ðɛr ər ˌənɪkˈspɛktɪd ˈfɔreɪz, səʧ ɛz ðət ʤɪst ˌrikˈwaɪər ə ˈprɛʃər ˈkʊkər ənd prəˈvaɪd ˌɪnsɪˈdɛntəl ˈlɛsənz ɪn mit, wɪʧ ðə ˈɔθərz ɪkˈstɛnd ɔn ðə nɛkst ˈpeɪʤɪz tɪ ˈəðər breɪzd ˈrɛsəpiz: stimd ˈɑmləts ðət, laɪk ðə steɪk, rɪˈzəlt ɪn ə kəmˈplitli ˈjunəˌfɔrm ənd ˈtɛksʧər ðət ðə ˈɔθərz əˈʃʊr ˈjuˈɛs ɪz ˈtɛndər ənd ˈdɛləkət, ɛz wɛl ɛz breɪzd ʃɔrt rɪbz ðət, əv kɔrs, ˌrikˈwaɪər ə ˈsɛˌtəp, ðə ənd kənˈtroʊld məˈʃin ðət ˈstɑrtɪd biɪŋ ə ˈfudi məst læst ə ˈsɛˌtəp, ɔn ə ˈlɑrʤər skeɪl, ðət moʊst ˈrɛˌstrɑnt kʊks ruˈtinli juz fər ʃɔrt rɪbz, ðoʊ ðeɪ ˈɔlˌmoʊst ˈɔlˌweɪz feɪl tɪ seɪ soʊ. aɪ stɪl θɪŋk ju ʃʊd goʊ ˈɪntu dɛt tɪ gɪt ðə ðæts ʤɪst fər ˈhɑrdˈkɔr kʊks hu wɔnt ən ˌɪnˈvæljəbəl ˈrɛfərəns. ðɪs ɪz ðə bʊk fər ˈɛniˌwən hu wɔnts tɪ ˌəndərˈstænd hər ər hɪz ˈkɪʧən ˈbɛtər, ənd hæv ə teɪst əv wət ɔl ðə ˈkɑntrəˌvərsi ˈoʊvər ənd gəm həz bɪn əˈbaʊt. ˈbərmə: ˈrɪvərz əv ˈfleɪvər, baɪ neɪˈoʊmi ˈdəgwɪd neɪˈoʊmi ˈdəgwɪd, ə ˈtaɪərləs ˈwɑndərər, ə fəˈtɑgrəfər wɪθ ˈmɑrvələs aɪ, ənd ə ˈtiʧər əv ˈkʊkɪŋ ˈklæsɪz ɪn ʧæŋ maɪ, ˈtaɪˌlænd, həz ə dip ˈnɑlɪʤ əv ˈeɪʒə frəm hər ˈdɛkeɪdz əv ˈkrɑnɪklɪŋ ənd ˈraɪtɪŋ əˈbaʊt ˈvɪlɪʤ fud ɪn bʊks laɪk hɑt saʊər ˈsɔlti swit ənd əv raɪs. ʃi ˈtrævəld ɔl ˈoʊvər ˈbərmə wɪn ðə kaɪnd əv ˈkəlʧərəl ˈoʊpənɪŋ wi sɔ ðɪs jɪr wɑz stɪl ə drim, ənd baɪ gʊd ˈfɔrʧən ðə riˈlis əv ˈbərmə: ˈrɪvərz əv ˈfleɪvər ˌkoʊənˈsaɪdəd wɪθ ˈprɛzɪdənt ˌoʊˈbɑməz noʊˈvɛmbər ˈvɪzɪt. ʃi faʊnd ə kwɪˈzin rɪˈleɪtɪd tɪ ðə taɪ fud ʃi noʊz soʊ well--chiles*, ˈʤɪnʤər, ˈlɛmən græs, turmeric*, fɪʃ sɔs, təˈmɑtoʊz ɛz ə ˈdɪfərənt ɪn səm əv ɪts ˈbɪldɪŋ blɑks, laɪk ɔɪl, frid ˈgɑrlɪk, ˈʧɪli ɔɪl, ənd, fər ˈproʊˌtin, ˈtoʊstɪd flaʊər ənd ˈpiˌnəts. wəns ju hæv ə fju əv ðiz ɔn hænd, ju kən meɪk ˈizi ˈdɪʃɪz laɪk ˈgoʊldən ɛg ˈkəri, ðə bɔɪld ɛgz kˈwɪkli tɪ gɪv ðɛm ə ˈsɪzəlɪŋ krəst, ənd pʊt ɪn ə frɛʃ sɔs wɪθ frɛʃ slaɪst keɪɛn ˈʧɪliz, ər ən ˈizi əv pɔrk ˈtɛndərˌlɔɪn wɪθ stɑr ˈænəs ənd pɑm ˈʃʊgər ˈwɔtər. ənd ɛz ˈjuʒəwəl, ˈdəgwɪd həz nu weɪz tɪ meɪk raɪs, laɪk ˈʤæzmɪn raɪs wɪθ shallots*, ˈsɪnəmən stɪk, turmeric*, ənd ˈkoʊkəˌnət mɪlk, wɪʧ saʊnz səˈlɛbrəˌtɔri. ðə ril ˈɪnfluəns ðə bʊk ɪz ˈlaɪkli tɪ hæv ɔn jʊr ˈkʊkɪŋ, ðoʊ, ər ðə ˈsælədz ənd saʊnd tɪ bi ðə ril ˈglɔri əv bərˈmiz əˈsɛmbəld frəm ˈvɛriəs ˈvɛʤtəbəlz ənd ˈlɛfˌtoʊvər mits drɛst wɪθ laɪm ʤus, ɔɪl, ənd ˈvɛriəs frɛʃ ərbz ðət gɪv ðɛm nu laɪf. frəm ə ˈpɑlɪʃ ˈkəntri haʊs ˈkɪʧən: 90 ˈrɛsəpiz fər ðə ˈəltəmət ˈkəmfərt fud, baɪ æn ˈæpəlˌbaʊm ˌdænˈjɛl krɪˈtɛndən |
"we have to give the consumer tools to help with this. and we've got filter out part of it before it ever gets there without losing the great openness of the internet. and so this is one of today's chief problems, it is not something that has a simple solution."
in a statement released after the meeting, apple said: "we are proud that apple's innovation and growth now supports nearly jobs across the."
note: due to the political nature of the discussion regarding this topic, the discussion thread is located in our politics, religion, social issues forum. all forum members and site visitors are welcome to read and follow the thread, but posting is limited to forum members with at least 100 posts.
as apple ceo tim cook continues to make his rounds in europe, good morning britain managed to catch him for a quick interview while he was visiting woodberry down primary school yesterday. regarding fake news, which has been an increasingly hot topic since the u.s. presidential election got into full swing last year, cook said that "this is one of today's chief the wake of growing fake news, companies like facebook have taken action to bring the quality of an article to their users' attention before they share it with their friends. for apple, cook said that the solution to the problem is not a simple covered another topic during his stay in london this week, discussing with united kingdom prime minister theresa may. according to the independent , in the talk cook said that he is "very optimistic" about the future outside of the european union, and that it will be "just fine," although there will undoubtedly be some "bumps in the road along the will continue to back the in the future, as it currently plans on building a new headquarters at london's battersea power station , expected to be complete by 2021. after its completion, employees will be moved from eight locations around london to occupy the company's new this morning, cook also continued documenting his european adventures on twitter, congratulating the tate britain art gallery after he visited its digital artwork exhibit. yesterday, he stopped in the offices of games in london to get a sneak peak at the latest mobile game from the company behind monument valley. | "wi hæv tɪ gɪv ðə kənˈsumər tulz tɪ hɛlp wɪθ ðɪs. ənd wiv gɑt ˈfɪltər aʊt pɑrt əv ɪt ˌbiˈfɔr ɪt ˈɛvər gɪts ðɛr wɪˈθaʊt ˈluzɪŋ ðə greɪt ˈoʊpənəs əv ðə ˈɪntərˌnɛt. ənd soʊ ðɪs ɪz wən əv ˈtudeɪz ʧif ˈprɑbləmz, ɪt ɪz nɑt ˈsəmθɪŋ ðət həz ə ˈsɪmpəl səˈluʃən." ɪn ə ˈsteɪtmənt riˈlist ˈæftər ðə ˈmitɪŋ, ˈæpəl sɛd: "wi ər praʊd ðət ˈæpəlz ˌɪnəˈveɪʃən ənd groʊθ naʊ səˈpɔrts ˈnɪrli ʤɑbz əˈkrɔs ðə." noʊt: du tɪ ðə pəˈlɪtɪkəl ˈneɪʧər əv ðə dɪˈskəʃən rɪˈgɑrdɪŋ ðɪs ˈtɑpɪk, ðə dɪˈskəʃən θrɛd ɪz ˈloʊˌkeɪtəd ɪn ɑr ˈpɑləˌtɪks, rɪˈlɪʤən, ˈsoʊʃəl ˈɪʃuz ˈfɔrəm. ɔl ˈfɔrəm ˈmɛmbərz ənd saɪt ˈvɪzɪtərz ər ˈwɛlkəm tɪ rɛd ənd ˈfɑloʊ ðə θrɛd, bət ˈpoʊstɪŋ ɪz ˈlɪmɪtɪd tɪ ˈfɔrəm ˈmɛmbərz wɪθ æt list 100 poʊsts. ɛz ˈæpəl ˈsiˌiˈoʊ tɪm kʊk kənˈtɪnjuz tɪ meɪk hɪz raʊnz ɪn ˈjʊrəp, gʊd ˈmɔrnɪŋ ˈbrɪtən ˈmænɪʤd tɪ kæʧ ɪm fər ə kwɪk ˈɪntərvˌju waɪl hi wɑz ˈvɪzɪtɪŋ ˈwʊdˌbɛri daʊn ˈpraɪˌmɛri skul ˈjɛstərˌdeɪ. rɪˈgɑrdɪŋ feɪk nuz, wɪʧ həz bɪn ən ˌɪnˈkrisɪŋgli hɑt ˈtɑpɪk sɪns ðə juz. ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən gɑt ˈɪntu fʊl swɪŋ læst jɪr, kʊk sɛd ðət "ðɪs ɪz wən əv ˈtudeɪz ʧif ðə weɪk əv groʊɪŋ feɪk nuz, ˈkəmpəˌniz laɪk ˈfeɪsˌbʊk hæv ˈteɪkən ˈækʃən tɪ brɪŋ ðə kˈwɑləti əv ən ˈɑrtɪkəl tɪ ðɛr ˈjuzərz' əˈtɛnʃən ˌbiˈfɔr ðeɪ ʃɛr ɪt wɪθ ðɛr frɛndz. fər ˈæpəl, kʊk sɛd ðət ðə səˈluʃən tɪ ðə ˈprɑbləm ɪz nɑt ə ˈsɪmpəl ˈkəvərd əˈnəðər ˈtɑpɪk ˈdʊrɪŋ hɪz steɪ ɪn ˈləndən ðɪs wik, dɪˈskəsɪŋ wɪθ juˈnaɪtɪd ˈkɪŋdəm praɪm ˈmɪnɪstər tərˈisə meɪ. əˈkɔrdɪŋ tɪ ðə ˌɪndɪˈpɛndənt ɪn ðə tɔk kʊk sɛd ðət hi ɪz "ˈvɛri ˌɑptɪˈmɪstɪk" əˈbaʊt ðə fˈjuʧər ˈaʊtˈsaɪd əv ðə ˌjʊrəˈpiən ˈjunjən, ənd ðət ɪt wɪl bi "ʤɪst faɪn," ˌɔlˈðoʊ ðɛr wɪl ənˈdaʊtɪdli bi səm "bəmps ɪn ðə roʊd əˈlɔŋ ðə wɪl kənˈtɪnju tɪ bæk ðə ɪn ðə fˈjuʧər, ɛz ɪt ˈkərəntli plænz ɔn ˈbɪldɪŋ ə nu ˈhɛdˌkɔrtərz æt ˈləndənz ˈbætərˌsi paʊər ˈsteɪʃən ɪkˈspɛktɪd tɪ bi kəmˈplit baɪ 2021 ˈæftər ɪts kəmˈpliʃən, ɪmˈplɔɪiz wɪl bi muvd frəm eɪt loʊˈkeɪʃənz əraʊnd ˈləndən tɪ ˈɑkjəˌpaɪ ðə ˈkəmpəniz nu ðɪs ˈmɔrnɪŋ, kʊk ˈɔlsoʊ kənˈtɪnjud ˈdɑkjəmənɪŋ hɪz ˌjʊrəˈpiən ædˈvɛnʧərz ɔn tˈwɪtər, kənˈgræʧəˌleɪtɪŋ ðə teɪt ˈbrɪtən ɑrt ˈgæləri ˈæftər hi ˈvɪzɪtɪd ɪts ˈdɪʤɪtəl ˈɑrtˌwərk ɪgˈzɪbɪt. ˈjɛstərˌdeɪ, hi stɑpt ɪn ðə ˈɔfəsɪz əv geɪmz ɪn ˈləndən tɪ gɪt ə snik pik æt ðə ˈleɪtəst ˈmoʊbəl geɪm frəm ðə ˈkəmpəˌni bɪˈhaɪnd ˈmɑnjəmənt ˈvæli. |
development manitoba museum announces $160-million expansion plan
the canadian human rights museum has been getting all the glory, the budget and the capital investment from private donors and government but the manitoba museum has announced a $160 million plan as 150 birthday looms.
the first stage of the building is an expansion of alloway hall to just under feet to bring in larger touring museum programs like the recently completed real pirates! the closure of the square foot exhibition hall showed winnipeg just how many shows out there we could get with the right sized space. the space needed for a museum tour might be smaller though. still help thinking it would have been better to go with an extra square feet.
five years ago, i practically begged for a new science museum for our 150 birthday. i looked longingly at the parking lot north of the museum and suggested a connecting tunnel. now, it appears the major aspect of the museum expansion will be a $100 million science gallery on that very parking lot.
the $100 million is about right. the science museum of minnesota was built in 1999 for $99 million. it is a gorgeous building but it was built with flaws and now requires $26 million of water damage repairs. manitoba afford to have those type of mistakes. the exhibits the minnesota museum has are outstanding and one can imagine how successful such a gallery would in winnipeg.
the $5.3 million alloway hall expansion will just be the first part of what we actually see of the museum work. so much else is in the planning stage and the sources of funding still not announced. the province announced $10 million for the the $16 million initial phase.
the timetable and other funds beyond 2020 are yet to be determined. hopefully, it have to wait till birthday.
the manitoba yearly budget is just a fraction of what the human rights museum. ballpark is $4 million versus $20 million. still, the provincial museum punches above its weight class. it is time for a big capital project to ensure the museum continues to do what it does best which is entertain, inform, preserve and educate.
this has been a guest editorial by john dobbin.
to read more from john, visit his blog observations, reservations, conversations | dɪˈvɛləpmənt ˌmænɪˈtoʊbə mˈjuziəm əˈnaʊnsɪz ɪkˈspænʧən plæn ðə kəˈneɪdiən ˈjumən raɪts mˈjuziəm həz bɪn ˈgɪtɪŋ ɔl ðə ˈglɔri, ðə ˈbəʤɪt ənd ðə ˈkæpɪtəl ˌɪnˈvɛstmənt frəm ˈpraɪvət ˈdoʊnərz ənd ˈgəvərnmənt bət ðə ˌmænɪˈtoʊbə mˈjuziəm həz əˈnaʊnst ə 160 ˈmɪljən plæn ɛz 150 ˈbərθˌdeɪ lumz. ðə fərst steɪʤ əv ðə ˈbɪldɪŋ ɪz ən ɪkˈspænʧən əv ˈæloʊˌweɪ hɔl tɪ ʤɪst ˈəndər fit tɪ brɪŋ ɪn ˈlɑrʤər ˈtʊrɪŋ mˈjuziəm ˈproʊˌgræmz laɪk ðə ˈrisəntli kəmˈplitɪd ril ˈpaɪrəts! ðə ˈkloʊʒər əv ðə skwɛr fʊt ˌɛksəˈbɪʃən hɔl ʃoʊd ˈwɪnɪpəg ʤɪst haʊ ˈmɛni ʃoʊz aʊt ðɛr wi kʊd gɪt wɪθ ðə raɪt saɪzd speɪs. ðə speɪs ˈnidɪd fər ə mˈjuziəm tʊr maɪt bi sˈmɔlər ðoʊ. stɪl hɛlp ˈθɪŋkɪŋ ɪt wʊd hæv bɪn ˈbɛtər tɪ goʊ wɪθ ən ˈɛkstrə skwɛr fit. faɪv jɪrz əˈgoʊ, aɪ ˈpræktɪkəli bɛgd fər ə nu saɪəns mˈjuziəm fər ɑr 150 ˈbərθˌdeɪ. aɪ lʊkt ˈlɔŋɪŋli æt ðə ˈpɑrkɪŋ lɔt nɔrθ əv ðə mˈjuziəm ənd səˈʤɛstɪd ə kəˈnɛktɪŋ ˈtənəl. naʊ, ɪt əˈpɪrz ðə ˈmeɪʤər ˈæˌspɛkt əv ðə mˈjuziəm ɪkˈspænʧən wɪl bi ə 100 ˈmɪljən saɪəns ˈgæləri ɔn ðət ˈvɛri ˈpɑrkɪŋ lɔt. ðə 100 ˈmɪljən ɪz əˈbaʊt raɪt. ðə saɪəns mˈjuziəm əv ˌmɪnɪˈsoʊtə wɑz bɪlt ɪn 1999 fər 99 ˈmɪljən. ɪt ɪz ə ˈgɔrʤəs ˈbɪldɪŋ bət ɪt wɑz bɪlt wɪθ flɔz ənd naʊ rikˈwaɪərz 26 ˈmɪljən əv ˈwɔtər ˈdæmɪʤ rɪˈpɛrz. ˌmænɪˈtoʊbə əˈfɔrd tɪ hæv ðoʊz taɪp əv mɪˈsteɪks. ðə ɪgˈzɪbəts ðə ˌmɪnɪˈsoʊtə mˈjuziəm həz ər ˌaʊtˈstændɪŋ ənd wən kən ˌɪˈmæʤən haʊ səkˈsɛsfəl səʧ ə ˈgæləri wʊd ɪn ˈwɪnɪpəg. ðə ˈmɪljən ˈæloʊˌweɪ hɔl ɪkˈspænʧən wɪl ʤɪst bi ðə fərst pɑrt əv wət wi ˈæˌkʧuəli si əv ðə mˈjuziəm wərk. soʊ məʧ ɛls ɪz ɪn ðə ˈplænɪŋ steɪʤ ənd ðə ˈsɔrsəz əv ˈfəndɪŋ stɪl nɑt əˈnaʊnst. ðə ˈprɑvɪns əˈnaʊnst 10 ˈmɪljən fər ðə ðə 16 ˈmɪljən ˌɪˈnɪʃəl feɪz. ðə ˈtaɪmˌteɪbəl ənd ˈəðər fəndz bɪɔnd 2020 ər jɛt tɪ bi dɪˈtərmənd. ˈhoʊpfəli, ɪt hæv tɪ weɪt tɪl ˈbərθˌdeɪ. ðə ˌmænɪˈtoʊbə ˈjɪrli ˈbəʤɪt ɪz ʤɪst ə ˈfrækʃən əv wət ðə ˈjumən raɪts mˈjuziəm. ˈbɔlˌpɑrk ɪz 4 ˈmɪljən ˈvərsəz 20 ˈmɪljən. stɪl, ðə prəˈvɪnʃəl mˈjuziəm ˈpənʧɪz əˈbəv ɪts weɪt klæs. ɪt ɪz taɪm fər ə bɪg ˈkæpɪtəl ˈprɑʤɛkt tɪ ɪnˈʃʊr ðə mˈjuziəm kənˈtɪnjuz tɪ du wət ɪt dɪz bɛst wɪʧ ɪz ˌɛnərˈteɪn, ˌɪnˈfɔrm, prɪˈzərv ənd ˈɛʤəˌkeɪt. ðɪs həz bɪn ə gɛst ˌɛdəˈtɔriəl baɪ ʤɑn ˈdɑbɪn. tɪ rɛd mɔr frəm ʤɑn, ˈvɪzɪt hɪz blɔg ˌɑbzərˈveɪʃənz, ˌrɛzərˈveɪʃənz, ˌkɑnvərˈseɪʃənz |
can a dog help to replace a person's failing memory? i recently wrote an article describing some new programs designed to train dogs to assist people with disease and dementia ( click here to see it ). only a day or two after that article appeared i received a phone call from an academic colleague who protested that dogs simply could not successfully serve in that capacity because they lack a particular form of memory that is needed. my colleague pointed out that daniel dennett, a philosopher andientist from tufts university has stated unambiguously that he was convinced that dogs have no episodic memory, and this is a viewpoint which is shared by a number of other philosophers and some behavioralientists.
to understand what he meant you must first know that there are many types of memory. psychologists often start by dividing memory into to large groupings that they call “explicit” or “implicit” memory. the easiest way to distinguish these is to note that explicit are the ones that you can describe or call into your mind at will, while implicit memories are automatic and not really conscious. learned skills are good examples of implicit memories. thus although you might remember how to ride a bicycle (since you can easily do it) trying to describe to someone else what you have to do to stay upright on a bicycle is virtually impossible. you know what to do, but you make these actions conscious in such a way as to communicate them to others.
explicit memories are memories are the ones which are easily brought into consciousness and which we can describe verbally. when we consider explicit memory it comes in two varieties, namely “episodic” and “semantic” memory. episodic memory is memory for what you have personally experienced. when you answer a question about what you had for dinner last night, which clothes you wore yesterday, or you describe your first romantic kiss, you are recalling episodic memories. this is different from semantic memory which involves memory for facts. to answer a question such as “who was george washington?” or “what is the climate like on the moon?” will involve semantic memory. it is not episodic memory since you never met george washington, nor have you visited the moon. some people say that episodic memory is a sort of mental time travel in which you revisit events that you experienced by bringing them into consciousness. episodic memory is not based upon practice or repetition, since most life events occur only once, and nonetheless are remembered. an important characteristic of episodic memories is that each contains specific data about “what,” “when,” and “where.”
i knew about beliefs since, in fact, we had once had a brief discussion about dogs' memory capacity and the nature of canine consciousness when he had visited my university to give a series of lectures. his beliefs about this matter puzzled me, even in light of only casual observation of dog behaviors. for example, many dog owners have a variety of "find the object" phrases that they use and to which the dog responds appropriately. for example my dogs respond to, "where's your ball?" by dashing around to find the ball and then bringing it to me. if it is inaccessible, they will usually stand near where they believe it to be and bark. my dogs also respond to "where's joannie?" which is a convenient phrase which helps me to locate my wife. on hearing it the dog goes to the room where they last saw my wife. if she is upstairs on in the basement, the dog will move the appropriate set of stairs and wait there. if she is out of the house the dog will usually go to the door that she used when she left. if the dog doesn't know where she is, or if she has moved since he last saw her, he will usually start to search for joan. each of these is an instance of episodic memory since the dog must remember where he last saw the item. this memory clearly has the required “when,” “what,” and “where” components, since we are asking for a location of a particular object when it was most recently seen based upon the dog's personal experience.
i pointed out the “where’s joannie?” situation to dennett who did not appear to be much impressed. he would only grant that this was “episodic behavior.” he went on to note that he would have to think about this further and would get in touch with me when he found the flaw in my reasoning. he never did contact me again about the matter.
my colleague's protests that we simply could not have something like a "memory assistance dog" reminded me of what might have been the first dogs actually used in such a capacity. around 2003 i interviewed john who lives in wetaskiwin, a town in alberta, canada. was hit by a car at the age of five, and the accident caused brain damage. in the end he was left with difficulties and a very unreliable short-term memory. before anything makes it into his long-term memory, it must be repeated and many times. early memories are still there, so that he can remember his phone number from when he was four, but new ones that are a problem. for instance it took him a year after his to remember his wife's name. he told me "when you ask someone's name 600 times because you can't remember, it's very frustrating."
at a very pragmatic level, in the absence of short-term memory, simple tasks became nightmares. if went to a shopping mall, by the time he came out he usually had completely forgotten where his car was parked. it is in such situations where the episodic memory ability of a dog becomes important. can now go shopping with because of a german shepherd dog named goliath, who is his memory aide. goliath is the third such memory assistance dog that he has had. obviously goliath can't help with names, phone numbers, or shopping lists, but the dog does serve the same purpose as the ball of string that theseus let out as his way through the labyrinth in order to find his way back out after he slew the minotaur. task is to lead his master back to the places that he can't remember, such as the way out of a building has only been in this one time. in other words, the dog must use his episodic memory to remember where an exit is, or where his owner's car was parked.
dignard says “i'd be lost all the time without him. now i just tell him ‘go to the exit door,’ or i tell him ‘back to the car,’ and he takes me there.” it is thus episodic memory that substitutes for the episodic memories that his master has such difficulty retrieving. it would be interesting to hear what dr. dennett might have to say about this.
stanley coren is the author of many books including: the wisdom of dogs; do dogs dream? born to bark; the modern dog; why do dogs have wet noses? the of history; how dogs think; how to speak dog; why we love the dogs we do; what do dogs know? the intelligence of dogs; why does my dog act that way? understanding dogs for dummies; sleep thieves; the syndrome
copyright psychological enterprises ltd. may not be reprinted or without permission | kən ə dɔg hɛlp tɪ ˌriˈpleɪs ə ˈpərsənz ˈfeɪlɪŋ ˈmɛməri? aɪ ˈrisəntli roʊt ən ˈɑrtɪkəl dɪˈskraɪbɪŋ səm nu ˈproʊˌgræmz dɪˈzaɪnd tɪ treɪn dɔgz tɪ əˈsɪst ˈpipəl wɪθ dɪˈziz ənd dɪˈmɛnʃiə klɪk hir tɪ si ɪt ˈoʊnli ə deɪ ər tu ˈæftər ðət ˈɑrtɪkəl əˈpɪrd aɪ rɪˈsivd ə foʊn kɔl frəm ən ˌækəˈdɛmɪk ˈkɑlig hu ˈproʊˌtɛstəd ðət dɔgz ˈsɪmpli kʊd nɑt səkˈsɛsfəli sərv ɪn ðət kəˈpæsɪti bɪˈkəz ðeɪ læk ə ˌpɑˈtɪkjələr fɔrm əv ˈmɛməri ðət ɪz ˈnidɪd. maɪ ˈkɑlig ˈpɔɪntɪd aʊt ðət ˈdænjəl ˈdɛnɪt, ə fəˈlɑsəfər ənd ˈsaɪəntɪst frəm təfts ˌjunəˈvərsəti həz ˈsteɪtɪd ənæmˈbɪgjuəsli ðət hi wɑz kənˈvɪnst ðət dɔgz hæv noʊ ˌɛpəˈsɑdɪk ˈmɛməri, ənd ðɪs ɪz ə vˈjuˌpɔɪnt wɪʧ ɪz ʃɛrd baɪ ə ˈnəmbər əv ˈəðər fəˈlɑsəfərz ənd səm bɪˈheɪvjərəl ˈsaɪəntɪsts. tɪ ˌəndərˈstænd wət hi mɛnt ju məst fərst noʊ ðət ðɛr ər ˈmɛni taɪps əv ˈmɛməri. saɪˈkɑləʤəsts ˈɔfən stɑrt baɪ dɪˈvaɪdɪŋ ˈmɛməri ˈɪntu tɪ lɑrʤ ˈgrupɪŋz ðət ðeɪ kɔl ““explicit”*” ər ““implicit”*” ˈmɛməri. ðə ˈiziəst weɪ tɪ dɪˈstɪŋgwɪʃ ðiz ɪz tɪ noʊt ðət ɪkˈsplɪsət ər ðə wənz ðət ju kən dɪˈskraɪb ər kɔl ˈɪntu jʊr maɪnd æt wɪl, waɪl ˌɪmˈplɪsət ˈmɛməriz ər ˌɔtəˈmætɪk ənd nɑt ˈrɪli ˈkɑnʃəs. ˈlərnɪd skɪlz ər gʊd ɪgˈzæmpəlz əv ˌɪmˈplɪsət ˈmɛməriz. ðəs ˌɔlˈðoʊ ju maɪt rɪˈmɛmbər haʊ tɪ raɪd ə ˈbaɪsɪkəl (sɪns ju kən ˈizəli du ɪt) traɪɪŋ tɪ dɪˈskraɪb tɪ ˈsəmˌwən ɛls wət ju hæv tɪ du tɪ steɪ ˈəˌpraɪt ɔn ə ˈbaɪsɪkəl ɪz ˈvərʧuəli ˌɪmˈpɑsəbəl. ju noʊ wət tɪ du, bət ju meɪk ðiz ˈækʃənz ˈkɑnʃəs ɪn səʧ ə weɪ ɛz tɪ kəmˈjunəˌkeɪt ðɛm tɪ ˈəðərz. ɪkˈsplɪsət ˈmɛməriz ər ˈmɛməriz ər ðə wənz wɪʧ ər ˈizəli brɔt ˈɪntu ˈkɑnʃəsnəs ənd wɪʧ wi kən dɪˈskraɪb vərˈbæli. wɪn wi kənˈsɪdər ɪkˈsplɪsət ˈmɛməri ɪt kəmz ɪn tu vərˈaɪətiz, ˈneɪmli ““episodic”*” ənd ““semantic”*” ˈmɛməri. ˌɛpəˈsɑdɪk ˈmɛməri ɪz ˈmɛməri fər wət ju hæv ˈpərsənəli ɪkˈspɪriənst. wɪn ju ˈænsər ə kˈwɛʃən əˈbaʊt wət ju hæd fər ˈdɪnər læst naɪt, wɪʧ kloʊðz ju wɔr ˈjɛstərˌdeɪ, ər ju dɪˈskraɪb jʊr fərst roʊˈmæntɪk kɪs, ju ər rɪˈkɔlɪŋ ˌɛpəˈsɑdɪk ˈmɛməriz. ðɪs ɪz ˈdɪfərənt frəm sɪˈmæntɪk ˈmɛməri wɪʧ ˌɪnˈvɑlvz ˈmɛməri fər fækts. tɪ ˈænsər ə kˈwɛʃən səʧ ɛz wɑz ʤɔrʤ washington?”*?” ər ɪz ðə ˈklaɪmɪt laɪk ɔn ðə moon?”*?” wɪl ˌɪnˈvɑlv sɪˈmæntɪk ˈmɛməri. ɪt ɪz nɑt ˌɛpəˈsɑdɪk ˈmɛməri sɪns ju ˈnɛvər mɛt ʤɔrʤ ˈwɔʃɪŋtən, nɔr hæv ju ˈvɪzɪtɪd ðə mun. səm ˈpipəl seɪ ðət ˌɛpəˈsɑdɪk ˈmɛməri ɪz ə sɔrt əv ˈmɛntəl taɪm ˈtrævəl ɪn wɪʧ ju riˈvɪzɪt ɪˈvɛnts ðət ju ɪkˈspɪriənst baɪ ˈbrɪŋɪŋ ðɛm ˈɪntu ˈkɑnʃəsnəs. ˌɛpəˈsɑdɪk ˈmɛməri ɪz nɑt beɪst əˈpɑn ˈpræktɪs ər ˌrɛpəˈtɪʃən, sɪns moʊst laɪf ɪˈvɛnts əˈkər ˈoʊnli wəns, ənd ˌnənðəˈlɛs ər rɪˈmɛmbərd. ən ˌɪmˈpɔrtənt ˌkɛrɪktərˈɪstɪk əv ˌɛpəˈsɑdɪk ˈmɛməriz ɪz ðət iʧ kənˈteɪnz spɪˈsɪfɪk ˈdætə əˈbaʊt ““what,”*,” ““when,”*,” ənd ““where.”*.” aɪ nu əˈbaʊt bɪˈlifs sɪns, ɪn fækt, wi hæd wəns hæd ə brif dɪˈskəʃən əˈbaʊt dɔgz' ˈmɛməri kəˈpæsɪti ənd ðə ˈneɪʧər əv ˈkeɪˌnaɪn ˈkɑnʃəsnəs wɪn hi hæd ˈvɪzɪtɪd maɪ ˌjunəˈvərsəti tɪ gɪv ə ˈsɪriz əv ˈlɛkʧərz. hɪz bɪˈlifs əˈbaʊt ðɪs ˈmætər ˈpəzəld mi, ˈivɪn ɪn laɪt əv ˈoʊnli ˈkæʒəwəl ˌɑbzərˈveɪʃən əv dɔg bɪˈheɪvjərz. fər ɪgˈzæmpəl, ˈmɛni dɔg ˈoʊnərz hæv ə vərˈaɪəti əv "faɪnd ðə ˈɑbʤɛkt" ˈfreɪzɪz ðət ðeɪ juz ənd tɪ wɪʧ ðə dɔg rɪˈspɑndz əˈproʊpriɪtli. fər ɪgˈzæmpəl maɪ dɔgz rɪˈspɑnd tɪ, "wɛrz jʊr bɔl?" baɪ ˈdæʃɪŋ əraʊnd tɪ faɪnd ðə bɔl ənd ðɛn ˈbrɪŋɪŋ ɪt tɪ mi. ɪf ɪt ɪz ˌɪnəkˈsɛsəbəl, ðeɪ wɪl ˈjuʒəwəli stænd nɪr wɛr ðeɪ bɪˈliv ɪt tɪ bi ənd bɑrk. maɪ dɔgz ˈɔlsoʊ rɪˈspɑnd tɪ "wɛrz joannie*?" wɪʧ ɪz ə kənˈvinjənt freɪz wɪʧ hɛlps mi tɪ ˈloʊˌkeɪt maɪ waɪf. ɔn ˈhirɪŋ ɪt ðə dɔg goʊz tɪ ðə rum wɛr ðeɪ læst sɔ maɪ waɪf. ɪf ʃi ɪz əpˈstɛrz ɔn ɪn ðə ˈbeɪsmənt, ðə dɔg wɪl muv ðə əˈproʊpriˌeɪt sɛt əv stɛrz ənd weɪt ðɛr. ɪf ʃi ɪz aʊt əv ðə haʊs ðə dɔg wɪl ˈjuʒəwəli goʊ tɪ ðə dɔr ðət ʃi juzd wɪn ʃi lɛft. ɪf ðə dɔg ˈdəzənt noʊ wɛr ʃi ɪz, ər ɪf ʃi həz muvd sɪns hi læst sɔ hər, hi wɪl ˈjuʒəwəli stɑrt tɪ sərʧ fər ʤoʊn. iʧ əv ðiz ɪz ən ˈɪnstəns əv ˌɛpəˈsɑdɪk ˈmɛməri sɪns ðə dɔg məst rɪˈmɛmbər wɛr hi læst sɔ ðə ˈaɪtəm. ðɪs ˈmɛməri ˈklɪrli həz ðə rikˈwaɪərd ““when,”*,” ““what,”*,” ənd ““where”*” kəmˈpoʊnənts, sɪns wi ər ˈæskɪŋ fər ə loʊˈkeɪʃən əv ə ˌpɑˈtɪkjələr ˈɑbʤɛkt wɪn ɪt wɑz moʊst ˈrisəntli sin beɪst əˈpɑn ðə dɔgz ˈpərsɪnəl ɪkˈspɪriəns. aɪ ˈpɔɪntɪd aʊt ðə joannie?”*?” ˌsɪʧuˈeɪʃən tɪ ˈdɛnɪt hu dɪd nɑt əˈpɪr tɪ bi məʧ ˌɪmˈprɛst. hi wʊd ˈoʊnli grænt ðət ðɪs wɑz behavior.”*.” hi wɛnt ɔn tɪ noʊt ðət hi wʊd hæv tɪ θɪŋk əˈbaʊt ðɪs ˈfərðər ənd wʊd gɪt ɪn təʧ wɪθ mi wɪn hi faʊnd ðə flɔ ɪn maɪ ˈrizənɪŋ. hi ˈnɛvər dɪd ˈkɑnˌtækt mi əˈgɛn əˈbaʊt ðə ˈmætər. maɪ ˈkɑligz ˈproʊˌtɛsts ðət wi ˈsɪmpli kʊd nɑt hæv ˈsəmθɪŋ laɪk ə "ˈmɛməri əˈsɪstəns dɔg" riˈmaɪndɪd mi əv wət maɪt hæv bɪn ðə fərst dɔgz ˈæˌkʧuəli juzd ɪn səʧ ə kəˈpæsɪti. əraʊnd 2003 aɪ ˈɪntərvˌjud ʤɑn hu lɪvz ɪn wetaskiwin*, ə taʊn ɪn ælˈbərtə, ˈkænədə. wɑz hɪt baɪ ə kɑr æt ðə eɪʤ əv faɪv, ənd ðə ˈæksədənt kɔzd breɪn ˈdæmɪʤ. ɪn ðə ɛnd hi wɑz lɛft wɪθ ˈdɪfɪˌkəltiz ənd ə ˈvɛri ˌənrɪˈlaɪəbəl ˌʃɔrtˈtərm ˈmɛməri. ˌbiˈfɔr ˈɛniˌθɪŋ meɪks ɪt ˈɪntu hɪz ˈlɔŋˈtərm ˈmɛməri, ɪt məst bi rɪˈpitɪd ənd ˈmɛni taɪmz. ˈərli ˈmɛməriz ər stɪl ðɛr, soʊ ðət hi kən rɪˈmɛmbər hɪz foʊn ˈnəmbər frəm wɪn hi wɑz fɔr, bət nu wənz ðət ər ə ˈprɑbləm. fər ˈɪnstəns ɪt tʊk ɪm ə jɪr ˈæftər hɪz tɪ rɪˈmɛmbər hɪz waɪfs neɪm. hi toʊld mi "wɪn ju æsk ˈsəmˌwənz neɪm 600 taɪmz bɪˈkəz ju kænt rɪˈmɛmbər, ɪts ˈvɛri ˈfrəˌstreɪtɪŋ." æt ə ˈvɛri prægˈmætɪk ˈlɛvəl, ɪn ðə ˈæbsəns əv ˌʃɔrtˈtərm ˈmɛməri, ˈsɪmpəl tæsks bɪˈkeɪm ˈnaɪtˌmɛrz. ɪf wɛnt tɪ ə ˈʃɑpɪŋ mɔl, baɪ ðə taɪm hi keɪm aʊt hi ˈjuʒəwəli hæd kəmˈplitli fərˈgɑtən wɛr hɪz kɑr wɑz pɑrkt. ɪt ɪz ɪn səʧ ˌsɪʧuˈeɪʃənz wɛr ðə ˌɛpəˈsɑdɪk ˈmɛməri əˈbɪləˌti əv ə dɔg bɪˈkəmz ˌɪmˈpɔrtənt. kən naʊ goʊ ˈʃɑpɪŋ wɪθ bɪˈkəz əv ə ˈʤərmən ˈʃɛpərd dɔg neɪmd gəˈlaɪəθ, hu ɪz hɪz ˈmɛməri eɪd. gəˈlaɪəθ ɪz ðə θərd səʧ ˈmɛməri əˈsɪstəns dɔg ðət hi həz hæd. ˈɑbviəsli gəˈlaɪəθ kænt hɛlp wɪθ neɪmz, foʊn ˈnəmbərz, ər ˈʃɑpɪŋ lɪsts, bət ðə dɔg dɪz sərv ðə seɪm ˈpərpəs ɛz ðə bɔl əv strɪŋ ðət ˈθiˌziəs lɛt aʊt ɛz hɪz weɪ θru ðə ˈlæbərˌɪnθ ɪn ˈɔrdər tɪ faɪnd hɪz weɪ bæk aʊt ˈæftər hi slu ðə minotaur*. tæsk ɪz tɪ lɛd hɪz ˈmæstər bæk tɪ ðə ˈpleɪsɪz ðət hi kænt rɪˈmɛmbər, səʧ ɛz ðə weɪ aʊt əv ə ˈbɪldɪŋ həz ˈoʊnli bɪn ɪn ðɪs wən taɪm. ɪn ˈəðər wərdz, ðə dɔg məst juz hɪz ˌɛpəˈsɑdɪk ˈmɛməri tɪ rɪˈmɛmbər wɛr ən ˈɛksət ɪz, ər wɛr hɪz ˈoʊnərz kɑr wɑz pɑrkt. sɪz bi lɔst ɔl ðə taɪm wɪˈθaʊt ɪm. naʊ aɪ ʤɪst tɛl ɪm tɪ ðə ˈɛksət door,’*,’ ər aɪ tɛl ɪm tɪ ðə car,’*,’ ənd hi teɪks mi there.”*.” ɪt ɪz ðəs ˌɛpəˈsɑdɪk ˈmɛməri ðət ˈsəbstəˌtuts fər ðə ˌɛpəˈsɑdɪk ˈmɛməriz ðət hɪz ˈmæstər həz səʧ ˈdɪfɪˌkəlti riˈtrivɪŋ. ɪt wʊd bi ˈɪntəˌrɛstɪŋ tɪ hir wət ˈdɑktər. ˈdɛnɪt maɪt hæv tɪ seɪ əˈbaʊt ðɪs. ˈstænli ˈkɔrən ɪz ðə ˈɔθər əv ˈmɛni bʊks ˌɪnˈkludɪŋ: ðə ˈwɪzdəm əv dɔgz; du dɔgz drim? bɔrn tɪ bɑrk; ðə ˈmɑdərn dɔg; waɪ du dɔgz hæv wɛt ˈnoʊzɪz? ðə əv ˈhɪstəri; haʊ dɔgz θɪŋk; haʊ tɪ spik dɔg; waɪ wi ləv ðə dɔgz wi du; wət du dɔgz noʊ? ðə ˌɪnˈtɛləʤəns əv dɔgz; waɪ dɪz maɪ dɔg ækt ðət weɪ? ˌəndərˈstændɪŋ dɔgz fər ˈdəmiz; slip θivz; ðə ˈsɪnˌdroʊm ˈkɑpiˌraɪt ˌsaɪkəˈlɑʤɪkəl ˈɛnərˌpraɪzɪz ˈɛlˈtiˈdi. meɪ nɑt bi riˈprɪntɪd ər wɪˈθaʊt pərˈmɪʃən |
yelling and swearing and even threats of violence have come to characterize sessions in calgary, but the city is far from alone in seeing its civic gatherings devolve into such uncivil behaviour, council heard monday.
"things are changing," said city manager jeff fielding, who held top administrative jobs in kitchener, burlington, and london, ont., before taking on his current role in calgary in 2014.
"people are not only engaged, but they're angry-engaged."
fielding said he's observed a marked increase in "the degree of acrimony" in the public's behaviour over the past five years, in particular.
his comments came during a special council meeting on the city's policies.
mayor said monday's meeting had been planned months earlier but acknowledged the coincidental timing with the "elephant in the room" last week's testy information session on the southwest project.
the day after that public meeting, announced all subsequent info sessions on the project would be cancelled due to verbal harassment and even threats of violence against city staff.
"i heard of incidents that had happened, including the following: one member of the public saying about one of my colleagues, 'where is that bitch? i'm going to strangle her,'" said in explaining his decision.
the mayor also revealed a city employee had been physically assaulted at an earlier session on the same project in october, with her clothing pulled at and her name tag ripped off.
'berated, demeaned, physically assaulted'
the mayor didn't name that employee but she came forward via a public facebook post, saying the pattern of behaviour at such sessions is nothing new.
"i have been berated, demeaned, physically assaulted and disrespected by complete strangers on too many occasions," emma stevens wrote.
"i'm sorry for the that now won't get the chance to provide their input in person because of the behaviour of some of their neighbours," she added.
"but i'm also, frankly, relieved that i won't be put in a position that compromises my safety and well-being."
the city will continue to carry out online engagement as it finalizes plans for the bus rapid transit expansion in the southwest, but all gatherings have been called off.
fragmented media reinforces
the shift toward angrier people at sessions has also been noticeable in the united states, according to specialist wendy green lowe, who visited calgary to work with council at monday's meeting.
lowe blamed fragmentation of media, in large part, for the growing lack of civility.
with so many sources of information now available, she said people often pick and choose what to believe, eroding the common ground once shared by even the most ideologically opposed citizens.
"when i was growing up, there were three channels on the television and all three of them provided news in an objective way they tried very much to provide a balanced explanation of what was happening," she told council.
"right now, people are choosing their news sources to affirm their worldview, and what that means is we don't have a level playing field in society's understanding of issues. people believe fundamentally different things about all kinds of topics."
discussion or disruption?
coun. farrell said some recent open houses have created unsafe situations, as large groups of agitated citizens gather in relatively cramped spaces.
"as a councillor, you're swarmed by people," she said. "and that puts certain individuals at great risk, i believe."
mac logan, the city's general manager of transportation, said last week's meeting on the southwest, in particular, was unlike any he had seen.
"it's one of the only times i've ever seen a group of people in an engagement process try to disrupt the discourse with other people, who were either supportive or who were neutral and just coming for information," logan said.
"i've never experienced that, in the last decade, certainly." | ˈjɛlɪŋ ənd sˈwɛrɪŋ ənd ˈivɪn θrɛts əv ˈvaɪələns hæv kəm tɪ ˈkɛrɪktərˌaɪz ˈsɛʃənz ɪn ˈkælgəri, bət ðə ˈsɪti ɪz fɑr frəm əˈloʊn ɪn siɪŋ ɪts ˈsɪvɪk ˈgæðərɪŋz dɪˈvɑlv ˈɪntu səʧ ənˈsɪvəl bɪˈheɪvjər, ˈkaʊnsəl hərd ˈmənˌdeɪ. "θɪŋz ər ˈʧeɪnʤɪŋ," sɛd ˈsɪti ˈmænɪʤər ʤɛf ˈfildɪŋ, hu hɛld tɔp ədˈmɪnɪˌstreɪtɪv ʤɑbz ɪn ˈkɪʧənər, ˈbərlɪŋtən, ənd ˈləndən, ont*., ˌbiˈfɔr ˈteɪkɪŋ ɔn hɪz ˈkɑrənt roʊl ɪn ˈkælgəri ɪn 2014 "ˈpipəl ər nɑt ˈoʊnli ɪnˈgeɪʤd, bət ðɛr angry-engaged*." ˈfildɪŋ sɛd hiz əbˈzərvd ə mɑrkt ˌɪnˈkris ɪn "ðə dɪˈgri əv ˈækrɪˌmoʊni" ɪn ðə ˈpəblɪks bɪˈheɪvjər ˈoʊvər ðə pæst faɪv jɪrz, ɪn ˌpɑˈtɪkjələr. hɪz ˈkɑmɛnts keɪm ˈdʊrɪŋ ə ˈspɛʃəl ˈkaʊnsəl ˈmitɪŋ ɔn ðə ˈsɪtiz ˈpɑləsiz. meɪər sɛd ˈmənˌdeɪz ˈmitɪŋ hæd bɪn plænd mənθs ˈərliər bət ækˈnɑlɪʤd ðə koʊˌɪnsəˈdɛntəl ˈtaɪmɪŋ wɪθ ðə "ˈɛləfənt ɪn ðə rum" læst wiks ˈtɛsti ˌɪnˌfɔrˈmeɪʃən ˈsɛʃən ɔn ðə ˌsaʊθˈwɛst ˈprɑʤɛkt. ðə deɪ ˈæftər ðət ˈpəblɪk ˈmitɪŋ, əˈnaʊnst ɔl ˈsəbsəkwənt ˈɪnfoʊ ˈsɛʃənz ɔn ðə ˈprɑʤɛkt wʊd bi ˈkænsəld du tɪ ˈvərbəl hərˈæsmənt ənd ˈivɪn θrɛts əv ˈvaɪələns əˈgɛnst ˈsɪti stæf. "aɪ hərd əv ˈɪnsədənts ðət hæd ˈhæpənd, ˌɪnˈkludɪŋ ðə ˈfɑloʊɪŋ: wən ˈmɛmbər əv ðə ˈpəblɪk seɪɪŋ əˈbaʊt wən əv maɪ ˈkɑligz, 'wɛr ɪz ðət bɪʧ? əm goʊɪŋ tɪ ˈstræŋgəl hər,'" sɛd ɪn ɪkˈspleɪnɪŋ hɪz dɪˈsɪʒən. ðə meɪər ˈɔlsoʊ rɪˈvild ə ˈsɪti ɪmˈplɔɪi hæd bɪn ˈfɪzɪkəli əˈsɔltɪd æt ən ˈərliər ˈsɛʃən ɔn ðə seɪm ˈprɑʤɛkt ɪn ɑkˈtoʊbər, wɪθ hər ˈkloʊðɪŋ pʊld æt ənd hər neɪm tæg rɪpt ɔf. 'bɪˈreɪtɪd, dɪˈmind, ˈfɪzɪkəli əˈsɔltɪd' ðə meɪər ˈdɪdənt neɪm ðət ɪmˈplɔɪi bət ʃi keɪm ˈfɔrwərd ˈviə ə ˈpəblɪk ˈfeɪsˌbʊk poʊst, seɪɪŋ ðə ˈpætərn əv bɪˈheɪvjər æt səʧ ˈsɛʃənz ɪz ˈnəθɪŋ nu. "aɪ hæv bɪn bɪˈreɪtɪd, dɪˈmind, ˈfɪzɪkəli əˈsɔltɪd ənd ˌdɪsrɪˈspɛktɪd baɪ kəmˈplit ˈstreɪnʤərz ɔn tu ˈmɛni ɔˈkeɪʒənz," ˈɛmə ˈstivənz roʊt. "əm ˈsɑri fər ðə ðət naʊ woʊnt gɪt ðə ʧæns tɪ prəˈvaɪd ðɛr ˈɪnˌpʊt ɪn ˈpərsən bɪˈkəz əv ðə bɪˈheɪvjər əv səm əv ðɛr ˈneɪbərz," ʃi ˈædɪd. "bət əm ˈɔlsoʊ, ˈfræŋkli, rɪˈlivd ðət aɪ woʊnt bi pʊt ɪn ə pəˈzɪʃən ðət ˈkɑmprəˌmaɪzɪz maɪ ˈseɪfti ənd ˌwɛlˈbiɪŋ." ðə ˈsɪti wɪl kənˈtɪnju tɪ ˈkɛri aʊt ˈɔnˌlaɪn ɛnˈgeɪʤmənt ɛz ɪt ˈfaɪnəˌlaɪzɪz plænz fər ðə bəs ˈræpɪd ˈtrænzɪt ɪkˈspænʧən ɪn ðə ˌsaʊθˈwɛst, bət ɔl ˈgæðərɪŋz hæv bɪn kɔld ɔf. ˈfrægməntɪd ˈmidiə ˌriɪnˈfɔrsɪz ðə ʃɪft təˈwɔrd ˈæŋgriər ˈpipəl æt ˈsɛʃənz həz ˈɔlsoʊ bɪn ˈnoʊtəsəbəl ɪn ðə juˈnaɪtɪd steɪts, əˈkɔrdɪŋ tɪ ˈspɛʃəlɪst ˈwɛndi grin loʊ, hu ˈvɪzɪtɪd ˈkælgəri tɪ wərk wɪθ ˈkaʊnsəl æt ˈmənˌdeɪz ˈmitɪŋ. loʊ bleɪmd ˌfrægmənˈteɪʃən əv ˈmidiə, ɪn lɑrʤ pɑrt, fər ðə groʊɪŋ læk əv səˈvɪləti. wɪθ soʊ ˈmɛni ˈsɔrsəz əv ˌɪnˌfɔrˈmeɪʃən naʊ əˈveɪləbəl, ʃi sɛd ˈpipəl ˈɔfən pɪk ənd ʧuz wət tɪ bɪˈliv, ɪˈroʊdɪŋ ðə ˈkɑmən graʊnd wəns ʃɛrd baɪ ˈivɪn ðə moʊst ˌaɪdiəˈlɑʤɪkli əˈpoʊzd ˈsɪtɪzənz. "wɪn aɪ wɑz groʊɪŋ əp, ðɛr wər θri ˈʧænəlz ɔn ðə ˈtɛləˌvɪʒən ənd ɔl θri əv ðɛm prəˈvaɪdɪd nuz ɪn ən əˈbʤɛktɪv weɪ ðeɪ traɪd ˈvɛri məʧ tɪ prəˈvaɪd ə ˈbælənst ˌɛkspləˈneɪʃən əv wət wɑz ˈhæpənɪŋ," ʃi toʊld ˈkaʊnsəl. "raɪt naʊ, ˈpipəl ər ˈʧuzɪŋ ðɛr nuz ˈsɔrsəz tɪ əˈfərm ðɛr worldview*, ənd wət ðət minz ɪz wi doʊnt hæv ə ˈlɛvəl pleɪɪŋ fild ɪn soʊˈsaɪɪtiz ˌəndərˈstændɪŋ əv ˈɪʃuz. ˈpipəl bɪˈliv ˌfəndəˈmɛnəli ˈdɪfərənt θɪŋz əˈbaʊt ɔl kaɪnz əv ˈtɑpɪks." dɪˈskəʃən ər dɪsˈrəpʃən? coun*. ˈfɛrɪl sɛd səm ˈrisənt ˈoʊpən ˈhaʊsɪz hæv kriˈeɪtɪd ənˈseɪf ˌsɪʧuˈeɪʃənz, ɛz lɑrʤ grups əv ˈæʤəˌteɪtəd ˈsɪtɪzənz ˈgæðər ɪn ˈrɛlətɪvli kræmpt ˈspeɪsɪz. "ɛz ə councillor*, jʊr swɔrmd baɪ ˈpipəl," ʃi sɛd. "ənd ðət pʊts ˈsərtən ˌɪndəˈvɪʤəwəlz æt greɪt rɪsk, aɪ bɪˈliv." mæk ˈloʊgən, ðə ˈsɪtiz ˈʤɛnərəl ˈmænɪʤər əv ˌtrænspərˈteɪʃən, sɛd læst wiks ˈmitɪŋ ɔn ðə ˌsaʊθˈwɛst, ɪn ˌpɑˈtɪkjələr, wɑz ənˈlaɪk ˈɛni hi hæd sin. "ɪts wən əv ðə ˈoʊnli taɪmz aɪv ˈɛvər sin ə grup əv ˈpipəl ɪn ən ɛnˈgeɪʤmənt ˈprɔˌsɛs traɪ tɪ dɪsˈrəpt ðə ˈdɪskɔrs wɪθ ˈəðər ˈpipəl, hu wər ˈiðər səˈpɔrtɪv ər hu wər ˈnutrəl ənd ʤɪst ˈkəmɪŋ fər ˌɪnˌfɔrˈmeɪʃən," ˈloʊgən sɛd. "aɪv ˈnɛvər ɪkˈspɪriənst ðət, ɪn ðə læst ˈdɛkeɪd, ˈsərtənli." |
adelaide two singaporeans busted in australia for trying to leave the country with illegal cash of about) had tried to throw off airport sniffer dogs with steaks and chops stuffed in their suitcases.
ryan marc pereira and edward choi hang, both 34, were caught red-handed at adelaide airport on dec 4 last year, when a sniffer dog by the name of approached one of them in the area.
suspicious, police searched their belongings and found alongside t-bone steaks in one bag and concealed beside a tray of lamb chops in another, the australian associated press (aap) reported.
they were arrested and charged with dealing with money suspected of being proceeds of crime.
pereira was yesterday sentenced to 14 months behind bars but was ordered to serve only nine months of his term. choi received 12 months' jail in the ruling, but will serve only six months.
the duo claimed that they had planned to take the meat home for consumption, according to south news outlet the advertiser. but district court judge geraldine davison yesterday did not buy the men's story.
"you have been caught not only red-handed with the money in the suitcases, but also having attempted to disguise the smell of the money from the detection dogs by the purchase and placement of meat in your suitcases," she was quoted as saying by the advertiser.
the two men initially told police that they had won the money on the gambling tables after flying in from singapore on dec 2. but they later dropped their story and could not explain where the money came from.
choi's lawyers argued that pereira was the mastermind in the scheme, while choi was merely a "mule". pereira, a father of two whom the judge said had committed similar crimes in previous trips from singapore to adelaide, admitted that the cash could be proceeds of crime.
based on time already served in custody, pereira will be released on sept 4 and choi on june 4, according to aap. they will be deported upon release. | ˈædəˌleɪd tu sɪŋgəˈpɔriənz ˈbəstɪd ɪn ɔˈstreɪljə fər traɪɪŋ tɪ liv ðə ˈkəntri wɪθ ˌɪˈligəl kæʃ əv əˈbaʊt hæd traɪd tɪ θroʊ ɔf ˈɛrˌpɔrt sˈnɪfər dɔgz wɪθ steɪks ənd ʧɑps stəft ɪn ðɛr ˈsutˌkeɪsɪz. raɪən mɑrk pərˈɛrə ənd ˈɛdwərd ʧɔɪ hæŋ, boʊθ 34 wər kɔt ˈrɛˈdhændɪd æt ˈædəˌleɪd ˈɛrˌpɔrt ɔn dɛk 4 læst jɪr, wɪn ə sˈnɪfər dɔg baɪ ðə neɪm əv əˈproʊʧt wən əv ðɛm ɪn ðə ˈɛriə. səˈspɪʃəs, pəˈlis sərʧt ðɛr bɪˈlɔŋɪŋz ənd faʊnd əˈlɔŋˈsaɪd ˈtiˌboʊn steɪks ɪn wən bæg ənd kənˈsild ˌbiˈsaɪd ə treɪ əv læm ʧɑps ɪn əˈnəðər, ðə ɔˈstreɪljən əˈsoʊʃiˌeɪtəd prɛs (aap*) ˌriˈpɔrtəd. ðeɪ wər ərˈɛstɪd ənd ʧɑrʤd wɪθ ˈdilɪŋ wɪθ ˈməni səˈspɛktɪd əv biɪŋ prəˈsidz əv kraɪm. pərˈɛrə wɑz ˈjɛstərˌdeɪ ˈsɛntənst tɪ 14 mənθs bɪˈhaɪnd bɑrz bət wɑz ˈɔrdərd tɪ sərv ˈoʊnli naɪn mənθs əv hɪz tərm. ʧɔɪ rɪˈsivd 12 mənθs' ʤeɪl ɪn ðə ˈrulɪŋ, bət wɪl sərv ˈoʊnli sɪks mənθs. ðə ˈduoʊ kleɪmd ðət ðeɪ hæd plænd tɪ teɪk ðə mit hoʊm fər kənˈsəmʃən, əˈkɔrdɪŋ tɪ saʊθ nuz ˈaʊˌtlɛt ðə ˈædvərˌtaɪzər. bət ˈdɪstrɪkt kɔrt ʤəʤ ʤɛrəlˈdin ˈdeɪvɪsən ˈjɛstərˌdeɪ dɪd nɑt baɪ ðə mɛnz ˈstɔri. "ju hæv bɪn kɔt nɑt ˈoʊnli ˈrɛˈdhændɪd wɪθ ðə ˈməni ɪn ðə ˈsutˌkeɪsɪz, bət ˈɔlsoʊ ˈhævɪŋ əˈtɛmptəd tɪ dɪsˈgaɪz ðə smɛl əv ðə ˈməni frəm ðə dɪˈtɛkʃən dɔgz baɪ ðə ˈpərʧəs ənd ˈpleɪsmənt əv mit ɪn jʊr ˈsutˌkeɪsɪz," ʃi wɑz kˈwoʊtɪd ɛz seɪɪŋ baɪ ðə ˈædvərˌtaɪzər. ðə tu mɛn ˌɪˈnɪʃəli toʊld pəˈlis ðət ðeɪ hæd wən ðə ˈməni ɔn ðə ˈgæmbəlɪŋ ˈteɪbəlz ˈæftər flaɪɪŋ ɪn frəm ˈsɪŋəˌpɔr ɔn dɛk 2 bət ðeɪ ˈleɪtər drɑpt ðɛr ˈstɔri ənd kʊd nɑt ɪkˈspleɪn wɛr ðə ˈməni keɪm frəm. ˈlɔjərz ˈɑrgjud ðət pərˈɛrə wɑz ðə ˈmæstərˌmaɪnd ɪn ðə skim, waɪl ʧɔɪ wɑz ˈmɪrli ə "mjul". pərˈɛrə, ə ˈfɑðər əv tu hum ðə ʤəʤ sɛd hæd kəˈmɪtɪd ˈsɪmələr kraɪmz ɪn ˈpriviəs trɪps frəm ˈsɪŋəˌpɔr tɪ ˈædəˌleɪd, ədˈmɪtəd ðət ðə kæʃ kʊd bi prəˈsidz əv kraɪm. beɪst ɔn taɪm ɔˈrɛdi sərvd ɪn ˈkəstədi, pərˈɛrə wɪl bi riˈlist ɔn sɛpt 4 ənd ʧɔɪ ɔn ʤun 4 əˈkɔrdɪŋ tɪ aap*. ðeɪ wɪl bi dɪˈpɔrtəd əˈpɑn riˈlis. |
repealing the affordable care (aca’s) individual mandate in the tax bill is being characterized by some senators as a catalyst for congress to replace the health law next year. it may be just the opposite, equivalent to crossing a bridge and burning it behind you.
the individual mandate, or shared responsibility provision, gives people a choice: buy affordable coverage if you can afford it or pay a tax. it encourages people to maintain continuous coverage rather than purchase it when they get sick.
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it has contributed to an individual market that, prior to being undermined by the trump administration, was growing in
size
and
stability
. it contributed to the
lowest uninsured rate
in american history.
knocking out this incentive for coverage would make it more (and for some too) expensive to buy individual market coverage. the congressional budget office (cbo) estimated that average premiums would increase by 10 percent, which translates into nearly $2,000 per year for a family of four.
the amount would be greater for older americans and those that live in rural areas. this premium increase, coupled with less emphasis placed on getting coverage, would result in an estimated 13 million more uninsured americans.
if the mandate repeal is signed into law with the tax bill, there is no turning back for three reasons.
first, to date, no expert has identified a policy as effective as the individual mandate. for example, estimated that the american health care proposal to maintain continuous coverage would end up causing more people to lose than to gain coverage. and proposals that private insurance help the 5 million americans who will no longer get medicaid coverage under the tax bill.
second, even if such a policy existed, no funding would be easily found to pay for the coverage for lost under the bill. congress has yet to agree on funding for the bipartisan health insurance program. the $318 billion needed to cover those uninsured because of the tax bill is 40 times higher than the $8 billion congress has failed to find for low-income coverage.
third, no trust would be left to make the system work as it did before. democrats would be unlikely to give up parts of the aca to make the problems less bad.
republicans themselves agree on how to lower private insurance premiums. ideas like reinsurance are opposed by conservatives as insurance company “bailouts.” ideas like allowing insurers to charge more or drop benefits for people with conditions are opposed by moderates.
the bipartisan bill would only get the system back to the baseline; it would do virtually nothing to limit the tax impact. insurance companies, faced with this bleak outlook, are likely to abandon this market.
and americans may not only give up on congress but on the prospects for the private insurance system altogether, increasing the demand for ideas like medicare for more people.
senate republican's tax bill would cause real harm to americans’ health, resulting in more unpaid bills, skipped health care, and preventable deaths. and it would harm system, increasing its costs and gaps.
there is no subsequent congressional action that could retroactively restore health and financial security after it is lost. and there may be no subsequent congressional agreement that even attempts to do so. there is only one choice for senators who care about lowering premiums and maintaining coverage: get the individual mandate repeal out of the tax bill.
jeanne a a former deputy assistant to president obama for health policy and currently is a senior fellow at the century foundation. | riˈpilɪŋ ðə əˈfɔrdəbəl kɛr (aca’s*) ˌɪndəˈvɪʤəwəl ˈmænˌdeɪt ɪn ðə tæks bɪl ɪz biɪŋ ˈkɛrɪktərˌaɪzd baɪ səm ˈsɛnətərz ɛz ə ˈkætəˌlɪst fər ˈkɑŋgrəs tɪ ˌriˈpleɪs ðə hɛlθ lɔ nɛkst jɪr. ɪt meɪ bi ʤɪst ðə ˈɑpəzɪt, ɪkˈwɪvələnt tɪ ˈkrɔsɪŋ ə brɪʤ ənd ˈbərnɪŋ ɪt bɪˈhaɪnd ju. ðə ˌɪndəˈvɪʤəwəl ˈmænˌdeɪt, ər ʃɛrd riˌspɑnsəˈbɪləti prəˈvɪʒən, gɪvz ˈpipəl ə ʧɔɪs: baɪ əˈfɔrdəbəl ˈkəvərɪʤ ɪf ju kən əˈfɔrd ɪt ər peɪ ə tæks. ɪt ɪnˈkərəʤəz ˈpipəl tɪ meɪnˈteɪn kənˈtɪnjuəs ˈkəvərɪʤ ˈrəðər ðən ˈpərʧəs ɪt wɪn ðeɪ gɪt sɪk. ˌædvərˈtaɪzmənt ɪt həz kənˈtrɪbjutɪd tɪ ən ˌɪndəˈvɪʤəwəl ˈmɑrkɪt ðət, praɪər tɪ biɪŋ ˌəndərˈmaɪnd baɪ ðə trəmp ædˌmɪnɪˈstreɪʃən, wɑz groʊɪŋ ɪn saɪz ənd stəˈbɪlɪti ɪt kənˈtrɪbjutɪd tɪ ðə loʊəst ˌənɪnˈʃʊrd reɪt ɪn əˈmɛrɪkən ˈhɪstəri. ˈnɑkɪŋ aʊt ðɪs ˌɪnˈsɛnɪv fər ˈkəvərɪʤ wʊd meɪk ɪt mɔr (ənd fər səm tu) ɪkˈspɛnsɪv tɪ baɪ ˌɪndəˈvɪʤəwəl ˈmɑrkɪt ˈkəvərɪʤ. ðə kənˈgrɛʃənəl ˈbəʤɪt ˈɔfəs (cbo*) ˈɛstəˌmeɪtɪd ðət ˈævərɪʤ ˈprimiəmz wʊd ˌɪnˈkris baɪ 10 pərˈsɛnt, wɪʧ ˈtrænsˌleɪts ˈɪntu ˈnɪrli pər jɪr fər ə ˈfæməli əv fɔr. ðə əˈmaʊnt wʊd bi ˈgreɪtər fər ˈoʊldər əˈmɛrɪkənz ənd ðoʊz ðət lɪv ɪn ˈrʊrəl ˈɛriəz. ðɪs ˈprimiəm ˌɪnˈkris, ˈkəpəld wɪθ lɛs ˈɛmfəsɪs pleɪst ɔn ˈgɪtɪŋ ˈkəvərɪʤ, wʊd rɪˈzəlt ɪn ən ˈɛstəˌmeɪtɪd 13 ˈmɪljən mɔr ˌənɪnˈʃʊrd əˈmɛrɪkənz. ɪf ðə ˈmænˌdeɪt rɪˈpil ɪz saɪnd ˈɪntu lɔ wɪθ ðə tæks bɪl, ðɛr ɪz noʊ ˈtərnɪŋ bæk fər θri ˈrizənz. fərst, tɪ deɪt, noʊ ˈɛkspərt həz aɪˈdɛntəˌfaɪd ə ˈpɑləsi ɛz ˈifɛktɪv ɛz ðə ˌɪndəˈvɪʤəwəl ˈmænˌdeɪt. fər ɪgˈzæmpəl, ˈɛstəˌmeɪtɪd ðət ðə əˈmɛrɪkən hɛlθ kɛr prəˈpoʊzəl tɪ meɪnˈteɪn kənˈtɪnjuəs ˈkəvərɪʤ wʊd ɛnd əp ˈkɔzɪŋ mɔr ˈpipəl tɪ luz ðən tɪ geɪn ˈkəvərɪʤ. ənd prəˈpoʊzəlz ðət ˈpraɪvət ˌɪnˈʃʊrəns hɛlp ðə 5 ˈmɪljən əˈmɛrɪkənz hu wɪl noʊ ˈlɔŋgər gɪt ˈmɛdəˌkeɪd ˈkəvərɪʤ ˈəndər ðə tæks bɪl. ˈsɛkənd, ˈivɪn ɪf səʧ ə ˈpɑləsi ɪgˈzɪstəd, noʊ ˈfəndɪŋ wʊd bi ˈizəli faʊnd tɪ peɪ fər ðə ˈkəvərɪʤ fər lɔst ˈəndər ðə bɪl. ˈkɑŋgrəs həz jɛt tɪ əˈgri ɔn ˈfəndɪŋ fər ðə baɪˈpɑrtɪzən hɛlθ ˌɪnˈʃʊrəns ˈproʊˌgræm. ðə 318 ˈbɪljən ˈnidɪd tɪ ˈkəvər ðoʊz ˌənɪnˈʃʊrd bɪˈkəz əv ðə tæks bɪl ɪz 40 taɪmz haɪər ðən ðə 8 ˈbɪljən ˈkɑŋgrəs həz feɪld tɪ faɪnd fər ˌloʊˈɪnkəm ˈkəvərɪʤ. θərd, noʊ trəst wʊd bi lɛft tɪ meɪk ðə ˈsɪstəm wərk ɛz ɪt dɪd ˌbiˈfɔr. ˈdɛməˌkræts wʊd bi ənˈlaɪkli tɪ gɪv əp pɑrts əv ðə ˈækə tɪ meɪk ðə ˈprɑbləmz lɛs bæd. rɪˈpəblɪkənz ðɛmˈsɛlvz əˈgri ɔn haʊ tɪ loʊər ˈpraɪvət ˌɪnˈʃʊrəns ˈprimiəmz. aɪˈdiəz laɪk ˌriɪnˈʃʊrəns ər əˈpoʊzd baɪ kənˈsərvətɪvz ɛz ˌɪnˈʃʊrəns ˈkəmpəˌni ““bailouts.”*.” aɪˈdiəz laɪk əˈlaʊɪŋ ˌɪnˈʃʊrərz tɪ ʧɑrʤ mɔr ər drɔp ˈbɛnəfɪts fər ˈpipəl wɪθ kənˈdɪʃənz ər əˈpoʊzd baɪ ˈmɑdərˌeɪts. ðə baɪˈpɑrtɪzən bɪl wʊd ˈoʊnli gɪt ðə ˈsɪstəm bæk tɪ ðə ˈbeɪsˌlaɪn; ɪt wʊd du ˈvərʧuəli ˈnəθɪŋ tɪ ˈlɪmət ðə tæks ˌɪmˈpækt. ˌɪnˈʃʊrəns ˈkəmpəˌniz, feɪst wɪθ ðɪs blik ˈaʊˌtlʊk, ər ˈlaɪkli tɪ əˈbændən ðɪs ˈmɑrkɪt. ənd əˈmɛrɪkənz meɪ nɑt ˈoʊnli gɪv əp ɔn ˈkɑŋgrəs bət ɔn ðə ˈprɑspɛkts fər ðə ˈpraɪvət ˌɪnˈʃʊrəns ˈsɪstəm ˌɔltəˈgɛðər, ˌɪnˈkrisɪŋ ðə dɪˈmænd fər aɪˈdiəz laɪk ˈmɛdəˌkɛr fər mɔr ˈpipəl. ˈsɛnɪt riˈpəblɪkənz tæks bɪl wʊd kɔz ril hɑrm tɪ americans’*’ hɛlθ, rɪˈzəltɪŋ ɪn mɔr ənˈpeɪd bɪlz, skɪpt hɛlθ kɛr, ənd prɪˈvɛntəbəl dɛθs. ənd ɪt wʊd hɑrm ˈsɪstəm, ˌɪnˈkrisɪŋ ɪts kɔsts ənd gæps. ðɛr ɪz noʊ ˈsəbsəkwənt kənˈgrɛʃənəl ˈækʃən ðət kʊd ˌrɛtroʊˈæktɪvli rɪˈstɔr hɛlθ ənd ˌfaɪˈnænʃəl sɪˈkjʊrəti ˈæftər ɪt ɪz lɔst. ənd ðɛr meɪ bi noʊ ˈsəbsəkwənt kənˈgrɛʃənəl əˈgrimənt ðət ˈivɪn əˈtɛmpts tɪ du soʊ. ðɛr ɪz ˈoʊnli wən ʧɔɪs fər ˈsɛnətərz hu kɛr əˈbaʊt loʊərɪŋ ˈprimiəmz ənd meɪnˈteɪnɪŋ ˈkəvərɪʤ: gɪt ðə ˌɪndəˈvɪʤəwəl ˈmænˌdeɪt rɪˈpil aʊt əv ðə tæks bɪl. ʤin ə ə ˈfɔrmər ˈdɛpjəti əˈsɪstənt tɪ ˈprɛzɪdənt ˌoʊˈbɑmə fər hɛlθ ˈpɑləsi ənd ˈkərəntli ɪz ə ˈsinjər ˈfɛloʊ æt ðə ˈsɛnʧəri faʊnˈdeɪʃən. |
yellowstone has the world's largest collection of geysers, and it has the underground plumbing to prove it. scientists have announced that the volcanic activity beneath the national park's surface may be far bigger and better connected than once thought.
the national park is home to hot springs, mudpots, fumaroles and geysers, so it's not surprising that it has quite a bit of volcanic activity under the ground. known as a hotspot, a massive volume of molten magma is located beneath yellowstone. this plume of superheated rock rises from earth's mantle, punching through the continent's crust as north america has slowly drifted over it. the phenomenon has left a trail of created by massive volcanic eruptions in its wake; the most recent occurred about years ago.
yellowstone is infamous for its potential for a "super eruption." when the huckleberry ridge eruption in yellowstone occurred about 2 million years ago, it darkened the skies with ash from southern california to the mississippi river. it was one of the largest eruptions to have occurred on our planet. understanding the volcanic activity of this location is therefore crucial for predicting future eruptions.
so how did researchers find out about the new size of this hotspot? they analyzed earthquakes, examining the seismic waves as they travelled through the earth. since these waves change speed depending on whether they travel through molten or solid rock, the scientists were able to determine exactly how big the mass of molten material beneath the surface is.
"we are getting a much better understand of the volcanic system of yellowstone," said jamie farrell, a seismology graduate student at the university of utah, in an interview with livescience.com. "the magma reservoir is at least 50 percent larger than previously imagined."
the reservoir isn't just bigger; it's also more connected. the researchers discovered that instead of individual pockets, the underground magma is centered in one giant mass. about 37 miles long and 18 miles wide, the magma helps power the volcanic activity seen at the park.
the new findings could allow scientists to better predict future eruptions in the area. in addition, it has given them some more insight into what makes yellowstone and its geysers tick.
the findings were reported at the seismological society of america's annual meeting. | ˈjɛloʊˌstoʊn həz ðə wərldz ˈlɑrʤəst kəˈlɛkʃən əv ˈgaɪzərz, ənd ɪt həz ðə ˈəndərˌgraʊnd ˈpləmɪŋ tɪ pruv ɪt. ˈsaɪəntɪsts hæv əˈnaʊnst ðət ðə vɑlˈkænɪk ækˈtɪvɪti bɪˈniθ ðə ˈnæʃənəl pɑrks ˈsərfəs meɪ bi fɑr ˈbɪgər ənd ˈbɛtər kəˈnɛktɪd ðən wəns θɔt. ðə ˈnæʃənəl pɑrk ɪz hoʊm tɪ hɑt spərɪŋz, mudpots*, fˈjumərˌoʊlz ənd ˈgaɪzərz, soʊ ɪts nɑt səˈpraɪzɪŋ ðət ɪt həz kwaɪt ə bɪt əv vɑlˈkænɪk ækˈtɪvɪti ˈəndər ðə graʊnd. noʊn ɛz ə ˈhɑtˌspɑt, ə ˈmæsɪv ˈvɑljum əv ˈmoʊltən ˈmægmə ɪz ˈloʊˌkeɪtəd bɪˈniθ ˈjɛloʊˌstoʊn. ðɪs plum əv ˌsupərˈhitɪd rɑk ˈraɪzɪz frəm ərθs ˈmæntəl, ˈpənʧɪŋ θru ðə ˈkɑntənənts krəst ɛz nɔrθ əˈmɛrɪkə həz sˈloʊli ˈdrɪftɪd ˈoʊvər ɪt. ðə fəˈnɑməˌnɑn həz lɛft ə treɪl əv kriˈeɪtɪd baɪ ˈmæsɪv vɑlˈkænɪk ˌɪˈrəpʃənz ɪn ɪts weɪk; ðə moʊst ˈrisənt əˈkərd əˈbaʊt jɪrz əˈgoʊ. ˈjɛloʊˌstoʊn ɪz ˈɪnfəməs fər ɪts pəˈtɛnʃəl fər ə "ˈsupər ˌɪˈrəpʃən." wɪn ðə ˈhəkəlˌbɛri rɪʤ ˌɪˈrəpʃən ɪn ˈjɛloʊˌstoʊn əˈkərd əˈbaʊt 2 ˈmɪljən jɪrz əˈgoʊ, ɪt ˈdɑrkənd ðə skaɪz wɪθ æʃ frəm ˈsəðərn ˌkæləˈfɔrnjə tɪ ðə ˌmɪsɪˈsɪpi ˈrɪvər. ɪt wɑz wən əv ðə ˈlɑrʤəst ˌɪˈrəpʃənz tɪ hæv əˈkərd ɔn ɑr ˈplænət. ˌəndərˈstændɪŋ ðə vɑlˈkænɪk ækˈtɪvɪti əv ðɪs loʊˈkeɪʃən ɪz ˈðɛrˌfɔr ˈkruʃəl fər prɪˈdɪktɪŋ fˈjuʧər ˌɪˈrəpʃənz. soʊ haʊ dɪd ˈrisərʧərz faɪnd aʊt əˈbaʊt ðə nu saɪz əv ðɪs ˈhɑtˌspɑt? ðeɪ ˈænəˌlaɪzd ˈərθkˌweɪks, ɪgˈzæmɪnɪŋ ðə ˈsaɪzmɪk weɪvz ɛz ðeɪ ˈtrævəld θru ðə ərθ. sɪns ðiz weɪvz ʧeɪnʤ spid dɪˈpɛndɪŋ ɔn ˈwɛðər ðeɪ ˈtrævəl θru ˈmoʊltən ər ˈsɑləd rɑk, ðə ˈsaɪəntɪsts wər ˈeɪbəl tɪ dɪˈtərmən ɪgˈzæktli haʊ bɪg ðə mæs əv ˈmoʊltən məˈtɪriəl bɪˈniθ ðə ˈsərfəs ɪz. "wi ər ˈgɪtɪŋ ə məʧ ˈbɛtər ˌəndərˈstænd əv ðə vɑlˈkænɪk ˈsɪstəm əv ˈjɛloʊˌstoʊn," sɛd ˈʤeɪmi ˈfɛrɪl, ə ˌsaɪzˈmɑləʤi ˈgræʤəˌweɪt ˈstudənt æt ðə ˌjunəˈvərsəti əv ˈjuˌtɔ, ɪn ən ˈɪntərvˌju wɪθ livescience.com*. "ðə ˈmægmə ˈrɛzəvˌwɑr ɪz æt list 50 pərˈsɛnt ˈlɑrʤər ðən ˈpriviəsli ˌɪˈmæʤənd." ðə ˈrɛzəvˌwɑr ˈɪzənt ʤɪst ˈbɪgər; ɪts ˈɔlsoʊ mɔr kəˈnɛktɪd. ðə ˈrisərʧərz dɪˈskəvərd ðət ˌɪnˈstɛd əv ˌɪndəˈvɪʤəwəl ˈpɑkəts, ðə ˈəndərˌgraʊnd ˈmægmə ɪz ˈsɛntərd ɪn wən ʤaɪənt mæs. əˈbaʊt 37 maɪəlz lɔŋ ənd 18 maɪəlz waɪd, ðə ˈmægmə hɛlps paʊər ðə vɑlˈkænɪk ækˈtɪvɪti sin æt ðə pɑrk. ðə nu ˈfaɪndɪŋz kʊd əˈlaʊ ˈsaɪəntɪsts tɪ ˈbɛtər prɪˈdɪkt fˈjuʧər ˌɪˈrəpʃənz ɪn ðə ˈɛriə. ɪn əˈdɪʃən, ɪt həz ˈgɪvɪn ðɛm səm mɔr ˈɪnˌsaɪt ˈɪntu wət meɪks ˈjɛloʊˌstoʊn ənd ɪts ˈgaɪzərz tɪk. ðə ˈfaɪndɪŋz wər ˌriˈpɔrtəd æt ðə ˌsaɪzməˈlɔʤəkəl soʊˈsaɪɪti əv əˈmɛrɪkəz ˈænjuəl ˈmitɪŋ. |
"i love driving for uber, but they want to replace me with driverless cars. i don't know what will happen to me and everyone else, but there could be a revolution."
a conversation with my uber driver last week unearthed a new fear among many that few of the world's business leaders seemed to have grasped the real impact that artificial intelligence (ai) and automation could have on jobs and society.
uber is just one company that has stated its intention to automate its business. the firm is testing autonomous cars, but chief executive travis said last year in an interview with business insider, that it would not wipe out jobs because "you're still going to need a parallel, or hybrid".
the encounter with my uber driver cast my mind back to this month, hundreds of miles away in the mountain resort of davos, where the world's elite gathered for the world economic forum's (wef) annual meeting. the so-called "fourth industrial revolution" was again a big topic, but the rhetoric had moved from scary doomsday scenarios from a year earlier, to how ai and automation won't be as bad as previously thought.
in a panel, major discussed the topic. jonas, ceo of manpower, was upbeat.
"with automation ... certainly there are going to be jobs that will be displaced, but most jobs will be impacted by technology in terms of specific tasks within the job that will change," told. he pointed towards a survey of employers in 43 different countries across the world conducted by manpower earlier this month, which found 82 percent of employers expect to maintain or increase staff levels as a result of automation. | "aɪ ləv ˈdraɪvɪŋ fər ˈubər, bət ðeɪ wɔnt tɪ ˌriˈpleɪs mi wɪθ ˈdraɪvərlɪs kɑz. aɪ doʊnt noʊ wət wɪl ˈhæpən tɪ mi ənd ˈɛvriˌwən ɛls, bət ðɛr kʊd bi ə ˌrɛvəˈluʃən." ə ˌkɑnvərˈseɪʃən wɪθ maɪ ˈubər ˈdraɪvər læst wik əˈnərθt ə nu fɪr əˈməŋ ˈmɛni ðət fju əv ðə wərldz ˈbɪznɪs ˈlidərz simd tɪ hæv græspt ðə ril ˌɪmˈpækt ðət ˌɑrtəˈfɪʃəl ˌɪnˈtɛləʤəns (eɪaɪ) ənd ɔtəˈmeɪʃən kʊd hæv ɔn ʤɑbz ənd soʊˈsaɪɪti. ˈubər ɪz ʤɪst wən ˈkəmpəˌni ðət həz ˈsteɪtɪd ɪts ˌɪnˈtɛnʧən tɪ ˈɔtəˌmeɪt ɪts ˈbɪznɪs. ðə fərm ɪz ˈtɛstɪŋ ɔˈtɑnəməs kɑz, bət ʧif ɪgˈzɛkjətɪv ˈtrævɪs sɛd læst jɪr ɪn ən ˈɪntərvˌju wɪθ ˈbɪznɪs ˌɪnˈsaɪdər, ðət ɪt wʊd nɑt waɪp aʊt ʤɑbz bɪˈkəz "jʊr stɪl goʊɪŋ tɪ nid ə ˈpɛrəˌlɛl, ər ˈhaɪbrɪd". ðə ɪnˈkaʊnər wɪθ maɪ ˈubər ˈdraɪvər kæst maɪ maɪnd bæk tɪ ðɪs mənθ, ˈhənərdz əv maɪəlz əˈweɪ ɪn ðə ˈmaʊntən rɪˈzɔrt əv ˈdɑvoʊs, wɛr ðə wərldz ɪˈlit ˈgæðərd fər ðə wərld ˌɛkəˈnɑmɪk ˈfɔrəmz (wef*) ˈænjuəl ˈmitɪŋ. ðə ˈsoʊˈkɔld "fɔrθ ˌɪnˈdəstriəl ˌrɛvəˈluʃən" wɑz əˈgɛn ə bɪg ˈtɑpɪk, bət ðə ˈrɛtərɪk hæd muvd frəm ˈskɛri ˈdumzˌdeɪ sɪˈnɛrioʊz frəm ə jɪr ˈərliər, tɪ haʊ eɪaɪ ənd ɔtəˈmeɪʃən woʊnt bi ɛz bæd ɛz ˈpriviəsli θɔt. ɪn ə ˈpænəl, ˈmeɪʤər dɪˈskəst ðə ˈtɑpɪk. ˈʤoʊnəs, ˈsiˌiˈoʊ əv ˈmænˌpaʊər, wɑz ˈəpˌbit. "wɪθ ɔtəˈmeɪʃən ˈsərtənli ðɛr ər goʊɪŋ tɪ bi ʤɑbz ðət wɪl bi dɪˈspleɪst, bət moʊst ʤɑbz wɪl bi ˌɪmˈpæktɪd baɪ tɛkˈnɑləʤi ɪn tərmz əv spɪˈsɪfɪk tæsks wɪˈθɪn ðə ʤɑb ðət wɪl ʧeɪnʤ," toʊld. hi ˈpɔɪntɪd təˈwɔrdz ə ˈsərˌveɪ əv ɪmˈplɔɪərz ɪn 43 ˈdɪfərənt ˈkəntriz əˈkrɔs ðə wərld kənˈdəktəd baɪ ˈmænˌpaʊər ˈərliər ðɪs mənθ, wɪʧ faʊnd 82 pərˈsɛnt əv ɪmˈplɔɪərz ɪkˈspɛkt tɪ meɪnˈteɪn ər ˌɪnˈkris stæf ˈlɛvəlz ɛz ə rɪˈzəlt əv ɔtəˈmeɪʃən. |
police say the new york police lieutenant who killed himself at floyd bennet field on thursday morning, apparently used another officer's gun to commit suicide. according to reports, lieutenant michael suicide note indicated that he was afraid of being charged for the death of a man in brooklyn who died after he authorized the fatal use of a taser stun gun on the naked psychiatric patient.
the officer was remorseful and distraught. he apologized and sought the family's forgiveness. then he married father of two sons and a daughter, went to his unit's headquarters thursday morning and shot himself to death, just hours before the family laid the victim to rest.
the suicide marks another tragic turn in a case that has raised questions about the use of by the nation's largest police force.
authorities say pigott directed a fellow emergency services unit officer to use his taser on iman morales as he teetered on a brooklyn building's ledge on september 24.
the shock caused morales, a troubled psychiatric patient, to topple 10 feet headfirst onto the sidewalk, killing him.
officers had radioed for an inflatable bag as the incident unfolded, but it had not yet arrived when morales fell.
after the episode, police commissioner raymond kelly ordered refresher training for the emergency services unit on how to deal with the mentally ill, and appointed a new commander of the unit.
pigott, a veteran who lives in suffolk county, told a reporter earlier this week that he was "truly sorry for what happened."
pigott was one of two officers disciplined by nypd commanders for violating guidelines.
"the lieutenant was deeply distraught and extremely remorseful over the death of iman morales in brooklyn last week," mayor michael bloomberg said. "sadly, his death just compounds the tragedy of the loss of mr. morales."
pigottt was stripped of his gun and badge and assigned to a job with the department's motor vehicle fleet.
police say the officer who used the taser, nicholas marchesona, was placed on desk duty.
the brooklyn district attorney's office and the nypd are investigating.
pigott's suicide came on what was his birthday. according to the post, he placed photos of his wife and kids next to him before taking his own life.
"this is horrible," said morales' aunt, ann dejesus negron. "i mean, for me personally, i know it's horrible because i would have never wished this on anyone and we never wanted of course this for iman and we would never wanted this to happen to the officer at all or anybody at all."
the episode also cast the spotlight on the emergency services unit, an elite team of officers who deal with dozens of hostile scenarios every day, such as hostage situations, suicidal suspects, building collapses and hazardous materials threats.
"these guys are the best of the best, they really are," said eugene o'donnell, a professor of police studies at john jay college of criminal justice. "when people need help, they call the police, and when police need help, the call the esu."
o'donnell said even though the mistake was caught on camera, it should not take away from the caliber of work the unit and the officers do on a daily basis.
"you have a guy who made a mistake where there's no allegation of malice or ill-will," he said. "and what happened after he made a mistake? he was named in the paper, shamed in the paper, suspended, and there was a strong storyline that he could be criminal suspect." nypd officers are allowed to use if they believe emotionally disturbed people are a danger to themselves or to others.
the nypd uses stun guns about 300 times on average. so far this year, stun guns have been used 180 times.
the department has used since 1984, but policy previously called for sergeants to store the stun guns in their trunks while patrolling.
police said the use of the stun gun in the death of morales appeared to violate department guidelines, which explicitly bar their use "in situations where the subject may fall from an elevated surface."
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report a typo || send a story idea || send news | pəˈlis seɪ ðə nu jɔrk pəˈlis luˈtɛnənt hu kɪld hɪmˈsɛlf æt flɔɪd ˈbɛnɪt fild ɔn ˈθərzˌdeɪ ˈmɔrnɪŋ, əˈpɛrəntli juzd əˈnəðər ˈɔfɪsərz gən tɪ kəˈmɪt ˈsuɪˌsaɪd. əˈkɔrdɪŋ tɪ rɪˈpɔrts, luˈtɛnənt ˈmaɪkəl ˈsuɪˌsaɪd noʊt ˈɪndəˌkeɪtɪd ðət hi wɑz əˈfreɪd əv biɪŋ ʧɑrʤd fər ðə dɛθ əv ə mæn ɪn ˈbrʊklɪn hu daɪd ˈæftər hi ˈɔθərˌaɪzd ðə ˈfeɪtəl juz əv ə ˈteɪzər stən gən ɔn ðə ˈneɪkəd ˌsaɪkiˈætrɪk ˈpeɪʃənt. ðə ˈɔfɪsər wɑz rɪˈmɔrsfəl ənd dɪˈstrɔt. hi əˈpɑləˌʤaɪzd ənd sɔt ðə ˈfæməliz fərˈgɪvnəs. ðɛn hi ˈmɛrid ˈfɑðər əv tu sənz ənd ə ˈdɔtər, wɛnt tɪ hɪz ˈjunɪts ˈhɛdˌkɔrtərz ˈθərzˌdeɪ ˈmɔrnɪŋ ənd ʃɑt hɪmˈsɛlf tɪ dɛθ, ʤɪst aʊərz ˌbiˈfɔr ðə ˈfæməli leɪd ðə ˈvɪktɪm tɪ rɛst. ðə ˈsuɪˌsaɪd mɑrks əˈnəðər ˈtræʤɪk tərn ɪn ə keɪs ðət həz reɪzd kˈwɛsʧənz əˈbaʊt ðə juz əv baɪ ðə ˈneɪʃənz ˈlɑrʤəst pəˈlis fɔrs. əˈθɔrətiz seɪ ˈpɪgət dɪˈrɛktɪd ə ˈfɛloʊ ˈimərʤənsi ˈsərvɪsɪz ˈjunɪt ˈɔfɪsər tɪ juz hɪz ˈteɪzər ɔn ˈaɪmən mɔˈrɑlɛs ɛz hi ˈtitərd ɔn ə ˈbrʊklɪn ˈbɪldɪŋz lɛʤ ɔn sɛpˈtɛmbər 24 ðə ʃɑk kɔzd mɔˈrɑlɛs, ə ˈtrəbəld ˌsaɪkiˈætrɪk ˈpeɪʃənt, tɪ ˈtɑpəl 10 fit ˈhɛdˈfərst ˈɔntu ðə ˈsaɪdˌwɔk, ˈkɪlɪŋ ɪm. ˈɔfɪsərz hæd ˈreɪdiˌoʊd fər ən ɪnˈfleɪtəbəl bæg ɛz ðə ˈɪnsədənt ənˈfoʊldəd, bət ɪt hæd nɑt jɛt əraɪvd wɪn mɔˈrɑlɛs fɛl. ˈæftər ðə ˈɛpɪˌsoʊd, pəˈlis kəˈmɪʃənər ˈreɪmənd ˈkɛli ˈɔrdərd rɪˈfrɛʃər ˈtreɪnɪŋ fər ðə ˈimərʤənsi ˈsərvɪsɪz ˈjunɪt ɔn haʊ tɪ dil wɪθ ðə ˈmɛnəli ɪl, ənd əˈpɔɪntɪd ə nu kəˈmændər əv ðə ˈjunɪt. ˈpɪgət, ə ˈvɛtərən hu lɪvz ɪn ˈsəfək ˈkaʊnti, toʊld ə rɪˈpɔrtər ˈərliər ðɪs wik ðət hi wɑz "ˈtruli ˈsɑri fər wət ˈhæpənd." ˈpɪgət wɑz wən əv tu ˈɔfɪsərz ˈdɪsəplənd baɪ ˌɛnˈwaɪˌpiˌdi kəˈmændərz fər ˈvaɪəleɪtɪŋ ˈgaɪˌdlaɪnz. "ðə luˈtɛnənt wɑz ˈdipli dɪˈstrɔt ənd ɪkˈstrimli rɪˈmɔrsfəl ˈoʊvər ðə dɛθ əv ˈaɪmən mɔˈrɑlɛs ɪn ˈbrʊklɪn læst wik," meɪər ˈmaɪkəl ˈblumbərg sɛd. "ˈsædli, hɪz dɛθ ʤɪst ˈkɑmpaʊndz ðə ˈtræʤədi əv ðə lɔs əv ˈmɪstər. mɔˈrɑlɛs." wɑz strɪpt əv hɪz gən ənd bæʤ ənd əˈsaɪnd tɪ ə ʤɑb wɪθ ðə dɪˈpɑrtmənts ˈmoʊtər ˈviɪkəl flit. pəˈlis seɪ ðə ˈɔfɪsər hu juzd ðə ˈteɪzər, ˈnɪkələs marchesona*, wɑz pleɪst ɔn dɛsk ˈduti. ðə ˈbrʊklɪn ˈdɪstrɪkt əˈtərniz ˈɔfəs ənd ðə ˌɛnˈwaɪˌpiˌdi ər ˌɪnˈvɛstəˌgeɪtɪŋ. ˈsuɪˌsaɪd keɪm ɔn wət wɑz hɪz ˈbərθˌdeɪ. əˈkɔrdɪŋ tɪ ðə poʊst, hi pleɪst ˈfoʊˌtoʊz əv hɪz waɪf ənd kɪdz nɛkst tɪ ɪm ˌbiˈfɔr ˈteɪkɪŋ hɪz oʊn laɪf. "ðɪs ɪz ˈhɔrəbəl," sɛd mɔˈrɑlɛs' ɔnt, æn dɪˈʤizəs ˈnɛgrən. "aɪ min, fər mi ˈpərsənəli, aɪ noʊ ɪts ˈhɔrəbəl bɪˈkəz aɪ wʊd hæv ˈnɛvər wɪʃt ðɪs ɔn ˈɛniˌwən ənd wi ˈnɛvər ˈwɔntɪd əv kɔrs ðɪs fər ˈaɪmən ənd wi wʊd ˈnɛvər ˈwɔntɪd ðɪs tɪ ˈhæpən tɪ ðə ˈɔfɪsər æt ɔl ər ˈɛnibədi æt ɔl." ðə ˈɛpɪˌsoʊd ˈɔlsoʊ kæst ðə ˈspɑˌtlaɪt ɔn ðə ˈimərʤənsi ˈsərvɪsɪz ˈjunɪt, ən ɪˈlit tim əv ˈɔfɪsərz hu dil wɪθ ˈdəzənz əv ˈhɑstəl sɪˈnɛrioʊz ˈɛvəri deɪ, səʧ ɛz ˈhɑstɪʤ ˌsɪʧuˈeɪʃənz, ˌsuəˈsaɪdəl ˈsəˌspɛkts, ˈbɪldɪŋ kəˈlæpsɪz ənd ˈhæzərdəs məˈtɪriəlz θrɛts. "ðiz gaɪz ər ðə bɛst əv ðə bɛst, ðeɪ ˈrɪli ər," sɛd ˈjuʤin oʊˈdɑnəl, ə prəˈfɛsər əv pəˈlis ˈstədiz æt ʤɑn ʤeɪ ˈkɑlɪʤ əv ˈkrɪmənəl ˈʤəstɪs. "wɪn ˈpipəl nid hɛlp, ðeɪ kɔl ðə pəˈlis, ənd wɪn pəˈlis nid hɛlp, ðə kɔl ðə esu*." oʊˈdɑnəl sɛd ˈivɪn ðoʊ ðə mɪˈsteɪk wɑz kɔt ɔn ˈkæmərə, ɪt ʃʊd nɑt teɪk əˈweɪ frəm ðə ˈkæləbər əv wərk ðə ˈjunɪt ənd ðə ˈɔfɪsərz du ɔn ə ˈdeɪli ˈbeɪsɪs. "ju hæv ə gaɪ hu meɪd ə mɪˈsteɪk wɛr ðɛrz noʊ ˌæləˈgeɪʃən əv ˈmælɪs ər ill-will*," hi sɛd. "ənd wət ˈhæpənd ˈæftər hi meɪd ə mɪˈsteɪk? hi wɑz neɪmd ɪn ðə ˈpeɪpər, ʃeɪmd ɪn ðə ˈpeɪpər, səˈspɛndɪd, ənd ðɛr wɑz ə strɔŋ ˈstɔriˌlaɪn ðət hi kʊd bi ˈkrɪmənəl ˈsəˌspɛkt." ˌɛnˈwaɪˌpiˌdi ˈɔfɪsərz ər əˈlaʊd tɪ juz ɪf ðeɪ bɪˈliv ˈiˌmoʊʃnəli dɪˈstərbd ˈpipəl ər ə ˈdeɪnʤər tɪ ðɛmˈsɛlvz ər tɪ ˈəðərz. ðə ˌɛnˈwaɪˌpiˌdi ˈjuzɪz stən gənz əˈbaʊt 300 taɪmz ɔn ˈævərɪʤ. soʊ fɑr ðɪs jɪr, stən gənz hæv bɪn juzd 180 taɪmz. ðə dɪˈpɑrtmənt həz juzd sɪns 1984 bət ˈpɑləsi ˈpriviəsli kɔld fər ˈsɑrʤənts tɪ stɔr ðə stən gənz ɪn ðɛr trəŋks waɪl pəˈtroʊlɪŋ. pəˈlis sɛd ðə juz əv ðə stən gən ɪn ðə dɛθ əv mɔˈrɑlɛs əˈpɪrd tɪ ˈvaɪəleɪt dɪˈpɑrtmənt ˈgaɪˌdlaɪnz, wɪʧ ɪkˈsplɪsətli bɑr ðɛr juz "ɪn ˌsɪʧuˈeɪʃənz wɛr ðə ˈsəbʤɪkt meɪ fɔl frəm ən ˈɛləˌveɪtɪd ˈsərfəs." wɛb prəˈdust baɪ: ˈboʊstɪk ənd bɑb klɪk hir fər mɔr nu jɔrk ənd ˈtraɪˈsteɪt nuz rɪˈpɔrt ə ˈtaɪpoʊ sɛnd ə ˈstɔri aɪˈdiə sɛnd nuz |
the selection of congressman trey gowdy as chair of the select committee on by house speaker john boehner was the best act of the speaker in this congress.
gowdy has impressed most fair observers with his preparation for prior hearings, his careful questioning, his command of the facts and his approach to witnesses --allowing them to answer questions rather than eating up time with showboating. an experienced former state district attorney as well as a federal prosecutor for a half dozen years, gowdy knows how to put together a case and how to assemble and mange a team. these skills will greatly benefit the country as it looks for answers as to what happened and why on.
the naming of fellow committee members and the committee's staffing will be as crucial as naming the chair. i spoke with house rules committee chair pete sessions and a member of the house intelligence committee, rep. mike pompeo of kansas, on monday's radio show --transcripts and audio here-- and it is clear that the committee will be formed at least as to its members by the end of this week. national review's andrew c. mccarthy and the washington examiner's david drucker also provided key background monday on the considerations that will go into the filling out of the committee's membership and its staffing, and the transcripts of those interviews will be posted here later today.
drucker's reporting yesterday suggested some of the names to watch for:
besides gowdy, they include: intelligence committee members devin nunes, r-calif., and lynn westmoreland, r-ga., who served as the informal panel's chairman; oversight and government reform committee member jason chaffetz, r-utah; and armed services committee members mike conaway, r-texas, and joe heck, r-nev., who also serve on the intelligence committee. additionally, boehner asked rep. jim gerlach, r-pa., to participate because of his prosecutorial background and to bring a fresh perspective. gerlach does not serve on any of the five committees of jurisdiction that have been jointly investigating the attack, which include the foreign affairs and judiciary panels. nunes discussed informal committee on friday during a radio interview with conservative talk show host hugh hewitt.
all of those members bring excellent backgrounds has actually been to to see the site of the attack-- but i'd like to see some military veterans like pompeo florida's ron desantis (both pompeo and desantis are harvard law grads as well) and illinois' adam, also a veteran, added to the committee. too many of the questions surrounding the attack on and the failure to get help to the embattled cia annex there revolve around military logistics. experienced vets on the committee will help it through these questions and deliberations, and these members would help the committee ask the toughest questions of the uniformed witnesses, questions that simply don't occur to civilians who haven't had to deal with military bureaucracy and logistics. pompeo, desantis and would also protect the men and women in the chain of command from getting blamed for the decisions of their civilian overseers by always asking for precision as to the orders received and from whom and when they were received.
democrats have threatened to stay away from the hearings. let them, and let them then explain to the victims, the families of the dead, and the american public why they are above asking tough questions about an obvious cover-up, a cover-up that cannot be denied now that the rhodes memo surfaced almost a year after it was formally requested. the cover-up of the rhodes memo is proof that the administration has not been cooperating with any of the committees digging into the events leading up to and occurring that night and afterwards, and the memo is the sort of flare that indicates there is much more hidden away in desks that hasn't been produced yet. if house democrats shun the proceedings they will themselves be shunned at the polls for abetting this cover-up
as mccarthy and i discussed, the choice of chief counsel, the director of communications and the director of social media for the select committee will be the three key staff choices. mccarthy suggested either george terwilliger or miguel estrada as both have deep d.c. experience as well as prosecutorial chops. they would be the sort to bring the committee the witnesses prepped and ready for examination. hopefully the chair will have the lawyers do a lot of the examination of witnesses in public so that there is a premium on getting the story out, not on grabbing television time by members though we can expect democrats to grandstand and fulminate as we get closer and closer to the key questions and answers:
what did the president know that afternoon, night and the following day and when? what did he do --and not do-- during that period? ditto for of state clinton and of defense panetta, and then cia director petraeus.
five timelines running along the first timeline of events in and tripoli are needed, along with many others following key white house and state department staffers through those hours and the cover-up that followed. witnesses need to be asked with specificity as top where they were and when, who they were with and what they heard and saw done. the federal statute of limitations on perjury is five years. eric holder won't last long enough to protect those who lie under oath, nor those who perjury.
the phones of d.c. elite criminal defense bar are already ringing if they didn't ring a year and a half ago. the cover-up of exactly what was going on in d.c. during these crucial hours and days has held for a long time. (see my interview with jon allen on how little he and his colleague amie parnes were able to discover about the specifics of events in that time frame. there's a reason why everyone has clammed up. the committee needs to figure out why.)
networks interested in serving their audience (and in their ratings) will gear up for coverage, and begin signing up experts like mccarthy, drucker and guy p. benson to provide background and explanation as the hearings proceed. a former seal like rorke denver --a skilled communicator-- ought to be on the set back at the studio to explain the security team's movements, and experts on the chaos that was libya pre- and should be identified and lined up both by the committee and the networks covering the committee. the interest level is already high and will soar as the committee organizes a coherent narrative from the scrambled stories and committee proceedings. (my interview of jake tapper concerning jay dissembling has garnered views in five days --an interview about a press secretary! imagine what the audience will be for the questioning of the real witnesses.)
chairman gowdy should also select an experienced, aggressive, communicator for committee spokesperson and formally name a committee director of social media so the committee is prepped to be responsive to all the forms of media, not just the shield wall of d.c. bureau chiefs and the ancient sunday show's anchors.
as pete sessions told me yesterday, fashioning the rule that will govern the committee is a crucial exercise because it will set the committee's boundaries, which ought to be broad, and the scope of its power which ought to include of course the ability to subpoena without a vote of the full house. as drucker suggested, an early july start to the hearings --especially those intended to set a foundation of history and fact on which to build-- is very doable, and planning for a summer in d.c. following the proceedings ought to be on most serious reporters' minds right now.
for the first time since the attack began, the house of representatives is going to methodically, coherently and very seriously investigate why four americans were surprised and killed that night, what our ambassador was trying to accomplish in, why even the few troops that were sent were delayed and why more potent forces were never sent --always recall that the white house, state department and pentagon had no idea when the attacks would end-- and finally when did the administration systematically set out to lie about what happened there, conflate it with what happened in cairo and blame it all on a you tube video.
these hearings and the final report of the committee --and the perjury prosecutions that should follow if anyone lies while under oath-- will finally bring the beginning of justice to ambassador chris stevens, sean smith, glen doherty and ty woods. the hearings may also prompt the administration to fulfill its promise to the families of these men: to bring their killers to justice. | ðə səˈlɛkʃən əv ˈkɑŋgrəsmən treɪ ˈgaʊdi ɛz ʧɛr əv ðə səˈlɛkt kəˈmɪti ɔn baɪ haʊs ˈspikər ʤɑn ˈboʊnər wɑz ðə bɛst ækt əv ðə ˈspikər ɪn ðɪs ˈkɑŋgrəs. ˈgaʊdi həz ˌɪmˈprɛst moʊst fɛr əbˈzərvərz wɪθ hɪz ˌprɛpərˈeɪʃən fər praɪər ˈhirɪŋz, hɪz ˈkɛrfəl kˈwɛsʧənɪŋ, hɪz kəˈmænd əv ðə fækts ənd hɪz əˈproʊʧ tɪ ˈwɪtnəsɪz --əˈlaʊɪŋ ðɛm tɪ ˈænsər kˈwɛsʧənz ˈrəðər ðən ˈitɪŋ əp taɪm wɪθ showboating*. ən ɪkˈspɪriənst ˈfɔrmər steɪt ˈdɪstrɪkt əˈtərni ɛz wɛl ɛz ə ˈfɛdərəl ˈprɑsɪˌkjutər fər ə hæf ˈdəzən jɪrz, ˈgaʊdi noʊz haʊ tɪ pʊt təˈgɛðər ə keɪs ənd haʊ tɪ əˈsɛmbəl ənd meɪnʤ ə tim. ðiz skɪlz wɪl ˈgreɪtli ˈbɛnəfɪt ðə ˈkəntri ɛz ɪt lʊks fər ˈænsərz ɛz tɪ wət ˈhæpənd ənd waɪ ɔn ðə ˈneɪmɪŋ əv ˈfɛloʊ kəˈmɪti ˈmɛmbərz ənd ðə kəˈmɪtiz ˈstæfɪŋ wɪl bi ɛz ˈkruʃəl ɛz ˈneɪmɪŋ ðə ʧɛr. aɪ spoʊk wɪθ haʊs rulz kəˈmɪti ʧɛr pit ˈsɛʃənz ənd ə ˈmɛmbər əv ðə haʊs ˌɪnˈtɛləʤəns kəˈmɪti, rɛpriˈzɛtətɪv. maɪk ˈpoʊmpioʊ əv ˈkænzəs, ɔn ˈmənˌdeɪz ˈreɪdiˌoʊ ʃoʊ --ˈtrænˌskrɪpts ənd ˈɑdiˌoʊ hir-- ənd ɪt ɪz klɪr ðət ðə kəˈmɪti wɪl bi fɔrmd æt list ɛz tɪ ɪts ˈmɛmbərz baɪ ðə ɛnd əv ðɪs wik. ˈnæʃənəl rivˈjuz ˈændru si. məˈkɑrθi ənd ðə ˈwɔʃɪŋtən ɛgˈzæmənərz ˈdeɪvɪd ˈdrəkər ˈɔlsoʊ prəˈvaɪdɪd ki ˈbækˌgraʊnd ˈmənˌdeɪ ɔn ðə kənˌsɪdərˈeɪʃənz ðət wɪl goʊ ˈɪntu ðə ˈfɪlɪŋ aʊt əv ðə kəˈmɪtiz ˈmɛmbərˌʃɪp ənd ɪts ˈstæfɪŋ, ənd ðə ˈtrænˌskrɪpts əv ðoʊz ˈɪntərvˌjuz wɪl bi ˈpoʊstɪd hir ˈleɪtər təˈdeɪ. rɪˈpɔrtɪŋ ˈjɛstərˌdeɪ səˈʤɛstɪd səm əv ðə neɪmz tɪ wɔʧ fər: ˌbiˈsaɪdz ˈgaʊdi, ðeɪ ˌɪnˈklud: ˌɪnˈtɛləʤəns kəˈmɪti ˈmɛmbərz ˈdɛvɪn nunz, r-calif*., ənd lɪn wɛstˈmɔrlənd, r-ga*., hu sərvd ɛz ðə ˌɪnˈfɔrməl ˈpænəlz ˈʧɛrmən; ˈoʊvərˌsaɪt ənd ˈgəvərnmənt rɪˈfɔrm kəˈmɪti ˈmɛmbər ˈʤeɪsən chaffetz*, r-utah*; ənd ɑrmd ˈsərvɪsɪz kəˈmɪti ˈmɛmbərz maɪk ˈkɑnəweɪ, r-texas*, ənd ʤoʊ hɛk, r-nev*., hu ˈɔlsoʊ sərv ɔn ðə ˌɪnˈtɛləʤəns kəˈmɪti. əˈdɪʃəˌnəli, ˈboʊnər æst rɛpriˈzɛtətɪv. ʤɪm ˈgərlək, r-pa*., tɪ pɑrˈtɪsəˌpeɪt bɪˈkəz əv hɪz ˌprɑsɪkjuˈtɔriəl ˈbækˌgraʊnd ənd tɪ brɪŋ ə frɛʃ pərˈspɛktɪv. ˈgərlək dɪz nɑt sərv ɔn ˈɛni əv ðə faɪv kəˈmɪtiz əv ˌʤʊrɪsˈdɪkʃən ðət hæv bɪn ˈʤɔɪntli ˌɪnˈvɛstəˌgeɪtɪŋ ðə əˈtæk, wɪʧ ˌɪnˈklud ðə ˈfɔrən əˈfɛrz ənd ʤuˈdɪʃiˌɛri ˈpænəlz. nunz dɪˈskəst ˌɪnˈfɔrməl kəˈmɪti ɔn ˈfraɪˌdeɪ ˈdʊrɪŋ ə ˈreɪdiˌoʊ ˈɪntərvˌju wɪθ kənˈsərvətɪv tɔk ʃoʊ hoʊst ju hjuɪt. ɔl əv ðoʊz ˈmɛmbərz brɪŋ ˈɛksələnt ˈbækˌgraʊndz həz ˈæˌkʧuəli bɪn tɪ tɪ si ðə saɪt əv ðə əˈtæk-- bət aɪd laɪk tɪ si səm ˈmɪlɪˌtɛri ˈvɛtərənz laɪk ˈpoʊmpioʊ ˈflɔrɪdəz rɑn deɪˈsɑntɪs (boʊθ ˈpoʊmpioʊ ənd deɪˈsɑntɪs ər ˈhɑrvərd lɔ grædz ɛz wɛl) ənd ˌɪləˈnɔɪz' ˈædəm, ˈɔlsoʊ ə ˈvɛtərən, ˈædɪd tɪ ðə kəˈmɪti. tu ˈmɛni əv ðə kˈwɛsʧənz sərˈaʊndɪŋ ðə əˈtæk ɔn ənd ðə ˈfeɪljər tɪ gɪt hɛlp tɪ ðə ɛmˈbætəld siaɪeɪ ˈæˌnɛks ðɛr riˈvɑlv əraʊnd ˈmɪlɪˌtɛri ləˈʤɪstɪks. ɪkˈspɪriənst vɛts ɔn ðə kəˈmɪti wɪl hɛlp ɪt θru ðiz kˈwɛsʧənz ənd dɪˌlɪbərˈeɪʃənz, ənd ðiz ˈmɛmbərz wʊd hɛlp ðə kəˈmɪti æsk ðə ˈtəfəst kˈwɛsʧənz əv ðə ˈjunəˌfɔrmd ˈwɪtnəsɪz, kˈwɛsʧənz ðət ˈsɪmpli doʊnt əˈkər tɪ səˈvɪljənz hu ˈhævənt hæd tɪ dil wɪθ ˈmɪlɪˌtɛri bjʊˈrɑkrəsi ənd ləˈʤɪstɪks. ˈpoʊmpioʊ, deɪˈsɑntɪs ənd wʊd ˈɔlsoʊ prəˈtɛkt ðə mɛn ənd ˈwɪmən ɪn ðə ʧeɪn əv kəˈmænd frəm ˈgɪtɪŋ bleɪmd fər ðə dɪˈsɪʒənz əv ðɛr səˈvɪljən ˌoʊvərˈsiərz baɪ ˈɔlˌweɪz ˈæskɪŋ fər priˈsɪʒən ɛz tɪ ðə ˈɔrdərz rɪˈsivd ənd frəm hum ənd wɪn ðeɪ wər rɪˈsivd. ˈdɛməˌkræts hæv θˈrɛtənd tɪ steɪ əˈweɪ frəm ðə ˈhirɪŋz. lɛt ðɛm, ənd lɛt ðɛm ðɛn ɪkˈspleɪn tɪ ðə ˈvɪktɪmz, ðə ˈfæməliz əv ðə dɛd, ənd ðə əˈmɛrɪkən ˈpəblɪk waɪ ðeɪ ər əˈbəv ˈæskɪŋ təf kˈwɛsʧənz əˈbaʊt ən ˈɑbviəs ˈkəvərˌəp, ə ˈkəvərˌəp ðət ˈkænɑt bi dɪˈnaɪd naʊ ðət ðə roʊdz ˈmɛˌmoʊ ˈsərfɪst ˈɔlˌmoʊst ə jɪr ˈæftər ɪt wɑz ˈfɔrməli rɪkˈwɛstɪd. ðə ˈkəvərˌəp əv ðə roʊdz ˈmɛˌmoʊ ɪz pruf ðət ðə ædˌmɪnɪˈstreɪʃən həz nɑt bɪn koʊˈɑpərˌeɪtɪŋ wɪθ ˈɛni əv ðə kəˈmɪtiz ˈdɪgɪŋ ˈɪntu ðə ɪˈvɛnts ˈlidɪŋ əp tɪ ənd əˈkərɪŋ ðət naɪt ənd ˈæftərwərdz, ənd ðə ˈmɛˌmoʊ ɪz ðə sɔrt əv flɛr ðət ˈɪndɪˌkeɪts ðɛr ɪz məʧ mɔr ˈhɪdən əˈweɪ ɪn dɛsks ðət ˈhæzənt bɪn prəˈdust jɛt. ɪf haʊs ˈdɛməˌkræts ʃən ðə prəˈsidɪŋz ðeɪ wɪl ðɛmˈsɛlvz bi ʃənd æt ðə poʊlz fər əˈbɛtɪŋ ðɪs ˈkəvərˌəp ɛz məˈkɑrθi ənd aɪ dɪˈskəst, ðə ʧɔɪs əv ʧif ˈkaʊnsəl, ðə dɪˈrɛktər əv kəmˌjunəˈkeɪʃənz ənd ðə dɪˈrɛktər əv ˈsoʊʃəl ˈmidiə fər ðə səˈlɛkt kəˈmɪti wɪl bi ðə θri ki stæf ˈʧɔɪsɪz. məˈkɑrθi səˈʤɛstɪd ˈiðər ʤɔrʤ ˈtərwɪlɪgər ər mɪˈgɛl ɛˈstrɑdə ɛz boʊθ hæv dip d.c*. ɪkˈspɪriəns ɛz wɛl ɛz ˌprɑsɪkjuˈtɔriəl ʧɑps. ðeɪ wʊd bi ðə sɔrt tɪ brɪŋ ðə kəˈmɪti ðə ˈwɪtnəsɪz prɛpt ənd ˈrɛdi fər ɪgˌzæməˈneɪʃən. ˈhoʊpfəli ðə ʧɛr wɪl hæv ðə ˈlɔjərz du ə lɔt əv ðə ɪgˌzæməˈneɪʃən əv ˈwɪtnəsɪz ɪn ˈpəblɪk soʊ ðət ðɛr ɪz ə ˈprimiəm ɔn ˈgɪtɪŋ ðə ˈstɔri aʊt, nɑt ɔn ˈgræbɪŋ ˈtɛləˌvɪʒən taɪm baɪ ˈmɛmbərz ðoʊ wi kən ɪkˈspɛkt ˈdɛməˌkræts tɪ ˈgrændˌstænd ənd ˈfʊlməˌneɪt ɛz wi gɪt ˈkloʊzər ənd ˈkloʊzər tɪ ðə ki kˈwɛsʧənz ənd ˈænsərz: wət dɪd ðə ˈprɛzɪdənt noʊ ðət ˌæftərˈnun, naɪt ənd ðə ˈfɑloʊɪŋ deɪ ənd wɪn? wət dɪd hi du --ənd nɑt du-- ˈdʊrɪŋ ðət ˈpɪriəd? ˈdɪtoʊ fər əv steɪt ˈklɪntən ənd əv dɪˈfɛns pəˈnɛtə, ənd ðɛn siaɪeɪ dɪˈrɛktər petraeus*. faɪv ˈtaɪmlaɪnz ˈrənɪŋ əˈlɔŋ ðə fərst ˈtaɪmlaɪn əv ɪˈvɛnts ɪn ənd ˈtrɪpəli ər ˈnidɪd, əˈlɔŋ wɪθ ˈmɛni ˈəðərz ˈfɑloʊɪŋ ki waɪt haʊs ənd steɪt dɪˈpɑrtmənt ˈstæfərz θru ðoʊz aʊərz ənd ðə ˈkəvərˌəp ðət ˈfɑloʊd. ˈwɪtnəsɪz nid tɪ bi æst wɪθ ˌspɛsəˈfɪsəti ɛz tɔp wɛr ðeɪ wər ənd wɪn, hu ðeɪ wər wɪθ ənd wət ðeɪ hərd ənd sɔ dən. ðə ˈfɛdərəl ˈstæʧut əv ˌlɪmɪˈteɪʃənz ɔn ˈpərʤəri ɪz faɪv jɪrz. ˈɛrɪk ˈhoʊldər woʊnt læst lɔŋ ɪˈnəf tɪ prəˈtɛkt ðoʊz hu laɪ ˈəndər oʊθ, nɔr ðoʊz hu ˈpərʤəri. ðə foʊnz əv d.c*. ɪˈlit ˈkrɪmənəl dɪˈfɛns bɑr ər ɔˈrɛdi ˈrɪŋɪŋ ɪf ðeɪ ˈdɪdənt rɪŋ ə jɪr ənd ə hæf əˈgoʊ. ðə ˈkəvərˌəp əv ɪgˈzæktli wət wɑz goʊɪŋ ɔn ɪn d.c*. ˈdʊrɪŋ ðiz ˈkruʃəl aʊərz ənd deɪz həz hɛld fər ə lɔŋ taɪm. (si maɪ ˈɪntərvˌju wɪθ ʤɑn ˈælən ɔn haʊ ˈlɪtəl hi ənd hɪz ˈkɑlig ˈæmi pɑrnz wər ˈeɪbəl tɪ dɪˈskəvər əˈbaʊt ðə spɪˈsɪfɪks əv ɪˈvɛnts ɪn ðət taɪm freɪm. ðɛrz ə ˈrizən waɪ ˈɛvriˌwən həz klæmd əp. ðə kəˈmɪti nidz tɪ ˈfɪgjər aʊt waɪ.) ˈnɛtˌwərks ˈɪntəˌrɛstɪd ɪn ˈsərvɪŋ ðɛr ˈɔdiəns (ənd ɪn ðɛr ˈreɪtɪŋz) wɪl gɪr əp fər ˈkəvərɪʤ, ənd bɪˈgɪn ˈsaɪnɪŋ əp ˈɛkspərts laɪk məˈkɑrθi, ˈdrəkər ənd gaɪ pi. ˈbɛnsən tɪ prəˈvaɪd ˈbækˌgraʊnd ənd ˌɛkspləˈneɪʃən ɛz ðə ˈhirɪŋz pərˈsid. ə ˈfɔrmər sil laɪk rɔrk ˈdɛnvər --ə skɪld kəmˈjunəˌkeɪtər-- ɔt tɪ bi ɔn ðə sɛt bæk æt ðə ˈstudiˌoʊ tɪ ɪkˈspleɪn ðə sɪˈkjʊrəti timz ˈmuvmənts, ənd ˈɛkspərts ɔn ðə keɪɑs ðət wɑz ˈlɪˌbiə pri- ənd ʃʊd bi aɪˈdɛntəˌfaɪd ənd laɪnd əp boʊθ baɪ ðə kəˈmɪti ənd ðə ˈnɛtˌwərks ˈkəvərɪŋ ðə kəˈmɪti. ðə ˈɪntəˌrɛst ˈlɛvəl ɪz ɔˈrɛdi haɪ ənd wɪl sɔr ɛz ðə kəˈmɪti ˈɔrgəˌnaɪzɪz ə koʊˈhɪrənt ˈnɛrətɪv frəm ðə ˈskræmbəld ˈstɔriz ənd kəˈmɪti prəˈsidɪŋz. (maɪ ˈɪntərvˌju əv ʤeɪk ˈtæpər kənˈsərnɪŋ ʤeɪ dɪˈsɛmblɪŋ həz ˈgɑrnərd vjuz ɪn faɪv deɪz --ən ˈɪntərvˌju əˈbaʊt ə prɛs ˈsɛkrəˌtɛri! ˌɪˈmæʤən wət ðə ˈɔdiəns wɪl bi fər ðə kˈwɛsʧənɪŋ əv ðə ril ˈwɪtnəsɪz.) ˈʧɛrmən ˈgaʊdi ʃʊd ˈɔlsoʊ səˈlɛkt ən ɪkˈspɪriənst, əˈgrɛsɪv, kəmˈjunəˌkeɪtər fər kəˈmɪti ˈspoʊkspərsən ənd ˈfɔrməli neɪm ə kəˈmɪti dɪˈrɛktər əv ˈsoʊʃəl ˈmidiə soʊ ðə kəˈmɪti ɪz prɛpt tɪ bi rɪˈspɑnsɪv tɪ ɔl ðə fɔrmz əv ˈmidiə, nɑt ʤɪst ðə ʃild wɔl əv d.c*. ˈbjʊroʊ ʧifs ənd ðə ˈeɪnʧənt ˈsənˌdi ʃoʊz ˈæŋkərz. ɛz pit ˈsɛʃənz toʊld mi ˈjɛstərˌdeɪ, ˈfæʃənɪŋ ðə rul ðət wɪl ˈgəvərn ðə kəˈmɪti ɪz ə ˈkruʃəl ˈɛksərˌsaɪz bɪˈkəz ɪt wɪl sɛt ðə kəˈmɪtiz ˈbaʊndəriz, wɪʧ ɔt tɪ bi brɔd, ənd ðə skoʊp əv ɪts paʊər wɪʧ ɔt tɪ ˌɪnˈklud əv kɔrs ðə əˈbɪləˌti tɪ səˈpinə wɪˈθaʊt ə voʊt əv ðə fʊl haʊs. ɛz ˈdrəkər səˈʤɛstɪd, ən ˈərli ˌʤuˈlaɪ stɑrt tɪ ðə ˈhirɪŋz --əˈspɛʃəli ðoʊz ˌɪnˈtɛndɪd tɪ sɛt ə faʊnˈdeɪʃən əv ˈhɪstəri ənd fækt ɔn wɪʧ tɪ bɪld-- ɪz ˈvɛri ˈduəbəl, ənd ˈplænɪŋ fər ə ˈsəmər ɪn d.c*. ˈfɑloʊɪŋ ðə prəˈsidɪŋz ɔt tɪ bi ɔn moʊst ˈsɪriəs rɪˈpɔrtərz' maɪndz raɪt naʊ. fər ðə fərst taɪm sɪns ðə əˈtæk bɪˈgæn, ðə haʊs əv ˌrɛprɪˈzɛnətɪvz ɪz goʊɪŋ tɪ məˈθɑdɪkəli, koʊˈhirəntli ənd ˈvɛri ˈsɪriəsli ˌɪnˈvɛstəˌgeɪt waɪ fɔr əˈmɛrɪkənz wər səˈpraɪzd ənd kɪld ðət naɪt, wət ɑr æmˈbæsədər wɑz traɪɪŋ tɪ əˈkɑmplɪʃ ɪn, waɪ ˈivɪn ðə fju trups ðət wər sɛnt wər dɪˈleɪd ənd waɪ mɔr ˈpoʊtənt ˈfɔrsɪz wər ˈnɛvər sɛnt --ˈɔlˌweɪz ˈriˌkɔl ðət ðə waɪt haʊs, steɪt dɪˈpɑrtmənt ənd ˈpɛnɪˌgɑn hæd noʊ aɪˈdiə wɪn ðə əˈtæks wʊd ɛnd-- ənd ˈfaɪnəli wɪn dɪd ðə ædˌmɪnɪˈstreɪʃən ˌsɪstəˈmætɪkli sɛt aʊt tɪ laɪ əˈbaʊt wət ˈhæpənd ðɛr, kənˈfleɪt ɪt wɪθ wət ˈhæpənd ɪn ˈkaɪroʊ ənd bleɪm ɪt ɔl ɔn ə ju tub ˈvɪdioʊ. ðiz ˈhirɪŋz ənd ðə ˈfaɪnəl rɪˈpɔrt əv ðə kəˈmɪti --ənd ðə ˈpərʤəri ˌprɑsəˈkjuʃənz ðət ʃʊd ˈfɑloʊ ɪf ˈɛniˌwən laɪz waɪl ˈəndər oʊθ-- wɪl ˈfaɪnəli brɪŋ ðə bɪˈgɪnɪŋ əv ˈʤəstɪs tɪ æmˈbæsədər krɪs ˈstivənz, ʃɔn smɪθ, glɛn ˈdɔrti ənd taɪ wʊdz. ðə ˈhirɪŋz meɪ ˈɔlsoʊ prɑmpt ðə ædˌmɪnɪˈstreɪʃən tɪ fʊlˈfɪl ɪts ˈprɑməs tɪ ðə ˈfæməliz əv ðiz mɛn: tɪ brɪŋ ðɛr ˈkɪlərz tɪ ˈʤəstɪs. |
arthur paul pedrick (3 september 1918 15 august] was a prolific british inventor who filed for 162 united kingdom patents between 1962 and his death in] or] his inventions were notable for their humour and almost complete lack of practical applicability.
personal life [ edit ]
very little is known about pedrick. he worked for many years as a patent examiner at the united kingdom patent office but that it was only after his retirement that he began filing patent applications for his inventions. the patent office has stringent restrictions on improbable gadgets, but familiarity with the process enabled him to satisfy the requirements and get his applications granted.
during this period he was resident in selsey, sussex, england, according to his patents. sometimes his residence would further be listed as "one-man research laboratories", or "one man think tank nuclear fusion research laboratories", and so needed] these laboratories were staffed by himself and a ginger coloured cat, sometimes referred to as "ginger" although it is not clear whether this was actually his name. ginger was of great help to pedrick in developing his] unfortunately, it is recounted in some of the patents how ginger was unable to secure financing to put the inventions into practice.
his patent for laser induced] includes these autobiographical notes:
it is my personal experience based on a severe bout of dive bombing by stuka dive bombers in a light cruiser "dido", in 1941, evacuating mainly new zealanders from crete, who had been sent in by the late sir winston churchill, but who, after the battle with the nazi paratroops had made the island untenable, admiral cunningham, the naval c in c in alexandria, realised must be got out if possible, that the surface warships just cannot survive attacks by large numbers of aircraft, on their own, and it is only the chance of fate that i happened to be in after engine room of the ship, when a bomb came down on b turret and created a carnage of twisted steel and bodies forward, that i am writing this now, but the memory of the experience still gives me a "nightmare" at times.
i have suffered all my life even from a by product of the war even if i was born after it. it is a personal fact that my father was a lieutenant (e) serving in the disastrous k class submarines, by which the royal navy tried to create a submarine which could steam on the surface at 20 knots to keep up with the fleet, and he died of a lung infection created by the appalling conditions in such submarines, even before i was born. if a women [sic] is in bad metal [sic] state when she is in pregnant, it is obvious that she can pass on her state of mind to the. this has made me a nervous individual all my life, and there are many times in my life i wish i had never been born. there are endless arguments about the subject of abortion on the "rights of the", and these could all be settled if, in some way, the future could be predicted for the and it could decide whether it "wanted to be born".
inventions [ edit ]
chromatically selective cat flap [ edit ]
many of inventions related to his cat, ginger. his crowning achievement in this respect was patent titled "photon radiation detector for use in selective cat flap control and 1000 megaton bomb".
the idea was to detect the difference in fur colour between a ginger cat and a black cat. he came up with this idea because a black cat named "blackie" from next door kept trying to steal his own cat's food. however, with new design, if blackie attempted to use the he would not be allowed in. ginger was impressed with the idea, and further suggested that the concept could be applied as a nuclear deterrent. concern over the cold war and the nuclear arsenals threatening the world was a regular motivator for needed]
extinguishing fires in high rise block buildings [ edit ]
pedrick was also concerned with the safety of his fellow man and thus described, in an "apparatus for extinguishing fires in high rise block buildings of uniform transverse or plan".
here, pedrick suggests that fire curtains could be secured at the roof level of a building. when released, they would envelope substantially the entire building. the curtains could be provided with which when the curtain is released are located opposite rooms in the building, these rooms being designated as ones in which the occupants should congregate in the event of fire. the concern however was that such large curtains would have prevented escape from the building as well as increase the risk of suffocation.
transfer of fresh water [ edit ]
pedrick's concern for his fellow man is again shown in, titled "arrangements for the transfer of fresh water from one location on the earth's surface to another at a different latitude, for the purpose of irrigation, with pumping energy derived from the effect of the earth's rotation about the polar axis".
in this patent, pedrick describes in extremely long detail, with pages of mathematical equations, how snow and ice could be passed along pipelines from the antarctic to irrigate the dry australian outback, creating a of the east" that could feed the burgeoning population of the world. since the flow of water from one region to the other through such pipelines would not be practicable, according to pedrick, the suggestion is to instead compress the snow into hard balls that could be fired along these pipelines as projectiles.
notable quotations [ edit ]
pedrick would often discuss, within his patents, the problems in the world that led him to his inventions and would also recount conversations between himself and his ginger cat. some of these tangents in his patents show pedrick to be a thoughtful, if slightly eccentric man, who was deeply concerned with the well-being of others and for the future of mankind, as well as being dismissive of modern capitalism.
characteristic observations on the world around him include the following:
"almost 2000 years ago, a strange character called jesus christ went about palestine saying we should all love our enemies, but he was crucified before much notice was taken of him, and it is curious that the very land of palestine is now one of the world "trouble spots" in 1974." [4]
"it being the opinion of my ginger cat, that those cats that you see sponsoring various brands of cat food on are just as hypocritical as the various actors one sees sponsoring on various commercial products, and in fact my ginger cat prefers ordinary beef to most brands of cat food." [4]
"unfortunately it is fact that weapons can be contained with the noses of which results in the fact that distrust between governments of nations able to manufacture nuclear weapons, for example the usa and ussr, results in such nations keeping in readiness large numbers of such rockets to be used as a so called "deterrent" against an attack by such other nations.
"clearly if one such nation, for example the usa, could be assured by some system, which would be quite automatic, that any other nation making a nuclear attack upon it, would be sure to bring upon itself a similar nuclear devastation, it could then allow a run-down of its own weapons stocks for the deuterium and tritium to be used for peaceful purposes to overcome the "energy shortage"" "as ginger pointed out to me the whole unfortunate situation might have been avoided if albert einstein had not out" his equation e =, in the swiss patent office around 1905 instead of getting on with the work he was being paid to]
response [ edit ]
"funny" patents, such as those published by pedrick, and their in the media upset many patent examiners who feel they tend to the]
patents [ edit ]
a selection from over 160 patents filed between 1962 and] | ˈɑrθər pɔl ˈpɛdrɪk 3 sɛpˈtɛmbər 1918 15 ˈɔgəst wɑz ə proʊˈlɪfɪk ˈbrɪtɪʃ ˌɪnˈvɛntər hu faɪld fər 162 juˈnaɪtɪd ˈkɪŋdəm ˈpætənts bɪtˈwin 1962 ənd hɪz dɛθ ɪn ər hɪz ˌɪnˈvɛnʃənz wər ˈnoʊtəbəl fər ðɛr ˈhjumər ənd ˈɔlˌmoʊst kəmˈplit læk əv ˈpræktɪkəl ˌæpləkəˈbɪləti. ˈpərsɪnəl laɪf ˈɛdət ˈvɛri ˈlɪtəl ɪz noʊn əˈbaʊt ˈpɛdrɪk. hi wərkt fər ˈmɛni jɪrz ɛz ə ˈpætənt ɪgˈzæmənər æt ðə juˈnaɪtɪd ˈkɪŋdəm ˈpætənt ˈɔfəs bət ðət ɪt wɑz ˈoʊnli ˈæftər hɪz rɪˈtaɪərmənt ðət hi bɪˈgæn ˈfaɪlɪŋ ˈpætənt ˌæpləˈkeɪʃənz fər hɪz ˌɪnˈvɛnʃənz. ðə ˈpætənt ˈɔfəs həz ˈstrɪnʤənt riˈstrɪkʃənz ɔn ˌɪmˈprɑbəbəl ˈgæʤəts, bət fəˌmɪˈljɛrəti wɪθ ðə ˈprɔˌsɛs ɪˈneɪbəld ɪm tɪ ˈsætɪsˌfaɪ ðə rɪkˈwaɪrmənts ənd gɪt hɪz ˌæpləˈkeɪʃənz ˈgrænɪd. ˈdʊrɪŋ ðɪs ˈpɪriəd hi wɑz ˈrɛzɪdənt ɪn selsey*, ˈsəsɪks, ˈɪŋglənd, əˈkɔrdɪŋ tɪ hɪz ˈpætənts. ˈsəmˌtaɪmz hɪz ˈrɛzɪdəns wʊd ˈfərðər bi ˈlɪstɪd ɛz "ˌwəˈmæn ˈrisərʧ ˈlæbrəˌtɔriz", ər "wən mæn θɪŋk tæŋk ˈnukliər fˈjuʒən ˈrisərʧ ˈlæbrəˌtɔriz", ənd soʊ ˈnidɪd] ðiz ˈlæbrəˌtɔriz wər stæft baɪ hɪmˈsɛlf ənd ə ˈʤɪnʤər ˈkələrd kæt, ˈsəmˌtaɪmz rɪˈfərd tɪ ɛz "ˈʤɪnʤər" ˌɔlˈðoʊ ɪt ɪz nɑt klɪr ˈwɛðər ðɪs wɑz ˈæˌkʧuəli hɪz neɪm. ˈʤɪnʤər wɑz əv greɪt hɛlp tɪ ˈpɛdrɪk ɪn dɪˈvɛləpɪŋ hɪz ənˈfɔrʧənətli, ɪt ɪz ˌriˈkaʊntɪd ɪn səm əv ðə ˈpætənts haʊ ˈʤɪnʤər wɑz əˈneɪbəl tɪ sɪˈkjʊr fɪˈnænsɪŋ tɪ pʊt ðə ˌɪnˈvɛnʃənz ˈɪntu ˈpræktɪs. hɪz ˈpætənt fər ˈleɪzər ˌɪnˈdust ˌɪnˈkludz ðiz ˌɔtəˌbaɪəˈgræfɪkəl noʊts: ɪt ɪz maɪ ˈpərsɪnəl ɪkˈspɪriəns beɪst ɔn ə səˈvɪr baʊt əv daɪv ˈbɑmɪŋ baɪ ˈstukə daɪv ˈbɑmərz ɪn ə laɪt ˈkruzər "ˈdaɪdoʊ", ɪn 1941 ɪˈvækjəˌweɪtɪŋ ˈmeɪnli nu ˈziləndərz frəm krit, hu hæd bɪn sɛnt ɪn baɪ ðə leɪt sər ˈwɪnstən ˈʧərʧɪl, bət hu, ˈæftər ðə ˈbætəl wɪθ ðə ˈnɑtsi ˈpɛrəˌtrups hæd meɪd ðə ˈaɪlənd ənˈtɛnəbəl, ˈædmərəl ˈkənɪŋˌhæm, ðə ˈneɪvəl si ɪn si ɪn ˌæləgˈzændriə, ˈriəˌlaɪzd məst bi gɑt aʊt ɪf ˈpɑsəbəl, ðət ðə ˈsərfəs ˈwɔrˌʃɪps ʤɪst ˈkænɑt sərˈvaɪv əˈtæks baɪ lɑrʤ ˈnəmbərz əv ˈɛrˌkræft, ɔn ðɛr oʊn, ənd ɪt ɪz ˈoʊnli ðə ʧæns əv feɪt ðət aɪ ˈhæpənd tɪ bi ɪn ˈæftər ˈɪnʤən rum əv ðə ʃɪp, wɪn ə bɔm keɪm daʊn ɔn bi tərət ənd kriˈeɪtɪd ə ˈkɑrnɪʤ əv tˈwɪstɪd stil ənd ˈbɑdiz ˈfɔrwərd, ðət aɪ æm ˈraɪtɪŋ ðɪs naʊ, bət ðə ˈmɛməri əv ðə ɪkˈspɪriəns stɪl gɪvz mi ə "ˈnaɪtˌmɛr" æt taɪmz. aɪ hæv ˈsəfərd ɔl maɪ laɪf ˈivɪn frəm ə baɪ ˈprɑdəkt əv ðə wɔr ˈivɪn ɪf aɪ wɑz bɔrn ˈæftər ɪt. ɪt ɪz ə ˈpərsɪnəl fækt ðət maɪ ˈfɑðər wɑz ə luˈtɛnənt (i) ˈsərvɪŋ ɪn ðə dɪˈzæstrəs keɪ klæs ˈsəbmərˌinz, baɪ wɪʧ ðə rɔɪəl ˈneɪvi traɪd tɪ kriˈeɪt ə ˌsəbmərˈin wɪʧ kʊd stim ɔn ðə ˈsərfəs æt 20 nɑts tɪ kip əp wɪθ ðə flit, ənd hi daɪd əv ə ləŋ ˌɪnˈfɛkʃən kriˈeɪtɪd baɪ ðə əˈpɔlɪŋ kənˈdɪʃənz ɪn səʧ ˈsəbmərˌinz, ˈivɪn ˌbiˈfɔr aɪ wɑz bɔrn. ɪf ə ˈwɪmən [sɪk] ɪz ɪn bæd ˈmɛtəl [sɪk] steɪt wɪn ʃi ɪz ɪn ˈprɛgnənt, ɪt ɪz ˈɑbviəs ðət ʃi kən pæs ɔn hər steɪt əv maɪnd tɪ ðə. ðɪs həz meɪd mi ə ˈnərvəs ˌɪndəˈvɪʤəwəl ɔl maɪ laɪf, ənd ðɛr ər ˈmɛni taɪmz ɪn maɪ laɪf aɪ wɪʃ aɪ hæd ˈnɛvər bɪn bɔrn. ðɛr ər ˈɛndləs ˈɑrgjəmənts əˈbaʊt ðə ˈsəbʤɪkt əv əˈbɔrʃən ɔn ðə "raɪts əv ðə", ənd ðiz kʊd ɔl bi ˈsɛtəld ɪf, ɪn səm weɪ, ðə fˈjuʧər kʊd bi prɪˈdɪktɪd fər ðə ənd ɪt kʊd ˌdɪˈsaɪd ˈwɛðər ɪt "ˈwɔntɪd tɪ bi bɔrn". ˌɪnˈvɛnʃənz ˈɛdət səˈlɛktɪv kæt flæp ˈɛdət ˈmɛni əv ˌɪnˈvɛnʃənz rɪˈleɪtɪd tɪ hɪz kæt, ˈʤɪnʤər. hɪz ˈkraʊnɪŋ əˈʧivmənt ɪn ðɪs rɪˈspɛkt wɑz ˈpætənt ˈtaɪtəld "ˈfoʊˌtɑn ˌreɪdiˈeɪʃən dɪˈtɛktər fər juz ɪn səˈlɛktɪv kæt flæp kənˈtroʊl ənd 1000 ˈmɛgəˌtən bɔm". ðə aɪˈdiə wɑz tɪ dɪˈtɛkt ðə ˈdɪfərəns ɪn fər ˈkələr bɪtˈwin ə ˈʤɪnʤər kæt ənd ə blæk kæt. hi keɪm əp wɪθ ðɪs aɪˈdiə bɪˈkəz ə blæk kæt neɪmd "ˈblæki" frəm nɛkst dɔr kɛpt traɪɪŋ tɪ stil hɪz oʊn kæts fud. ˌhaʊˈɛvər, wɪθ nu dɪˈzaɪn, ɪf ˈblæki əˈtɛmptəd tɪ juz ðə hi wʊd nɑt bi əˈlaʊd ɪn. ˈʤɪnʤər wɑz ˌɪmˈprɛst wɪθ ðə aɪˈdiə, ənd ˈfərðər səˈʤɛstɪd ðət ðə ˈkɑnsɛpt kʊd bi əˈplaɪd ɛz ə ˈnukliər dɪˈtərrənt. kənˈsərn ˈoʊvər ðə koʊld wɔr ənd ðə ˈnukliər ˈɑrsənəlz θˈrɛtənɪŋ ðə wərld wɑz ə ˈrɛgjələr ˈmoʊtəveɪtər fər ˈnidɪd] ɪkˈstɪŋgwɪʃɪŋ faɪərz ɪn haɪ raɪz blɑk ˈbɪldɪŋz ˈɛdət ˈpɛdrɪk wɑz ˈɔlsoʊ kənˈsərnd wɪθ ðə ˈseɪfti əv hɪz ˈfɛloʊ mæn ənd ðəs dɪˈskraɪbd, ɪn ən "ˌæpərˈætəs fər ɪkˈstɪŋgwɪʃɪŋ faɪərz ɪn haɪ raɪz blɑk ˈbɪldɪŋz əv ˈjunəˌfɔrm trænzˈvərs ər plæn". hir, ˈpɛdrɪk səˈʤɛsts ðət faɪər ˈkərtənz kʊd bi sɪˈkjʊrd æt ðə rʊf ˈlɛvəl əv ə ˈbɪldɪŋ. wɪn riˈlist, ðeɪ wʊd ˈɛnvəˌloʊp səbˈstænʃəli ðə ɪnˈtaɪər ˈbɪldɪŋ. ðə ˈkərtənz kʊd bi prəˈvaɪdɪd wɪθ wɪʧ wɪn ðə ˈkərtən ɪz riˈlist ər ˈloʊˌkeɪtəd ˈɑpəzɪt rumz ɪn ðə ˈbɪldɪŋ, ðiz rumz biɪŋ ˈdɛzɪgˌneɪtɪd ɛz wənz ɪn wɪʧ ðə ˈɑkjəpənts ʃʊd ˈkɑŋgrəˌgeɪt ɪn ðə ɪˈvɛnt əv faɪər. ðə kənˈsərn ˌhaʊˈɛvər wɑz ðət səʧ lɑrʤ ˈkərtənz wʊd hæv prɪˈvɛnɪd ɪˈskeɪp frəm ðə ˈbɪldɪŋ ɛz wɛl ɛz ˌɪnˈkris ðə rɪsk əv ˌsəfəˈkeɪʃən. ˈtrænsfər əv frɛʃ ˈwɔtər ˈɛdət kənˈsərn fər hɪz ˈfɛloʊ mæn ɪz əˈgɛn ʃoʊn ɪn ˈtaɪtəld "ərˈeɪnʤmənts fər ðə ˈtrænsfər əv frɛʃ ˈwɔtər frəm wən loʊˈkeɪʃən ɔn ðə ərθs ˈsərfəs tɪ əˈnəðər æt ə ˈdɪfərənt ˈlætəˌtud, fər ðə ˈpərpəs əv ˌɪrəˈgeɪʃən, wɪθ ˈpəmpɪŋ ˈɛnərʤi dəraɪvd frəm ðə ˈifɛkt əv ðə ərθs roʊˈteɪʃən əˈbaʊt ðə ˈpoʊlər ˈæksəs". ɪn ðɪs ˈpætənt, ˈpɛdrɪk dɪˈskraɪbz ɪn ɪkˈstrimli lɔŋ ˈditeɪl, wɪθ ˈpeɪʤɪz əv ˌmæθəˈmætɪkəl ɪkˈweɪʒənz, haʊ snoʊ ənd aɪs kʊd bi pæst əˈlɔŋ ˈpaɪˌplaɪnz frəm ðə æˈnɑrtɪk tɪ ˈɪrəˌgeɪt ðə draɪ ɔˈstreɪljən ˈaʊtˌbæk, kriˈeɪtɪŋ ə əv ðə ist" ðət kʊd fid ðə ˈbərʤənɪŋ ˌpɑpjəˈleɪʃən əv ðə wərld. sɪns ðə floʊ əv ˈwɔtər frəm wən ˈriʤən tɪ ðə ˈəðər θru səʧ ˈpaɪˌplaɪnz wʊd nɑt bi ˈpræktəkəbəl, əˈkɔrdɪŋ tɪ ˈpɛdrɪk, ðə səˈʤɛsʧən ɪz tɪ ˌɪnˈstɛd ˈkɑmprɛs ðə snoʊ ˈɪntu hɑrd bɔlz ðət kʊd bi faɪərd əˈlɔŋ ðiz ˈpaɪˌplaɪnz ɛz prɑˈʤɛktəlz. ˈnoʊtəbəl kwoʊˈteɪʃənz ˈɛdət ˈpɛdrɪk wʊd ˈɔfən dɪˈskəs, wɪˈθɪn hɪz ˈpætənts, ðə ˈprɑbləmz ɪn ðə wərld ðət lɛd ɪm tɪ hɪz ˌɪnˈvɛnʃənz ənd wʊd ˈɔlsoʊ ˌriˈkaʊnt ˌkɑnvərˈseɪʃənz bɪtˈwin hɪmˈsɛlf ənd hɪz ˈʤɪnʤər kæt. səm əv ðiz ˈtænʤənts ɪn hɪz ˈpætənts ʃoʊ ˈpɛdrɪk tɪ bi ə ˈθɔtfəl, ɪf sˈlaɪtli ˌɛkˈsɛntrɪk mæn, hu wɑz ˈdipli kənˈsərnd wɪθ ðə ˌwɛlˈbiɪŋ əv ˈəðərz ənd fər ðə fˈjuʧər əv ˈmænˈkaɪnd, ɛz wɛl ɛz biɪŋ dɪsˈmɪsɪv əv ˈmɑdərn ˈkæpɪtəˌlɪzəm. ˌkɛrɪktərˈɪstɪk ˌɑbzərˈveɪʃənz ɔn ðə wərld əraʊnd ɪm ˌɪnˈklud ðə ˈfɑloʊɪŋ: "ˈɔlˌmoʊst 2000 jɪrz əˈgoʊ, ə streɪnʤ ˈkɛrɪktər kɔld ˈʤizəs kraɪst wɛnt əˈbaʊt ˈpæləˌstaɪn seɪɪŋ wi ʃʊd ɔl ləv ɑr ˈɛnəmiz, bət hi wɑz ˈkrusəˌfaɪd ˌbiˈfɔr məʧ ˈnoʊtɪs wɑz ˈteɪkən əv ɪm, ənd ɪt ɪz ˈkjʊriəs ðət ðə ˈvɛri lænd əv ˈpæləˌstaɪn ɪz naʊ wən əv ðə wərld "ˈtrəbəl spɑts" ɪn 1974 4 "ɪt biɪŋ ðə əˈpɪnjən əv maɪ ˈʤɪnʤər kæt, ðət ðoʊz kæts ðət ju si ˈspɑnsərɪŋ ˈvɛriəs brændz əv kæt fud ɔn ər ʤɪst ɛz ˌhɪpəˈkrɪtɪkəl ɛz ðə ˈvɛriəs ˈæktərz wən siz ˈspɑnsərɪŋ ɔn ˈvɛriəs kəˈmərʃəl ˈprɑdəkts, ənd ɪn fækt maɪ ˈʤɪnʤər kæt prɪˈfərz ˈɔrdəˌnɛri bif tɪ moʊst brændz əv kæt fud." 4 "ənˈfɔrʧənətli ɪt ɪz fækt ðət ˈwɛpənz kən bi kənˈteɪnd wɪθ ðə ˈnoʊzɪz əv wɪʧ rɪˈzəlts ɪn ðə fækt ðət dɪˈstrəst bɪtˈwin ˈgəvərnmənts əv ˈneɪʃənz ˈeɪbəl tɪ ˌmænjəˈfækʧər ˈnukliər ˈwɛpənz, fər ɪgˈzæmpəl ðə ˈjuˈɛˈseɪ ənd ussr*, rɪˈzəlts ɪn səʧ ˈneɪʃənz ˈkipɪŋ ɪn ˈrɛdinəs lɑrʤ ˈnəmbərz əv səʧ ˈrɑkəts tɪ bi juzd ɛz ə soʊ kɔld "dɪˈtərrənt" əˈgɛnst ən əˈtæk baɪ səʧ ˈəðər ˈneɪʃənz. "ˈklɪrli ɪf wən səʧ ˈneɪʃən, fər ɪgˈzæmpəl ðə ˈjuˈɛˈseɪ, kʊd bi əˈʃʊrd baɪ səm ˈsɪstəm, wɪʧ wʊd bi kwaɪt ˌɔtəˈmætɪk, ðət ˈɛni ˈəðər ˈneɪʃən ˈmeɪkɪŋ ə ˈnukliər əˈtæk əˈpɑn ɪt, wʊd bi ʃʊr tɪ brɪŋ əˈpɑn ˌɪtˈsɛlf ə ˈsɪmələr ˈnukliər ˌdɛvəˈsteɪʃən, ɪt kʊd ðɛn əˈlaʊ ə ˈrənˈdaʊn əv ɪts oʊn ˈwɛpənz stɑks fər ðə duˈtiriəm ənd ˈtrɪtiəm tɪ bi juzd fər ˈpisfəl ˈpərpəsɪz tɪ ˈoʊvərˌkəm ðə "ˈɛnərʤi ˈʃɔrtɪʤ"" "ɛz ˈʤɪnʤər ˈpɔɪntɪd aʊt tɪ mi ðə hoʊl ənˈfɔrʧənət ˌsɪʧuˈeɪʃən maɪt hæv bɪn əˈvɔɪdɪd ɪf ˈælbərt ˈaɪnstaɪn hæd nɑt aʊt" hɪz ɪkˈweɪʒən i ɪn ðə swɪs ˈpætənt ˈɔfəs əraʊnd 1905 ˌɪnˈstɛd əv ˈgɪtɪŋ ɔn wɪθ ðə wərk hi wɑz biɪŋ peɪd tɪ rɪˈspɑns ˈɛdət "ˈfəni" ˈpætənts, səʧ ɛz ðoʊz ˈpəblɪʃt baɪ ˈpɛdrɪk, ənd ðɛr ɪn ðə ˈmidiə ˈəpˌsɛt ˈmɛni ˈpætənt ɪgˈzæmɪnərz hu fil ðeɪ tɛnd tɪ ðə ˈpætənts ˈɛdət ə səˈlɛkʃən frəm ˈoʊvər 160 ˈpætənts faɪld bɪtˈwin 1962 ənd |
fox news analyst ed rollins talks about president donald trump's threat to iran (screen cap).
president donald trump and his administration put iran “on notice” this week after it launched a missile, and conservative fox news analyst ed rollins said it showed the commitment to old toughness.
appearing on fox on thursday, rollins linked warning to iran with the bible, and said trump and his team are crusaders.
“clearly, this is a different kind of administration, a much tougher administration, and no nonsense,” rollins explained. “it’s almost like a crusade, doing it under god.”
“a crusade,” said fox news host bill hemmer, who was moderating the panel. “huh.”
instead of following up with rollins about what he meant by trump going on a “crusade,” however, he instead moved right on and asked panelist doug schoen for his take on iran threat.
check out the full segment below. | fɑks nuz ˈænəlɪst ɛd ˈrɑlɪnz tɔks əˈbaʊt ˈprɛzɪdənt ˈdɑnəld trəmps θrɛt tɪ ˌɪˈrɑn (skrin kæp). ˈprɛzɪdənt ˈdɑnəld trəmp ənd hɪz ædˌmɪnɪˈstreɪʃən pʊt ˌɪˈrɑn notice”*” ðɪs wik ˈæftər ɪt lɔnʧt ə ˈmɪsəl, ənd kənˈsərvətɪv fɑks nuz ˈænəlɪst ɛd ˈrɑlɪnz sɛd ɪt ʃoʊd ðə kəˈmɪtmənt tɪ oʊld ˈtəfnəs. əˈpɪrɪŋ ɔn fɑks ɔn ˈθərzˌdeɪ, ˈrɑlɪnz lɪŋkt ˈwɔrnɪŋ tɪ ˌɪˈrɑn wɪθ ðə ˈbaɪbəl, ənd sɛd trəmp ənd hɪz tim ər kruˈseɪdərz. ““clearly*, ðɪs ɪz ə ˈdɪfərənt kaɪnd əv ædˌmɪnɪˈstreɪʃən, ə məʧ ˈtəfər ædˌmɪnɪˈstreɪʃən, ənd noʊ nonsense,”*,” ˈrɑlɪnz ɪkˈspleɪnd. ˈɔlˌmoʊst laɪk ə kruˈseɪd, duɪŋ ɪt ˈəndər god.”*.” crusade,”*,” sɛd fɑks nuz hoʊst bɪl ˈhɛmər, hu wɑz ˈmɑdərˌeɪtɪŋ ðə ˈpænəl. ““huh.”*.” ˌɪnˈstɛd əv ˈfɑloʊɪŋ əp wɪθ ˈrɑlɪnz əˈbaʊt wət hi mɛnt baɪ trəmp goʊɪŋ ɔn ə ““crusade,”*,” ˌhaʊˈɛvər, hi ˌɪnˈstɛd muvd raɪt ɔn ənd æst ˈpænələst dəg ʃoʊn fər hɪz teɪk ɔn ˌɪˈrɑn θrɛt. ʧɛk aʊt ðə fʊl ˌsɛgˈmɛnt bɪˈloʊ. |
image copyright ap
tight security is in place as airlinesart to bring home britonsranded in egypt's sharm.
the government cancelled flights to and from the resort on wednesday amid fears a russian passenger plane had been brought down by a terrorist bomb.
only hand luggage will be allowed on flights, with hold baggage being transported later by the government.
uk investigators believe a bomb was put in the hold of the airbus before take-off, the bbc has learned.
the government says it received a crucial new piece of intelligence on wednesday, which the bbc understands was based on intercepted communications between militants in the sinai.
the russian aircraft was flying from sharm to petersburg last saturday when it crashed in the sinai desert, killing all 224 people on board.
easyjet, monarch, thomson, thomas cook and british airways have scheduled-bound flights from local time for some of the estimated british nationals on holiday in sharm.
but says its flights to luton and gatwick due to depart at have been delayed "due to congestion within the terminal building in addition to additional security procedures in place".
your travel questions answered
britons speak of sharm 'tension'
could is have bombed flight 9268?
how has airport security changed?
there will be additional security measures for passengers, put in place by british security officials who have assessed the airport.
queues were reported to be building up in the departure area of sharm airport where britons are being asked to complete a form for each piece of hold luggage as they arrive to check in.
british tourist kate dobbs in told bbc radio today programme she hoped to be on one of the flights returning to the later.
passengers on her flight have been told they can bring up to of hand baggage, she said.
"they've given us a list of the kind of thing we can take - phones and keys, that type of thing."
ms dobbs added: "there are lot's of anger among some people although the majority... are like us. we understand we need to get home safely and that's the way in which they decided they are going to do it."
image copyright image caption british passengers have been arriving at sharm airport for their flights home
image copyright image caption queuesarted building up in the terminal as more passengers arrived
transport secretary patrick told the bbc security officials were at the airport monitoring the baggage screening process.
he said reports the luggage would be transported back to the by the raf was incorrect but the government was making arrangements to ensure it would be returned to passengers in a week to 10 days.
he said more than 20 flights would be leaving the resort later and the "vast majority" of british tourists who "should have come back wednesday, thursday and friday... will be back by tonight".
media playback is unsupported on your device media caption patrick: "in excess of 20 flights" will bring british back from egypt on friday
outbound flights from the to sharm remain suspended and the foreign office continues to advise against all but essential travel by air to or from sharm airport.
egypt's tourism industry has suffered in the unrest after the arab spring in 2011, but the red sea resorts including sharm have remained popular and hundreds of thousands of britons said to visit the area every year.
mr told the bbc: "we don't have any problems with the safety of the resort itself but we are concerned about flights into sharm."
he said the restrictions on hold luggage and the suspension of passenger flights into sharm woulday in place "until we've got assurances about the security at the airport".
'rescue flights'
flights are scheduled to leave sharm for glasgow, london gatwick, londonansted, luton, birmingham and manchester on friday.
image copyright image caption officials from the british embassy are also at the airport
british nationals in sharm are encouraged to check with their airline or tour operator on their travel plans:
media playback is unsupported on your device media caption how important is tourism to egypt's economy?
bbc security correspondent frank gardner says that although british officials have not ruled out the possibility of a technical fault bringing the plane down, they think that is increasingly unlikely.
investigators in the's security service suspect someone with access to the aircraft's baggage compartment inserted an explosive device inside or on top of the luggage just before the plane took off, our correspondent adds.
prime minister david cameron said on thursday it was now "more likely than not" that a terrorist bomb caused the crash. but both egypt and russia say its too soon reach such a conclusion.
it came as he held talks with egyptian president abdul in london during a previously scheduled visit.
president sisi, told reporters security at the airport was tightened 10 months ago at the's request. he said british experts had then assessed security at egyptian airports and found the measures were "good enough".
mr cameron also discussed "joint counter-terrorism" with russian president vladimir putin during a telephone call. | ˈɪmɪʤ ˈkɑpiˌraɪt ˌeɪˈpi taɪt sɪˈkjʊrəti ɪz ɪn pleɪs ɛz ˈɛˌrlaɪnz stɑrt tɪ brɪŋ hoʊm ˈbrɪtənz ˈstrændɪd ɪn ˈiʤɪpts ʃɑrm. ðə ˈgəvərnmənt ˈkænsəld flaɪts tɪ ənd frəm ðə rɪˈzɔrt ɔn ˈwɛnzˌdeɪ əˈmɪd fɪrz ə ˈrəʃən ˈpæsənʤər pleɪn hæd bɪn brɔt daʊn baɪ ə ˈtɛrərɪst bɔm. ˈoʊnli hænd ˈləgɪʤ wɪl bi əˈlaʊd ɔn flaɪts, wɪθ hoʊld ˈbægɪʤ biɪŋ trænˈspɔrtəd ˈleɪtər baɪ ðə ˈgəvərnmənt. ˌɪnˈvɛstəˌgeɪtərz bɪˈliv ə bɔm wɑz pʊt ɪn ðə hoʊld əv ðə ˈɛrbəs ˌbiˈfɔr take-off*, ðə ˌbibiˈsi həz ˈlərnɪd. ðə ˈgəvərnmənt sɪz ɪt rɪˈsivd ə ˈkruʃəl nu pis əv ˌɪnˈtɛləʤəns ɔn ˈwɛnzˌdeɪ, wɪʧ ðə ˌbibiˈsi ˌəndərˈstændz wɑz beɪst ɔn ˌɪnərˈsɛptɪd kəmˌjunəˈkeɪʃənz bɪtˈwin ˈmɪlətənts ɪn ðə ˈsaɪˌnaɪ. ðə ˈrəʃən ˈɛrˌkræft wɑz flaɪɪŋ frəm ʃɑrm tɪ ˈpitərzbərg læst ˈsæˌtɪˌdeɪ wɪn ɪt kræʃt ɪn ðə ˈsaɪˌnaɪ ˈdɛzərt, ˈkɪlɪŋ ɔl 224 ˈpipəl ɔn bɔrd., ˈmɑˌnɑrk, ˈtɑmsən, ˈtɑməs kʊk ənd ˈbrɪtɪʃ ˈɛrˌweɪz hæv ˈskɛʤʊld flaɪts frəm ˈloʊkəl taɪm fər səm əv ðə ˈɛstəˌmeɪtɪd ˈbrɪtɪʃ ˈnæʃənəlz ɔn ˈhɑlɪˌdeɪ ɪn ʃɑrm. bət sɪz ɪts flaɪts tɪ ˈlutən ənd ˈgætˌwɪk du tɪ dɪˈpɑrt æt hæv bɪn dɪˈleɪd "du tɪ kənˈʤɛsʧən wɪˈθɪn ðə ˈtərmənəl ˈbɪldɪŋ ɪn əˈdɪʃən tɪ əˈdɪʃənəl sɪˈkjʊrəti prəˈsiʤərz ɪn pleɪs". jʊr ˈtrævəl kˈwɛsʧənz ˈænsərd ˈbrɪtənz spik əv ʃɑrm 'ˈtɛnʃən' kʊd ɪz hæv bɑmd flaɪt 9268 haʊ həz ˈɛrˌpɔrt sɪˈkjʊrəti ʧeɪnʤd? ðɛr wɪl bi əˈdɪʃənəl sɪˈkjʊrəti ˈmɛʒərz fər ˈpæsənʤərz, pʊt ɪn pleɪs baɪ ˈbrɪtɪʃ sɪˈkjʊrəti əˈfɪʃəlz hu hæv əˈsɛst ðə ˈɛrˌpɔrt. kjuz wər ˌriˈpɔrtəd tɪ bi ˈbɪldɪŋ əp ɪn ðə dɪˈpɑrʧər ˈɛriə əv ʃɑrm ˈɛrˌpɔrt wɛr ˈbrɪtənz ər biɪŋ æst tɪ kəmˈplit ə fɔrm fər iʧ pis əv hoʊld ˈləgɪʤ ɛz ðeɪ əraɪv tɪ ʧɛk ɪn. ˈbrɪtɪʃ ˈtʊrɪst keɪt dɑbz ɪn toʊld ˌbibiˈsi ˈreɪdiˌoʊ təˈdeɪ ˈproʊˌgræm ʃi hoʊpt tɪ bi ɔn wən əv ðə flaɪts rɪˈtərnɪŋ tɪ ðə ˈleɪtər. ˈpæsənʤərz ɔn hər flaɪt hæv bɪn toʊld ðeɪ kən brɪŋ əp tɪ əv hænd ˈbægɪʤ, ʃi sɛd. "ðeɪv ˈgɪvɪn ˈjuˈɛs ə lɪst əv ðə kaɪnd əv θɪŋ wi kən teɪk foʊnz ənd kiz, ðət taɪp əv θɪŋ." mɪz dɑbz ˈædɪd: "ðɛr ər lɑts əv ˈæŋgər əˈməŋ səm ˈpipəl ˌɔlˈðoʊ ðə məˈʤɔrəti... ər laɪk ˈjuˈɛs. wi ˌəndərˈstænd wi nid tɪ gɪt hoʊm ˈseɪfli ənd ðæts ðə weɪ ɪn wɪʧ ðeɪ ˌdɪˈsaɪdɪd ðeɪ ər goʊɪŋ tɪ du ɪt." ˈɪmɪʤ ˈkɑpiˌraɪt ˈɪmɪʤ ˈkæpʃən ˈbrɪtɪʃ ˈpæsənʤərz hæv bɪn ərˈaɪvɪŋ æt ʃɑrm ˈɛrˌpɔrt fər ðɛr flaɪts hoʊm ˈɪmɪʤ ˈkɑpiˌraɪt ˈɪmɪʤ ˈkæpʃən kjuz ˈstɑrtɪd ˈbɪldɪŋ əp ɪn ðə ˈtərmənəl ɛz mɔr ˈpæsənʤərz əraɪvd ˈtrænspɔrt ˈsɛkrəˌtɛri ˈpætrɪk toʊld ðə ˌbibiˈsi sɪˈkjʊrəti əˈfɪʃəlz wər æt ðə ˈɛrˌpɔrt ˈmɑnətərɪŋ ðə ˈbægɪʤ ˈskrinɪŋ ˈprɔˌsɛs. hi sɛd rɪˈpɔrts ðə ˈləgɪʤ wʊd bi trænˈspɔrtəd bæk tɪ ðə baɪ ðə ræf wɑz ˌɪnkərˈɛkt bət ðə ˈgəvərnmənt wɑz ˈmeɪkɪŋ ərˈeɪnʤmənts tɪ ɪnˈʃʊr ɪt wʊd bi rɪˈtərnd tɪ ˈpæsənʤərz ɪn ə wik tɪ 10 deɪz. hi sɛd mɔr ðən 20 flaɪts wʊd bi ˈlivɪŋ ðə rɪˈzɔrt ˈleɪtər ənd ðə "væst məˈʤɔrəti" əv ˈbrɪtɪʃ ˈtʊrɪsts hu "ʃʊd hæv kəm bæk ˈwɛnzˌdeɪ, ˈθərzˌdeɪ ənd ˈfraɪˌdeɪ... wɪl bi bæk baɪ təˈnaɪt". ˈmidiə ˈpleɪˌbæk ɪz ənsəˈpɔrtɪd ɔn jʊr dɪˈvaɪs ˈmidiə ˈkæpʃən ˈpætrɪk: "ɪn ˈɛkˌsɛs əv 20 flaɪts" wɪl brɪŋ ˈbrɪtɪʃ bæk frəm ˈiʤɪpt ɔn ˈfraɪˌdeɪ ˈaʊtˌbaʊnd flaɪts frəm ðə tɪ ʃɑrm rɪˈmeɪn səˈspɛndɪd ənd ðə ˈfɔrən ˈɔfəs kənˈtɪnjuz tɪ ədˈvaɪz əˈgɛnst ɔl bət ɛˈsɛnʃəl ˈtrævəl baɪ ɛr tɪ ər frəm ʃɑrm ˈɛrˌpɔrt. ˈiʤɪpts ˈtʊˌrɪzəm ˈɪndəstri həz ˈsəfərd ɪn ðə ənˈrɛst ˈæftər ðə ˈærəb spərɪŋ ɪn 2011 bət ðə rɛd si rɪˈzɔrts ˌɪnˈkludɪŋ ʃɑrm hæv rɪˈmeɪnd ˈpɑpjələr ənd ˈhənərdz əv ˈθaʊzənz əv ˈbrɪtənz sɛd tɪ ˈvɪzɪt ðə ˈɛriə ˈɛvəri jɪr. ˈmɪstər toʊld ðə ˌbibiˈsi: "wi doʊnt hæv ˈɛni ˈprɑbləmz wɪθ ðə ˈseɪfti əv ðə rɪˈzɔrt ˌɪtˈsɛlf bət wi ər kənˈsərnd əˈbaʊt flaɪts ˈɪntu ʃɑrm." hi sɛd ðə riˈstrɪkʃənz ɔn hoʊld ˈləgɪʤ ənd ðə səˈspɛnʃən əv ˈpæsənʤər flaɪts ˈɪntu ʃɑrm wʊd steɪ ɪn pleɪs "ənˈtɪl wiv gɑt əˈʃʊrəntsɪz əˈbaʊt ðə sɪˈkjʊrəti æt ðə ˈɛrˌpɔrt". 'ˈrɛskju flaɪts' flaɪts ər ˈskɛʤʊld tɪ liv ʃɑrm fər ˈglæˌskoʊ, ˈləndən ˈgætˌwɪk, ˈləndən stansted*, ˈlutən, ˈbərmɪŋˌhæm ənd ˈmænˌʧɛstər ɔn ˈfraɪˌdeɪ. ˈɪmɪʤ ˈkɑpiˌraɪt ˈɪmɪʤ ˈkæpʃən əˈfɪʃəlz frəm ðə ˈbrɪtɪʃ ˈɛmbəsi ər ˈɔlsoʊ æt ðə ˈɛrˌpɔrt ˈbrɪtɪʃ ˈnæʃənəlz ɪn ʃɑrm ər ɪnˈkərəʤd tɪ ʧɛk wɪθ ðɛr ˈɛˌrlaɪn ər tʊr ˈɑpərˌeɪtər ɔn ðɛr ˈtrævəl plænz: ˈmidiə ˈpleɪˌbæk ɪz ənsəˈpɔrtɪd ɔn jʊr dɪˈvaɪs ˈmidiə ˈkæpʃən haʊ ˌɪmˈpɔrtənt ɪz ˈtʊˌrɪzəm tɪ ˈiʤɪpts ɪˈkɑnəmi? ˌbibiˈsi sɪˈkjʊrəti ˌkɔrəˈspɑndənt fræŋk ˈgɑrdnər sɪz ðət ˌɔlˈðoʊ ˈbrɪtɪʃ əˈfɪʃəlz hæv nɑt ruld aʊt ðə ˌpɑsəˈbɪləˌti əv ə ˈtɛknɪkəl fɔlt ˈbrɪŋɪŋ ðə pleɪn daʊn, ðeɪ θɪŋk ðət ɪz ˌɪnˈkrisɪŋgli ənˈlaɪkli. ˌɪnˈvɛstəˌgeɪtərz ɪn ðə sɪˈkjʊrəti ˈsərvɪs ˈsəˌspɛkt ˈsəmˌwən wɪθ ˈækˌsɛs tɪ ðə ˈɛrˌkræfts ˈbægɪʤ kəmˈpɑrtmənt ˌɪnˈsərtɪd ən ɪkˈsploʊsɪv dɪˈvaɪs ˌɪnˈsaɪd ər ɔn tɔp əv ðə ˈləgɪʤ ʤɪst ˌbiˈfɔr ðə pleɪn tʊk ɔf, ɑr ˌkɔrəˈspɑndənt ædz. praɪm ˈmɪnɪstər ˈdeɪvɪd ˈkæmərən sɛd ɔn ˈθərzˌdeɪ ɪt wɑz naʊ "mɔr ˈlaɪkli ðən nɑt" ðət ə ˈtɛrərɪst bɔm kɔzd ðə kræʃ. bət boʊθ ˈiʤɪpt ənd ˈrəʃə seɪ ɪts tu sun riʧ səʧ ə kənˈkluʒən. ɪt keɪm ɛz hi hɛld tɔks wɪθ ɪˈʤɪpʃən ˈprɛzɪdənt æbˈdul ɪn ˈləndən ˈdʊrɪŋ ə ˈpriviəsli ˈskɛʤʊld ˈvɪzɪt. ˈprɛzɪdənt sisi*, toʊld rɪˈpɔrtərz sɪˈkjʊrəti æt ðə ˈɛrˌpɔrt wɑz ˈtaɪtənd 10 mənθs əˈgoʊ æt ðə rɪkˈwɛst. hi sɛd ˈbrɪtɪʃ ˈɛkspərts hæd ðɛn əˈsɛst sɪˈkjʊrəti æt ɪˈʤɪpʃən ˈɛrˌpɔrts ənd faʊnd ðə ˈmɛʒərz wər "gʊd ɪˈnəf". ˈmɪstər ˈkæmərən ˈɔlsoʊ dɪˈskəst "ʤɔɪnt counter-terrorism*" wɪθ ˈrəʃən ˈprɛzɪdənt vˈlædəmɪr ˈputɪn ˈdʊrɪŋ ə ˈtɛləˌfoʊn kɔl. |
the fall earth first! newsletter is out! download free or read online
happy samhain, folks. in celebration of the beginning of the darker half of the year, released 12 pages of environmental resistance that you can read online or download.
inside is a chronology of actions carried out around the world in defense of the from chasing off politicians to burning shit down. also find an article on this string of alf actions in ontario, canada; a list of current eco-prisoners; a directory of environmental resistance groups; an announcement from a new prisoner writing project; and a call for support from the zad, which includes suggestions for how you can help fight the airport expansion from afar.
as always, earth first! news is anti-copyright. read it, print it, share it, it. whatever.
the earth first! journal collective sends free copies of ef! news to prisoners. throw us a donation to help us do it!
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check out these related newswire posts: | ðə fɔl ərθ fərst! ˈnuzˌlɛtər ɪz aʊt! ˈdaʊnˌloʊd fri ər rɛd ˈɔnˌlaɪn ˈhæpi samhain*, foʊks. ɪn ˌsɛləˈbreɪʃən əv ðə bɪˈgɪnɪŋ əv ðə ˈdɑrkər hæf əv ðə jɪr, riˈlist 12 ˈpeɪʤɪz əv ɪnˌvaɪrənˈmɛnəl rɪˈzɪstəns ðət ju kən rɛd ˈɔnˌlaɪn ər ˈdaʊnˌloʊd. ˌɪnˈsaɪd ɪz ə krəˈnɑləʤi əv ˈækʃənz ˈkɛrid aʊt əraʊnd ðə wərld ɪn dɪˈfɛns əv ðə frəm ˈʧeɪsɪŋ ɔf ˌpɑləˈtɪʃənz tɪ ˈbərnɪŋ ʃɪt daʊn. ˈɔlsoʊ faɪnd ən ˈɑrtɪkəl ɔn ðɪs strɪŋ əv ælf ˈækʃənz ɪn ɑnˈtɛrioʊ, ˈkænədə; ə lɪst əv ˈkɑrənt eco-prisoners*; ə dɪˈrɛktəri əv ɪnˌvaɪrənˈmɛnəl rɪˈzɪstəns grups; ən əˈnaʊnsmɛnt frəm ə nu ˈprɪzənər ˈraɪtɪŋ ˈprɑʤɛkt; ənd ə kɔl fər səˈpɔrt frəm ðə zad*, wɪʧ ˌɪnˈkludz səˈʤɛsʧənz fər haʊ ju kən hɛlp faɪt ðə ˈɛrˌpɔrt ɪkˈspænʧən frəm əˈfɑr. ɛz ˈɔlˌweɪz, ərθ fərst! nuz ɪz anti-copyright*. rɛd ɪt, prɪnt ɪt, ʃɛr ɪt, ɪt. ˌwəˈtɛvər. ðə ərθ fərst! ˈʤərnəl kəˈlɛktɪv sɛndz fri ˈkɑpiz əv ef*! nuz tɪ ˈprɪzənərz. θroʊ ˈjuˈɛs ə doʊˈneɪʃən tɪ hɛlp ˈjuˈɛs du ɪt! ʃɛr ðɪs: ˈgugəl tˈwɪtər ˈfeɪsˌbʊk prɪnt iˈmeɪl mɔr ˈpɑkət ˈtəmblər laɪk ðɪs: laɪk ˈloʊdɪŋ... ʧɛk aʊt ðiz rɪˈleɪtɪd ˈnuzˌwaɪr poʊsts: |
target’s video for employees -- which previously drew ridicule for strained and earnest delivery, and melodramatic graphics, and production values -- appears to have gotten a makeover.
the newer video, reviewed by salon (but which is not being for legal reasons), echoes or repeats verbatim many of the lines from its predecessor, which hamilton nolan posted in 2011 and mocked as “shitty propaganda” with “the production values of an educational film.” gone are the switch to (to depict a unionized universe); the image of $20 bills stacking up against a shifting red background (to represent union dues), and the sight and sound of a slamming door (to portray being cut off from communicating directly with management). an actual target executive no longer makes a cameo to stiffly set forth stance on organizing; instead, the two stars of the new film ("dawn" and "ricardo," replacing "doug" and "maria") make all points on his behalf.
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but the message is much the same: narrators tell employees -- whom union organizers charge were required to watch the video in mandatory meetings -- that right now, “we put people in jobs because for them, not because of the day they happened to get hired.” if a union came in, “chances are they would change our fast, fun and friendly culture, with their way of doing business.”
workers are warned that “this is a very competitive business that in,” and that “if target faced rigid union contracts like some of our competitors, our ability to serve our guests could suffer dramatically and with fewer guests, what happens to our team?” even if they vote union, told, “management have to agree to any union demand.” the video closes with a pledge that “there are always people you can talk to,” and a list of five places to take your questions: “supervisors/leaders”; “human resources”; “chat sessions”; “best team survey”; and “employee relations and integrity hotline” (not listed: rank and file co-workers).
the target video, “think hard: protect your signature,” was shown to valley stream, n.y., target employees in the to a 2011 unionization vote, according to the united food & commercial workers union. target was compelled to turn over the video as part of the national labor relations investigation of alleged illegal prior to that election, in which employees voted against becoming target's first unionized employees. in a decision last year, the found sufficient wrongdoing by target to throw out that election result, paving the way for a new unionization vote. however, citing intimations of lost jobs (including in that video) and an alleged purge of union activists (whom the has not ordered target to reinstate), the union last week told salon that it now plans not to pursue another vote there.
“the system failed the workers, as going to continue to fail the workers,” said local 1500 organizing director aly waddy. before the election, she alleged, target used a mix of legal and illegal tactics to scare and spy on workers; after the union was defeated in the vote, she charged, the company rewarded or punished employees based on their stance toward the union, and used a store shutdown for renovations as a pretext to transfer or terminate activists. “none of the workers that started the campaign are there waddy told salon, “workers have seen a company gotten away with doing whatever it is that they wanted to do.”
while the filed charges with the alleging union activists were illegally targeted for termination, the union was unable to secure any rulings to that effect from the labor board. instead, the decision throwing out the 2011 election results cited a company solicitation policy, which it found illegally interfered with workers’ organizing rights, as well as “a coercive interrogation, a threat of unspecified reprisals, and the distribution to employees of a leaflet that unlawfully implied a threat to close the store if employees selected the union
asked last week about the allegations and findings, a target spokesperson emailed that valley stream employees had "strongly rejected unionization," and that "the judge dismissed the union's claim related to the temporary closure in its entirety." she said that the company had "reached out to the" to schedule a rerun election, "out of respect for our team's desire to move past this issue ..." (target did not confirm or deny the's report that valley stream workers were required to watch "think hard: protect your signature" prior to the 2011 vote, but did say that the prior video reported by gawker "is no longer used at target," and noted that "we communicate with our team members through a variety of channels, including videos.")
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in sworn testimony, green, a union activist hired by the after being fired by target, described conversations in which members of target management “told us not to let them hear us mention anything about a union” or “you could be terminated”; questioned her about comments made in the media; and warned her to “be careful of what you do ‘cause you never know what could happen.”
one flier provided to the (and to salon), headlined, “will the store close if the union gets in,” told workers, “there are no guarantees” and “the union has a terrible record of store closings," and ended with an urging to “vote no” and an invitation to meet with management to get statistics on declining unionization and closings of unionized stores. green testified that she “had team members ask me if this is true, that if the union gets in, will the store close?” and that “a lot of people were concerned and scared” that was the case.
while the target store is still standing and once again open for business, argued the's waddy, “the threats were made good,” when “the company got away with closing the store and cleaning house and getting rid of all the workers” pushing unionization. (according to the, almost none of target's over 900 u.s. store have involved shutting down the store.) while scrapping election plans, waddy told salon that the would “maintain communication” with workers at the valley stream, n.y., store, and was in touch with target employees elsewhere as well. (the's target change campaign maintains a website criticizing the company and inviting employees to get in touch.) asked if the union would pursue another-supervised union election, she said, “we would really have to look at it case-by-case.”
pro-union activists and academics have long warned that u.s. labor wide berths and weak enforcement leave ample opportunities for both legal and illegal intimidation of workers who try to organize. (salon has covered such allegations at giants including wal-mart, amazon and nbc universal, and employers including bakery bread, pharmaceutical distributor mckesson and document storage company iron mountain.) 2009 research by kate suggests that employers hold mandatory meetings (like the ones in which says target aired its revamped movie) in 89 percent of election campaigns, and are alleged to fire activist workers in 34 percent of campaigns and to threaten plant closings in 57 percent.
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like its predecessor, target's video closes with the words, "refuse to sign, and keep target union free." but whereas the old one touted the decline in private sector unionization to 8 percent of the u.s. workforce, the new one notes the rate has now dipped below 7 percent.
update (3/19): hamilton nolan has now posted the "think hard: protect your signature" video. | target’s* ˈvɪdioʊ fər ɪmˈplɔɪiz wɪʧ ˈpriviəsli dru ˈrɪdəˌkjul fər streɪnd ənd ˈərnɪst dɪˈlɪvəri, ənd ˌmɛlədrəˈmætɪk ˈgræfɪks, ənd pərˈdəkʃən ˈvæljuz əˈpɪrz tɪ hæv ˈgɔtən ə ˈmæˌkoʊvər. ðə nuər ˈvɪdioʊ, rivˈjud baɪ səˈlɑn (bət wɪʧ ɪz nɑt biɪŋ fər ˈligəl ˈrizənz), ˈɛkoʊz ər rɪˈpits vərˈbeɪtəm ˈmɛni əv ðə laɪnz frəm ɪts ˈprɛdəˌsɛsər, wɪʧ ˈhæməltən ˈnoʊlən ˈpoʊstɪd ɪn 2011 ənd mɑkt ɛz propaganda”*” wɪθ pərˈdəkʃən ˈvæljuz əv ən ˌɛʤəˈkeɪʃənəl film.”*.” gɔn ər ðə swɪʧ tɪ (tɪ dɪˈpɪkt ə ˈjunjəˌnaɪzd ˈjunəˌvərs); ðə ˈɪmɪʤ əv 20 bɪlz ˈstækɪŋ əp əˈgɛnst ə ˈʃɪftɪŋ rɛd ˈbækˌgraʊnd (tɪ ˌrɛprɪˈzɛnt ˈjunjən duz), ənd ðə saɪt ənd saʊnd əv ə sˈlæmɪŋ dɔr (tɪ pɔrˈtreɪ biɪŋ kət ɔf frəm kəmˈjunəˌkeɪtɪŋ dɪˈrɛkli wɪθ ˈmænɪʤmənt). ən ˈækʧəwəl ˈtərgət ɪgˈzɛkjətɪv noʊ ˈlɔŋgər meɪks ə ˈkæmiˌoʊ tɪ ˈstɪfli sɛt fɔrθ stæns ɔn ˈɔrgəˌnaɪzɪŋ; ˌɪnˈstɛd, ðə tu stɑrz əv ðə nu fɪlm ("dɔn" ənd "rɪˈkɑrdoʊ," rɪˈpleɪsɪŋ "dəg" ənd "mərˈiə") meɪk ɔl pɔɪnts ɔn hɪz bɪˈhæf. ˌædvərˈtaɪzmənt: bət ðə ˈmɛsɪʤ ɪz məʧ ðə seɪm: ˈnɛˌreɪtərz tɛl ɪmˈplɔɪiz hum ˈjunjən ˈɔrgəˌnaɪzərz ʧɑrʤ wər rikˈwaɪərd tɪ wɔʧ ðə ˈvɪdioʊ ɪn ˈmændəˌtɔri ˈmitɪŋz ðət raɪt naʊ, pʊt ˈpipəl ɪn ʤɑbz bɪˈkəz fər ðɛm, nɑt bɪˈkəz əv ðə deɪ ðeɪ ˈhæpənd tɪ gɪt hired.”*.” ɪf ə ˈjunjən keɪm ɪn, ər ðeɪ wʊd ʧeɪnʤ ɑr fæst, fən ənd ˈfrɛndli ˈkəlʧər, wɪθ ðɛr weɪ əv duɪŋ business.”*.” ˈwərkərz ər wɔrnd ðət ɪz ə ˈvɛri kəmˈpɛtɪtɪv ˈbɪznɪs ðət in,”*,” ənd ðət ˈtərgət feɪst ˈrɪʤɪd ˈjunjən ˈkɑnˌtrækts laɪk səm əv ɑr kəmˈpɛtɪtərz, ɑr əˈbɪləˌti tɪ sərv ɑr gɛsts kʊd ˈsəfər drəˈmætɪkəli ənd wɪθ fjuər gɛsts, wət ˈhæpənz tɪ ɑr team?”*?” ˈivɪn ɪf ðeɪ voʊt ˈjunjən, toʊld, hæv tɪ əˈgri tɪ ˈɛni ˈjunjən demand.”*.” ðə ˈvɪdioʊ ˈkloʊzɪz wɪθ ə plɛʤ ðət ər ˈɔlˌweɪz ˈpipəl ju kən tɔk to,”*,” ənd ə lɪst əv faɪv ˈpleɪsɪz tɪ teɪk jʊr kˈwɛsʧənz: ““supervisors/leaders”*”; resources”*”; sessions”*”; tim survey”*”; ənd riˈleɪʃənz ənd ˌɪnˈtɛgrəti hotline”*” (nɑt ˈlɪstɪd: ræŋk ənd faɪl ˈkoʊˈwərkərz). ðə ˈtərgət ˈvɪdioʊ, hɑrd: prəˈtɛkt jʊr signature,”*,” wɑz ʃoʊn tɪ ˈvæli strim, n.y*., ˈtərgət ɪmˈplɔɪiz ɪn ðə tɪ ə 2011 ˌjunjənəˈzeɪʃən voʊt, əˈkɔrdɪŋ tɪ ðə juˈnaɪtɪd fud kəˈmərʃəl ˈwərkərz ˈjunjən. ˈtərgət wɑz kəmˈpɛld tɪ tərn ˈoʊvər ðə ˈvɪdioʊ ɛz pɑrt əv ðə ˈnæʃənəl ˈleɪbər riˈleɪʃənz ˌɪnˌvɛstəˈgeɪʃən əv əˈlɛʤd ˌɪˈligəl praɪər tɪ ðət ɪˈlɛkʃən, ɪn wɪʧ ɪmˈplɔɪiz ˈvoʊtɪd əˈgɛnst bɪˈkəmɪŋ ˈtɑrgəts fərst ˈjunjəˌnaɪzd ɪmˈplɔɪiz. ɪn ə dɪˈsɪʒən læst jɪr, ðə faʊnd səˈfɪʃənt ˈrɔŋduɪŋ baɪ ˈtərgət tɪ θroʊ aʊt ðət ɪˈlɛkʃən rɪˈzəlt, ˈpeɪvɪŋ ðə weɪ fər ə nu ˌjunjənəˈzeɪʃən voʊt. ˌhaʊˈɛvər, ˈsaɪtɪŋ ˌɪntɪˈmeɪʃənz əv lɔst ʤɑbz (ˌɪnˈkludɪŋ ɪn ðət ˈvɪdioʊ) ənd ən əˈlɛʤd pərʤ əv ˈjunjən ˈæktɪvɪsts (hum ðə həz nɑt ˈɔrdərd ˈtərgət tɪ ˌriɪnˈsteɪt), ðə ˈjunjən læst wik toʊld səˈlɑn ðət ɪt naʊ plænz nɑt tɪ pərˈsu əˈnəðər voʊt ðɛr. ˈsɪstəm feɪld ðə ˈwərkərz, ɛz goʊɪŋ tɪ kənˈtɪnju tɪ feɪl ðə workers,”*,” sɛd ˈloʊkəl 1500 ˈɔrgəˌnaɪzɪŋ dɪˈrɛktər ˈeɪli ˈwɑdi. ˌbiˈfɔr ðə ɪˈlɛkʃən, ʃi əˈlɛʤd, ˈtərgət juzd ə mɪks əv ˈligəl ənd ˌɪˈligəl ˈtæktɪks tɪ skɛr ənd spaɪ ɔn ˈwərkərz; ˈæftər ðə ˈjunjən wɑz dɪˈfitɪd ɪn ðə voʊt, ʃi ʧɑrʤd, ðə ˈkəmpəˌni rɪˈwɔrdɪd ər ˈpənɪʃt ɪmˈplɔɪiz beɪst ɔn ðɛr stæns təˈwɔrd ðə ˈjunjən, ənd juzd ə stɔr ˈʃətˌdaʊn fər ˈrɛnəˌveɪʃənz ɛz ə ˈpriˌtɛkst tɪ ˈtrænsfər ər ˈtərməˌneɪt ˈæktɪvɪsts. əv ðə ˈwərkərz ðət ˈstɑrtɪd ðə kæmˈpeɪn ər ðɛr ˈwɑdi toʊld səˈlɑn, hæv sin ə ˈkəmpəˌni ˈgɔtən əˈweɪ wɪθ duɪŋ ˌwəˈtɛvər ɪt ɪz ðət ðeɪ ˈwɔntɪd tɪ do.”*.” waɪl ðə faɪld ˈʧɑrʤɪz wɪθ ðə əˈlɛʤɪŋ ˈjunjən ˈæktɪvɪsts wər ˌɪˈligəli ˈtɑrgətɪd fər tərməˈneɪʃən, ðə ˈjunjən wɑz əˈneɪbəl tɪ sɪˈkjʊr ˈɛni ˈrulɪŋz tɪ ðət ˈifɛkt frəm ðə ˈleɪbər bɔrd. ˌɪnˈstɛd, ðə dɪˈsɪʒən θroʊɪŋ aʊt ðə 2011 ɪˈlɛkʃən rɪˈzəlts ˈsaɪtɪd ə ˈkəmpəˌni səˌlɪsɪˈteɪʃən ˈpɑləsi, wɪʧ ɪt faʊnd ˌɪˈligəli ˌɪnərˈfɪrd wɪθ workers’*’ ˈɔrgəˌnaɪzɪŋ raɪts, ɛz wɛl ɛz koʊəˈrsɪv ˌɪnˌtɛrəˈgeɪʃən, ə θrɛt əv ənˈspɛsəˌfaɪd rɪˈpraɪzəlz, ənd ðə ˌdɪstrəˈbjuʃən tɪ ɪmˈplɔɪiz əv ə ˈliflət ðət ənˈlɔfəli ˌɪmˈplaɪd ə θrɛt tɪ kloʊz ðə stɔr ɪf ɪmˈplɔɪiz səˈlɛktɪd ðə ˈjunjən æst læst wik əˈbaʊt ðə ˌæləˈgeɪʃənz ənd ˈfaɪndɪŋz, ə ˈtərgət ˈspoʊkspərsən iˈmeɪld ðət ˈvæli strim ɪmˈplɔɪiz hæd "ˈstrɔŋli rɪˈʤɛktɪd ˌjunjənəˈzeɪʃən," ənd ðət "ðə ʤəʤ dɪsˈmɪst ðə ˈjunjənz kleɪm rɪˈleɪtɪd tɪ ðə ˈtɛmpərˌɛri ˈkloʊʒər ɪn ɪts ɪnˈtaɪərti." ʃi sɛd ðət ðə ˈkəmpəˌni hæd "riʧt aʊt tɪ ðə" tɪ ˈskɛʤʊl ə ˈriˈrən ɪˈlɛkʃən, "aʊt əv rɪˈspɛkt fər ɑr timz dɪˈzaɪər tɪ muv pæst ðɪs ˈɪʃu (ˈtərgət dɪd nɑt kənˈfərm ər dɪˈnaɪ ðə rɪˈpɔrt ðət ˈvæli strim ˈwərkərz wər rikˈwaɪərd tɪ wɔʧ "θɪŋk hɑrd: prəˈtɛkt jʊr ˈsɪgnəʧər" praɪər tɪ ðə 2011 voʊt, bət dɪd seɪ ðət ðə praɪər ˈvɪdioʊ ˌriˈpɔrtəd baɪ ˈgɑkər "ɪz noʊ ˈlɔŋgər juzd æt ˈtərgət," ənd ˈnoʊtɪd ðət "wi kəmˈjunəˌkeɪt wɪθ ɑr tim ˈmɛmbərz θru ə vərˈaɪəti əv ˈʧænəlz, ˌɪnˈkludɪŋ ˈvɪdioʊz.") ˌædvərˈtaɪzmənt: ɪn swɔrn ˈtɛstɪˌmoʊni, grin, ə ˈjunjən ˈæktɪvɪst haɪərd baɪ ðə ˈæftər biɪŋ faɪərd baɪ ˈtərgət, dɪˈskraɪbd ˌkɑnvərˈseɪʃənz ɪn wɪʧ ˈmɛmbərz əv ˈtərgət ˈmænɪʤmənt ˈjuˈɛs nɑt tɪ lɛt ðɛm hir ˈjuˈɛs ˈmɛnʃən ˈɛniˌθɪŋ əˈbaʊt ə union”*” ər kʊd bi terminated”*”; kˈwɛsʧənd hər əˈbaʊt ˈkɑmɛnts meɪd ɪn ðə ˈmidiə; ənd wɔrnd hər tɪ ˈkɛrfəl əv wət ju du ju ˈnɛvər noʊ wət kʊd happen.”*.” wən flaɪər prəˈvaɪdɪd tɪ ðə (ənd tɪ səˈlɑn), ˈhɛˌdlaɪnd, ðə stɔr kloʊz ɪf ðə ˈjunjən gɪts in,”*,” toʊld ˈwərkərz, ər noʊ guarantees”*” ənd ˈjunjən həz ə ˈtɛrəbəl ˈrɛkərd əv stɔr ˈkloʊzɪŋz," ənd ˈɛndɪd wɪθ ən ˈərʤɪŋ tɪ no”*” ənd ən ˌɪnvɪˈteɪʃən tɪ mit wɪθ ˈmænɪʤmənt tɪ gɪt stəˈtɪstɪks ɔn dɪˈklaɪnɪŋ ˌjunjənəˈzeɪʃən ənd ˈkloʊzɪŋz əv ˈjunjəˌnaɪzd stɔrz. grin ˈtɛstɪˌfaɪd ðət ʃi tim ˈmɛmbərz æsk mi ɪf ðɪs ɪz tru, ðət ɪf ðə ˈjunjən gɪts ɪn, wɪl ðə stɔr close?”*?” ənd ðət lɔt əv ˈpipəl wər kənˈsərnd ənd scared”*” ðət wɑz ðə keɪs. waɪl ðə ˈtərgət stɔr ɪz stɪl ˈstændɪŋ ənd wəns əˈgɛn ˈoʊpən fər ˈbɪznɪs, ˈɑrgjud ðə ˈwɑdi, θrɛts wər meɪd good,”*,” wɪn ˈkəmpəˌni gɑt əˈweɪ wɪθ ˈkloʊzɪŋ ðə stɔr ənd ˈklinɪŋ haʊs ənd ˈgɪtɪŋ rɪd əv ɔl ðə workers”*” ˈpʊʃɪŋ ˌjunjənəˈzeɪʃən. (əˈkɔrdɪŋ tɪ ðə, ˈɔlˌmoʊst nən əv ˈtɑrgəts ˈoʊvər 900 juz. stɔr hæv ˌɪnˈvɑlvd ˈʃətɪŋ daʊn ðə stɔr.) waɪl ˈskræpɪŋ ɪˈlɛkʃən plænz, ˈwɑdi toʊld səˈlɑn ðət ðə wʊd communication”*” wɪθ ˈwərkərz æt ðə ˈvæli strim, n.y*., stɔr, ənd wɑz ɪn təʧ wɪθ ˈtərgət ɪmˈplɔɪiz ˈɛlsˌwɛr ɛz wɛl. (ðə ˈtərgət ʧeɪnʤ kæmˈpeɪn meɪnˈteɪnz ə ˈwɛbˌsaɪt ˈkrɪtɪˌsaɪzɪŋ ðə ˈkəmpəˌni ənd ˌɪnˈvaɪtɪŋ ɪmˈplɔɪiz tɪ gɪt ɪn təʧ.) æst ɪf ðə ˈjunjən wʊd pərˈsu əˈnəðər ˈjunjən ɪˈlɛkʃən, ʃi sɛd, wʊd ˈrɪli hæv tɪ lʊk æt ɪt case-by-case.”*.” ˈæktɪvɪsts ənd ˌækəˈdɛmɪks hæv lɔŋ wɔrnd ðət juz. ˈleɪbər waɪd bərθs ənd wik ɛnˈfɔrsmənt liv ˈæmpəl ˌɑpərˈtunətiz fər boʊθ ˈligəl ənd ˌɪˈligəl ˌɪnˌtɪmɪˈdeɪʃən əv ˈwərkərz hu traɪ tɪ ˈɔrgəˌnaɪz. (səˈlɑn həz ˈkəvərd səʧ ˌæləˈgeɪʃənz æt ʤaɪənts ˌɪnˈkludɪŋ ˈwɔlˌmɑrt, ˈæməˌzɑn ənd ˈɛnˌbiˈsi ˌjunəˈvərsəl, ənd ɪmˈplɔɪərz ˌɪnˈkludɪŋ ˈbeɪkəri brɛd, ˌfɑrməˈsutɪkəl dɪˈstrɪbjətər məˈkɛsən ənd ˈdɑkjəmɛnt ˈstɔrɪʤ ˈkəmpəˌni aɪərn ˈmaʊntən.) 2009 ˈrisərʧ baɪ keɪt səˈʤɛsts ðət ɪmˈplɔɪərz hoʊld ˈmændəˌtɔri ˈmitɪŋz (laɪk ðə wənz ɪn wɪʧ sɪz ˈtərgət ɛrd ɪts riˈvæmpt ˈmuvi) ɪn 89 pərˈsɛnt əv ɪˈlɛkʃən kæmˈpeɪnz, ənd ər əˈlɛʤd tɪ faɪər ˈæktɪvɪst ˈwərkərz ɪn 34 pərˈsɛnt əv kæmˈpeɪnz ənd tɪ θˈrɛtən plænt ˈkloʊzɪŋz ɪn 57 pərˈsɛnt. ˌædvərˈtaɪzmənt: laɪk ɪts ˈprɛdəˌsɛsər, ˈtɑrgəts ˈvɪdioʊ ˈkloʊzɪz wɪθ ðə wərdz, "ˈrɛfˌjuz tɪ saɪn, ənd kip ˈtərgət ˈjunjən fri." bət wɛˈræz ðə oʊld wən ˈtaʊtɪd ðə dɪˈklaɪn ɪn ˈpraɪvət ˈsɛktər ˌjunjənəˈzeɪʃən tɪ 8 pərˈsɛnt əv ðə juz. ˈwərkˌfɔrs, ðə nu wən noʊts ðə reɪt həz naʊ dɪpt bɪˈloʊ 7 pərˈsɛnt. ˈəpˌdeɪt ˈhæməltən ˈnoʊlən həz naʊ ˈpoʊstɪd ðə "θɪŋk hɑrd: prəˈtɛkt jʊr ˈsɪgnəʧər" ˈvɪdioʊ. |
you have to be a classical music lover to recognize names of important classical composers.
bach
beethoven
brahms
wagner
liszt
rossini
except that the music of rossini and others was considered popular music when it was first heard. and people who liked classical music scorned it. one french writer divided musicians into two kinds: and rossinists.
so what else that we think of as classical music used to be considered popular? and what changed?
classical vs popular music
in the birth of the popular music industry i noted that throughout much of the century, there was no distinction between popular and classical. some people liked music they could fully grasp at first hearing. others liked music whose beauty would reveal itself only after repeated hearing. they all attended the same concerts.
the first group soon tired of hearing the same pieces too often. they wanted to hear something new, but not radically new. the second group especially appreciated the sophisticated music of mozart, haydn, and beethoven.
concert life ceased entirely in paris and london in the and reappear for about 20 years. composers or performers of concertos could hire theater orchestras in vienna, but they played badly.
no other cities in europe had enough influence to put their resident composers on the international stage.
by the time concert life revived in these capitals, haydn and mozart were dead. there was no logical successor to beethoven. after all, why would anyone learn to compose that kind of music? they get it heard with no concert life.
twenty years later, mass audiences no longer remembered how to listen to that music.
new piano music
mozart and beethoven were piano. mozart made much of his living from playing concertos with orchestra. beethoven did, too, until he lost his hearing.
how could piano make a living without access to an orchestra?
they taught and performed in the homes of rich people. aristocrats and the upper middle class opened their homes to an invited public to listen to famous performers.
once france recovered from the revolution, paris became the center for virtuoso pianists. superstars like henri herz, kalkbrenner, and johann peter pixis.
as much businessmen as musicians, these pianists composed a flood of new pieces. they counted on their fame as performers and teachers to sell the sheet music. william weber has called this kind of music “high status popular music.”
the virtuoso’ playing and their compositions offered dazzling performance technique. it did not display imaginative use of form, melody, or harmony.
and of course, the sheet music was much less difficult to play than what the composers played in the salons.
they intended to appeal to mass taste rather than to connoisseurs. mass taste demands both familiarity and novelty.
making a profit from it demands a product with a short shelf-life. business considerations demand new popular music be enough like last to be comfortable. it also has to be enough different to make more than a year or two old seem faintly old-fashioned.
not all popular served up empty music. critics like robert schumann recognized thalberg, chopin, and franz liszt as worthy composers. and music has made it to the classical canon.
opera
at about the same time, paris became the operatic capital of the world, not only for opera in french, but opera in italian. no italian composer could be counted as truly successful even in italian theaters without first having achieved recognition in paris.
unlike symphonies, sonatas, and other “classical forms,” no one considered opera “art” until wagner. it was theater. it was culturally comparable to broadway musicals.
except that everywhere but italy and france it was nearly always in a foreign language.
italians attended only to italian opera. the french had a choice of italian or french opera. countries had some german opera, but it was never a popular as italian or french opera.
and the english? english opera between purcell and britten hardly existed except as translations of italian opera. in that guise, spoken dialog replaced the recitative.
opera had been a business since the first commercial opera house opened in 1637. but it had always appealed to the aristocracy. in early paris, composers like rossini and meyerbeer quickly learned how to appeal to a mass audience.
those who loved the older operas lamented the deficiencies of these new composers. they claimed that the popular composers plagiarized themselves. they wrote the same empty formulas over and over again. all their music sounded alike.
classical music lovers despised rossini in particular because he an especially good composer. he stopped his musical education when someone told him he knew enough to compose operas.
he never learned counterpoint. his writing is full of mistakes and that really bothered anyone who knew or cared about the craft of composition. a mass audience has never cared.
some popular music becomes classical
beethoven had no immediate successors, but a younger generation of composers like mendelssohn, schumann, and berlioz acquired thorough musical education.
they started to write the same kinds of music as the classical masters. they had plenty of orchestras that could play it. they had plenty of orchestras that could play it.
and so the “classical” repertoire began to expand. at the same time, the emptiness of so much “high-status popular music” began to lose popularity.
rossini’s operas also began to disappear from opera houses. hardly anyone performed any rossini operas except the barber of seville from then until the 1950s.
but the overtures found a place in orchestral concerts. one of many ironies in life: he hated writing overtures and went to great lengths to avoid the chore.
lizst moved his base of operation from the salons to the concert halls when he started giving what he called recitals. other like classicist clara schumann soon followed suite.
one of admirers challenged him to start performing music on his recitals. so he did. his own compositions became more serious and less dazzling. but he still write in classical forms.
he no longer specialized in piano solo music, either. he started composing songs, choral music, and orchestral music. and he started some bold harmonic experiments. new music influenced a whole generation of classical composers.
but all those operatic and variations on songs that remain in the repertoire? they were his popular music.
source:
music and the middle class: the social structure of concert life in london, paris, and vienna / by william weber (new york: holmes & meier, 1975)
all images are public domain. | ju hæv tɪ bi ə ˈklæsɪkəl mˈjuzɪk ˈləvər tɪ ˈrɛkəgˌnaɪz neɪmz əv ˌɪmˈpɔrtənt ˈklæsɪkəl kəmˈpoʊzərz. bɑk ˈbeɪtoʊvən brɑmz ˈwægnər lɪst roʊˈsini ɪkˈsɛpt ðət ðə mˈjuzɪk əv roʊˈsini ənd ˈəðərz wɑz kənˈsɪdərd ˈpɑpjələr mˈjuzɪk wɪn ɪt wɑz fərst hərd. ənd ˈpipəl hu laɪkt ˈklæsɪkəl mˈjuzɪk skɔrnd ɪt. wən frɛnʧ ˈraɪtər dɪˈvaɪdɪd mjuˈzɪʃənz ˈɪntu tu kaɪnz: ənd rossinists*. soʊ wət ɛls ðət wi θɪŋk əv ɛz ˈklæsɪkəl mˈjuzɪk juzd tɪ bi kənˈsɪdərd ˈpɑpjələr? ənd wət ʧeɪnʤd? ˈklæsɪkəl ˈvərsəz ˈpɑpjələr mˈjuzɪk ɪn ðə bərθ əv ðə ˈpɑpjələr mˈjuzɪk ˈɪndəstri aɪ ˈnoʊtɪd ðət θruaʊt məʧ əv ðə ˈsɛnʧəri, ðɛr wɑz noʊ dɪˈstɪŋkʃən bɪtˈwin ˈpɑpjələr ənd ˈklæsɪkəl. səm ˈpipəl laɪkt mˈjuzɪk ðeɪ kʊd ˈfʊli græsp æt fərst ˈhirɪŋ. ˈəðərz laɪkt mˈjuzɪk huz ˈbjuti wʊd rɪˈvil ˌɪtˈsɛlf ˈoʊnli ˈæftər rɪˈpitɪd ˈhirɪŋ. ðeɪ ɔl əˈtɛndəd ðə seɪm ˈkɑnsərts. ðə fərst grup sun taɪərd əv ˈhirɪŋ ðə seɪm ˈpisɪz tu ˈɔfən. ðeɪ ˈwɔntɪd tɪ hir ˈsəmθɪŋ nu, bət nɑt ˈrædɪkli nu. ðə ˈsɛkənd grup əˈspɛʃəli əˈpriʃiˌeɪtɪd ðə səˈfɪstɪˌkeɪtəd mˈjuzɪk əv ˈmoʊzɑrt, ˈhaɪdən, ənd ˈbeɪtoʊvən. ˈkɑnsərt laɪf sist ɪnˈtaɪərli ɪn ˈpɛrɪs ənd ˈləndən ɪn ðə ənd ˌriəˈpɪr fər əˈbaʊt 20 jɪrz. kəmˈpoʊzərz ər pərˈfɔrmərz əv kənˈʧɛrtoʊz kʊd haɪər ˈθieɪtər ˈɔrkəstrəz ɪn viˈɛnə, bət ðeɪ pleɪd ˈbædli. noʊ ˈəðər ˈsɪtiz ɪn ˈjʊrəp hæd ɪˈnəf ˈɪnfluəns tɪ pʊt ðɛr ˈrɛzɪdənt kəmˈpoʊzərz ɔn ðə ˌɪnərˈnæʃənɑl steɪʤ. baɪ ðə taɪm ˈkɑnsərt laɪf rɪˈvaɪvd ɪn ðiz ˈkæpɪtəlz, ˈhaɪdən ənd ˈmoʊzɑrt wər dɛd. ðɛr wɑz noʊ ˈlɑʤɪkəl səkˈsɛsər tɪ ˈbeɪtoʊvən. ˈæftər ɔl, waɪ wʊd ˈɛniˌwən lərn tɪ kəmˈpoʊz ðət kaɪnd əv mˈjuzɪk? ðeɪ gɪt ɪt hərd wɪθ noʊ ˈkɑnsərt laɪf. tˈwɛnti jɪrz ˈleɪtər, mæs ˈɔdiənsəz noʊ ˈlɔŋgər rɪˈmɛmbərd haʊ tɪ ˈlɪsən tɪ ðət mˈjuzɪk. nu piˈænə mˈjuzɪk ˈmoʊzɑrt ənd ˈbeɪtoʊvən wər piˈænə. ˈmoʊzɑrt meɪd məʧ əv hɪz ˈlɪvɪŋ frəm pleɪɪŋ kənˈʧɛrtoʊz wɪθ ˈɔrkəstrə. ˈbeɪtoʊvən dɪd, tu, ənˈtɪl hi lɔst hɪz ˈhirɪŋ. haʊ kʊd piˈænə meɪk ə ˈlɪvɪŋ wɪˈθaʊt ˈækˌsɛs tɪ ən ˈɔrkəstrə? ðeɪ tɔt ənd pərˈfɔrmd ɪn ðə hoʊmz əv rɪʧ ˈpipəl. ərˈɪstəˌkræts ənd ðə ˈəpər ˈmɪdəl klæs ˈoʊpənd ðɛr hoʊmz tɪ ən ˌɪnˈvaɪtɪd ˈpəblɪk tɪ ˈlɪsən tɪ ˈfeɪməs pərˈfɔrmərz. wəns fræns rɪˈkəvərd frəm ðə ˌrɛvəˈluʃən, ˈpɛrɪs bɪˈkeɪm ðə ˈsɛnər fər vərʧuˈoʊsoʊ ˈpiənɪsts. ˌsupərˈstɑrz laɪk ˌɔˈri hərz, ˈkælkbrɪnər, ənd ˈjoʊhɑn ˈpitər pixis*. ɛz məʧ ˈbɪznɪsˌmɛn ɛz mjuˈzɪʃənz, ðiz ˈpiənɪsts kəmˈpoʊzd ə fləd əv nu ˈpisɪz. ðeɪ ˈkaʊntɪd ɔn ðɛr feɪm ɛz pərˈfɔrmərz ənd ˈtiʧərz tɪ sɛl ðə ʃit mˈjuzɪk. ˈwɪljəm ˈwɛbər həz kɔld ðɪs kaɪnd əv mˈjuzɪk ˈstætəs ˈpɑpjələr music.”*.” ðə virtuoso’*’ pleɪɪŋ ənd ðɛr ˌkɑmpəˈzɪʃənz ˈɔfərd ˈdæzəlɪŋ pərˈfɔrməns tɛkˈnik. ɪt dɪd nɑt dɪˈspleɪ ˌɪˈmæʤənətɪv juz əv fɔrm, ˈmɛlədi, ər ˈhɑrməni. ənd əv kɔrs, ðə ʃit mˈjuzɪk wɑz məʧ lɛs ˈdɪfəkəlt tɪ pleɪ ðən wət ðə kəmˈpoʊzərz pleɪd ɪn ðə səˈlɑnz. ðeɪ ˌɪnˈtɛndɪd tɪ əˈpil tɪ mæs teɪst ˈrəðər ðən tɪ ˌkɑnəˈsərz. mæs teɪst dɪˈmændz boʊθ fəˌmɪˈljɛrəti ənd ˈnɑvəlti. ˈmeɪkɪŋ ə ˈprɑfɪt frəm ɪt dɪˈmændz ə ˈprɑdəkt wɪθ ə ʃɔrt shelf-life*. ˈbɪznɪs kənˌsɪdərˈeɪʃənz dɪˈmænd nu ˈpɑpjələr mˈjuzɪk bi ɪˈnəf laɪk læst tɪ bi ˈkəmfərtəbəl. ɪt ˈɔlsoʊ həz tɪ bi ɪˈnəf ˈdɪfərənt tɪ meɪk mɔr ðən ə jɪr ər tu oʊld sim ˈfeɪntli ˌoʊldˈfæʃənd. nɑt ɔl ˈpɑpjələr sərvd əp ˈɛmti mˈjuzɪk. ˈkrɪtɪks laɪk ˈrɑbərt ˈʃumən ˈrɛkəgˌnaɪzd thalberg*, ˈʃoʊpæn, ənd frænz lɪst ɛz ˈwərði kəmˈpoʊzərz. ənd mˈjuzɪk həz meɪd ɪt tɪ ðə ˈklæsɪkəl ˈkænən. ˈɑprə æt əˈbaʊt ðə seɪm taɪm, ˈpɛrɪs bɪˈkeɪm ðə ˌɑpərˈætɪk ˈkæpɪtəl əv ðə wərld, nɑt ˈoʊnli fər ˈɑprə ɪn frɛnʧ, bət ˈɑprə ɪn ˌɪˈtæljən. noʊ ˌɪˈtæljən kəmˈpoʊzər kʊd bi ˈkaʊntɪd ɛz ˈtruli səkˈsɛsfəl ˈivɪn ɪn ˌɪˈtæljən ˈθiətərz wɪˈθaʊt fərst ˈhævɪŋ əˈʧivd ˌrɛkɪgˈnɪʃən ɪn ˈpɛrɪs. ənˈlaɪk ˈsɪmfəniz, ˌsɑˈnɑtəz, ənd ˈəðər forms,”*,” noʊ wən kənˈsɪdərd ˈɑprə ““art”*” ənˈtɪl ˈwægnər. ɪt wɑz ˈθieɪtər. ɪt wɑz ˈkəlʧərəˌli ˈkɑmprəbəl tɪ ˈbrɔdˌweɪ mˈjuzɪkəlz. ɪkˈsɛpt ðət ˈɛvriˌwɛr bət ˈɪtəli ənd fræns ɪt wɑz ˈnɪrli ˈɔlˌweɪz ɪn ə ˈfɔrən ˈlæŋgwɪʤ. ˌɪˈtæljənz əˈtɛndəd ˈoʊnli tɪ ˌɪˈtæljən ˈɑprə. ðə frɛnʧ hæd ə ʧɔɪs əv ˌɪˈtæljən ər frɛnʧ ˈɑprə. ˈkəntriz hæd səm ˈʤərmən ˈɑprə, bət ɪt wɑz ˈnɛvər ə ˈpɑpjələr ɛz ˌɪˈtæljən ər frɛnʧ ˈɑprə. ənd ðə ˈɪŋlɪʃ? ˈɪŋlɪʃ ˈɑprə bɪtˈwin pərˈsɛl ənd ˈbrɪtən ˈhɑrdli ɪgˈzɪstəd ɪkˈsɛpt ɛz trænzˈleɪʃənz əv ˌɪˈtæljən ˈɑprə. ɪn ðət gaɪz, ˈspoʊkən ˈdaɪəlɔg ˌriˈpleɪst ðə recitative*. ˈɑprə hæd bɪn ə ˈbɪznɪs sɪns ðə fərst kəˈmərʃəl ˈɑprə haʊs ˈoʊpənd ɪn 1637 bət ɪt hæd ˈɔlˌweɪz əˈpild tɪ ðə ˌɛrəˈstɑkrəsi. ɪn ˈərli ˈpɛrɪs, kəmˈpoʊzərz laɪk roʊˈsini ənd ˈmaɪərˌbɪr kˈwɪkli ˈlərnɪd haʊ tɪ əˈpil tɪ ə mæs ˈɔdiəns. ðoʊz hu ləvd ðə ˈoʊldər ˈɑprəz ləˈmɛntɪd ðə dɪˈfɪʃənsiz əv ðiz nu kəmˈpoʊzərz. ðeɪ kleɪmd ðət ðə ˈpɑpjələr kəmˈpoʊzərz ˈpleɪʤərˌaɪzd ðɛmˈsɛlvz. ðeɪ roʊt ðə seɪm ˈɛmti ˈfɔrmjələz ˈoʊvər ənd ˈoʊvər əˈgɛn. ɔl ðɛr mˈjuzɪk ˈsaʊndɪd əˈlaɪk. ˈklæsɪkəl mˈjuzɪk ˈləvərz dɪˈspaɪzd roʊˈsini ɪn ˌpɑˈtɪkjələr bɪˈkəz hi ən əˈspɛʃəli gʊd kəmˈpoʊzər. hi stɑpt hɪz mˈjuzɪkəl ˌɛʤəˈkeɪʃən wɪn ˈsəmˌwən toʊld ɪm hi nu ɪˈnəf tɪ kəmˈpoʊz ˈɑprəz. hi ˈnɛvər ˈlərnɪd ˈkaʊntərˌpɔɪnt. hɪz ˈraɪtɪŋ ɪz fʊl əv mɪˈsteɪks ənd ðət ˈrɪli ˈbɑðərd ˈɛniˌwən hu nu ər kɛrd əˈbaʊt ðə kræft əv ˌkɑmpəˈzɪʃən. ə mæs ˈɔdiəns həz ˈnɛvər kɛrd. səm ˈpɑpjələr mˈjuzɪk bɪˈkəmz ˈklæsɪkəl ˈbeɪtoʊvən hæd noʊ ˌɪˈmiˌdiət səkˈsɛsərz, bət ə ˈjəŋgər ˌʤɛnərˈeɪʃən əv kəmˈpoʊzərz laɪk ˈmɛndəlsən, ˈʃumən, ənd ˈbərlioʊz əkˈwaɪərd θəroʊ mˈjuzɪkəl ˌɛʤəˈkeɪʃən. ðeɪ ˈstɑrtɪd tɪ raɪt ðə seɪm kaɪnz əv mˈjuzɪk ɛz ðə ˈklæsɪkəl ˈmæstərz. ðeɪ hæd ˈplɛnti əv ˈɔrkəstrəz ðət kʊd pleɪ ɪt. ðeɪ hæd ˈplɛnti əv ˈɔrkəstrəz ðət kʊd pleɪ ɪt. ənd soʊ ðə ““classical”*” ˈrɛpərtˌwɑr bɪˈgæn tɪ ɪkˈspænd. æt ðə seɪm taɪm, ðə ˈɛmtinəs əv soʊ məʧ ˈpɑpjələr music”*” bɪˈgæn tɪ luz ˌpɑpjəˈlɛrəti. ˈɑprəz ˈɔlsoʊ bɪˈgæn tɪ ˌdɪsəˈpɪr frəm ˈɑprə ˈhaʊsɪz. ˈhɑrdli ˈɛniˌwən pərˈfɔrmd ˈɛni roʊˈsini ˈɑprəz ɪkˈsɛpt ðə ˈbɑrbər əv səˈvɪl frəm ðɛn ənˈtɪl ðə 1950s*. bət ðə ˈoʊvərˌʧʊrz faʊnd ə pleɪs ɪn ɔrˈkɛstrəl ˈkɑnsərts. wən əv ˈmɛni ˈaɪrəniz ɪn laɪf: hi ˈheɪtɪd ˈraɪtɪŋ ˈoʊvərˌʧʊrz ənd wɛnt tɪ greɪt lɛŋθs tɪ əˈvɔɪd ðə ʧɔr. muvd hɪz beɪs əv ˌɑpərˈeɪʃən frəm ðə səˈlɑnz tɪ ðə ˈkɑnsərt hɔlz wɪn hi ˈstɑrtɪd ˈgɪvɪŋ wət hi kɔld rɪˈsaɪtəlz. ˈəðər laɪk ˈklæsəsəst ˈklɛrə ˈʃumən sun ˈfɑloʊd swit. wən əv ədˈmaɪrərz ˈʧælənʤd ɪm tɪ stɑrt pərˈfɔrmɪŋ mˈjuzɪk ɔn hɪz rɪˈsaɪtəlz. soʊ hi dɪd. hɪz oʊn ˌkɑmpəˈzɪʃənz bɪˈkeɪm mɔr ˈsɪriəs ənd lɛs ˈdæzəlɪŋ. bət hi stɪl raɪt ɪn ˈklæsɪkəl fɔrmz. hi noʊ ˈlɔŋgər ˈspɛʃəˌlaɪzd ɪn piˈænə ˈsoʊˌloʊ mˈjuzɪk, ˈiðər. hi ˈstɑrtɪd kəmˈpoʊzɪŋ sɔŋz, ˈkɔrəl mˈjuzɪk, ənd ɔrˈkɛstrəl mˈjuzɪk. ənd hi ˈstɑrtɪd səm boʊld hɑrˈmɑnɪk ɪkˈspɛrəmənts. nu mˈjuzɪk ˈɪnfluənst ə hoʊl ˌʤɛnərˈeɪʃən əv ˈklæsɪkəl kəmˈpoʊzərz. bət ɔl ðoʊz ˌɑpərˈætɪk ənd ˌvɛriˈeɪʃənz ɔn sɔŋz ðət rɪˈmeɪn ɪn ðə ˈrɛpərtˌwɑr? ðeɪ wər hɪz ˈpɑpjələr mˈjuzɪk. sɔrs: mˈjuzɪk ənd ðə ˈmɪdəl klæs: ðə ˈsoʊʃəl ˈstrəkʧər əv ˈkɑnsərt laɪf ɪn ˈləndən, ˈpɛrɪs, ənd viˈɛnə baɪ ˈwɪljəm ˈwɛbər (nu jɔrk: hoʊmz maɪər, 1975 ɔl ˈɪmɪʤɪz ər ˈpəblɪk doʊˈmeɪn. |
some people have really stressful lives. so much so, they need to keep a list of what needs to be done each day.
this gets even more important if you like a of weed between dying your hair and eating your lunch.
police in murdoch, western australia, have posted a pot smoker's "to do" list on twitter, saying it was located as they searched a property in on april 30. the list gives some insight into the mind of a stoner.
are ur saturdays hectic like this!!! to do list located at search warrant in. murdoch police (@murdochpol) april 30, 2015
people were quick to respond, saying this list is proof that australians are harmless creatures and the cops should let them just keep on puffing.
@murdochpol this is proof are dangerous, he should definitely be arrested!) april 30, 2015
@murdochpol at least you don't have to worry about that criminal mastermind anymore. texture (@iamtexture) april 30, 2015
@murdochpol this is proof we need to marijuana. if this is the mo of the average pot smoker we're all safe !!! awesome !!! boy from oz (@boyfmoz) may 1, 2015
police in australia also use facebook better than most regular citizens, and the latest example is no exception.
bonus: colorado's marijuana | səm ˈpipəl hæv ˈrɪli ˈstrɛsfəl lɪvz. soʊ məʧ soʊ, ðeɪ nid tɪ kip ə lɪst əv wət nidz tɪ bi dən iʧ deɪ. ðɪs gɪts ˈivɪn mɔr ˌɪmˈpɔrtənt ɪf ju laɪk ə əv wid bɪtˈwin daɪɪŋ jʊr hɛr ənd ˈitɪŋ jʊr lənʧ. pəˈlis ɪn ˈmərdɑk, ˈwɛstərn ɔˈstreɪljə, hæv ˈpoʊstɪd ə pɑt sˈmoʊkərz "tɪ du" lɪst ɔn tˈwɪtər, seɪɪŋ ɪt wɑz ˈloʊˌkeɪtəd ɛz ðeɪ sərʧt ə ˈprɑpərti ɪn ɔn ˈeɪprəl 30 ðə lɪst gɪvz səm ˈɪnˌsaɪt ˈɪntu ðə maɪnd əv ə ˈstoʊnər. ər ər ˈsætərdiz ˈhɛktɪk laɪk ðɪs!!! tɪ du lɪst ˈloʊˌkeɪtəd æt sərʧ ˈwɔrənt ɪn. ˈmərdɑk pəˈlis (@murdochpol*) ˈeɪprəl 30 2015 ˈpipəl wər kwɪk tɪ rɪˈspɑnd, seɪɪŋ ðɪs lɪst ɪz pruf ðət ɔˈstreɪljənz ər ˈhɑrmləs ˈkriʧərz ənd ðə kɑps ʃʊd lɛt ðɛm ʤɪst kip ɔn ˈpəfɪŋ. ðɪs ɪz pruf ər ˈdeɪnʤərəs, hi ʃʊd ˈdɛfənətli bi ərˈɛstɪd! ˈeɪprəl 30 2015 æt list ju doʊnt hæv tɪ ˈwəri əˈbaʊt ðət ˈkrɪmənəl ˈmæstərˌmaɪnd ˌɛniˈmɔr. ˈtɛksʧər (@iamtexture*) ˈeɪprəl 30 2015 ðɪs ɪz pruf wi nid tɪ ˌmɛrəˈwɑnə. ɪf ðɪs ɪz ðə moʊ əv ðə ˈævərɪʤ pɑt sˈmoʊkər wɪr ɔl seɪf ˈɔsəm bɔɪ frəm ɑz (@boyfmoz*) meɪ 1 2015 pəˈlis ɪn ɔˈstreɪljə ˈɔlsoʊ juz ˈfeɪsˌbʊk ˈbɛtər ðən moʊst ˈrɛgjələr ˈsɪtɪzənz, ənd ðə ˈleɪtəst ɪgˈzæmpəl ɪz noʊ ɪkˈsɛpʃən. ˈboʊnəs: ˌkɑlərˈɑdoʊz ˌmɛrəˈwɑnə |
jackson heights a queens gas station owned by a taxi tycoon is refusing to sell gas to anyone but yellow cabs with preferential treatment for his own drivers even as desperate motorists line up for blocks to get fuel amid a massive shortage caused by hurricane sandy.
on the eve of mayor michael bloomberg's mandatory plan, a shell station on northern boulevard and street was giving away a seemingly endless supply of gas mainly to members of taxi mogul taxi fleet.
freidman's gas station had three working pumps on thursday and has been flush with gas in the wake of the hurricane, even as dozens of others around the five boroughs ran dry and closed, sparking massive lines.
the station waved away at least five pleading motorists trying to fill up at the pump within an hour that evening while yellow cabs flew through the line and filled up, as officials from the city's taxi and limousine commission stood by and watched.
"we're just here to provide security," said a official, who turned up at the station at 5 p.m. thursday, along with several nypd officers, after getting "hundreds" of 911 calls about fights at that station.
two pumps were reserved for taxi club management, massive fleet of cabs. all other cab drivers, who had been turned away from the station until the intervened wednesday, had to wait in lines to use the third pump, even when the taxi club lines were empty.
the scene came as the city rolled out a controversial gas rationing plan gas rationing plan, only allowing those whose license plate ends in an even number to get gas on days, and those whose license plate ends in an odd number, a letter or another character to get gas on days.
the order does not apply to taxis or livery vehicles, because they are a part of the "public transportation system," city officials said thursday.
police who were briefly on hand at the jackson heights station thursday directed traffic and tried to keep order, telling one angry driver waiting in a long line that there was nothing he could do because it was a private facility.
"if you're serving the public, you should serve the public at all times," maribel egipciaco, 52, who waited in line for 15 minutes before an attendant came out and shooed her away.
egipciao added that she plans to boycott the station long after the gas situation returns to normal, and recommended others do the same.
freidman, who has 232 medallions, the most owned by anyone in the city, according to crain's, defended his tactics.
"it's my gas that i'm paying a ridiculous amount of money for," said freidman, adding he's been shipping the gas in from places like boston and new hampshire, "i think we're providing an essential service for taxi cabs."
gas at the station was going for $4.50 a gallon for drivers not in fleet, with a maximum purchase of $40.
freidman, 41, emigrated to the united states from the soviet union in 1976, according to crain's new york business, and became giant of the taxi industry who owns one of the city's largest fleets, taxi club management, inc.
his cab companies include: street management, which is based in chelsea; the garage woodside management; downtown taxi management, which is based in park slope; and tunnel taxi management, which is based in long island city.
drivers had other words for the lockout.
woodside resident will, 25, was driving around on wednesday looking to fill up his parents' car. he waited for 15 minutes, and the car was below a of gas when he was turned away.
"the subways are back," said. "there doesn't seem like any reason to be doing this 'taxis only' rule."
cab driver maurice jiminez, 43, who said he drove as far as westport ct in search of gas, was among one the drivers turned away by attendants at shell station.
"they asked me 'what garage do you belong to?' and i knew what was happening," said jiminez, who does not drive for taxi club. "they were basically just supplying their [fleet of] cars with gas."
a spokesman said the agency was aware of the station, and confirmed that they had dispatched a detail of 8 officers and supervisors to the site thursday night after police requested help with crowd control.
tlc spokesman allan said he was not aware of any other stations where the had to become involved in a similar manner.
he added that agents were there purely for crowd control, not to stop private drivers from getting gas.
“it would not be our role to turn people away,” he said.
he said he wasn't sure whether that station is typically reserved for cabs but said his understanding was that the owner uses it mostly to service his own fleet.
he added that the distributed free gas to livery cabs and yellow cabs at floyd bennett field from 9 p.m. thursday night to 6 a.m. friday. the also has a facility in woodside, a few blocks from station, where cabbies can also fuel up for free, officials said.
fromberg noted that a single cab can transport as many as 70 passengers in a given day.
the spokesman said that he was unaware of any other station refusing service to locals while selling gas to cab drivers.
a official asked the attendants thursday if they could let the other cabs use the open pumps, to no avail.
"i was just saying to this guy, 'why can't you open the rest of these to serve these cabs faster?'" the official said. | ˈʤæksən haɪts ə kwinz gæs ˈsteɪʃən oʊnd baɪ ə ˈtæksi taɪˈkun ɪz rɪfˈjuzɪŋ tɪ sɛl gæs tɪ ˈɛniˌwən bət ˈjɛloʊ kæbz wɪθ ˌprɛfərˈɛnʃəl ˈtritmənt fər hɪz oʊn ˈdraɪvərz ˈivɪn ɛz ˈdɛspərɪt ˈmoʊtərɪsts laɪn əp fər blɑks tɪ gɪt fjuəl əˈmɪd ə ˈmæsɪv ˈʃɔrtɪʤ kɔzd baɪ ˈhərəˌkeɪnz ˈsændi. ɔn ðə iv əv meɪər ˈmaɪkəl ˈblumbərgz ˈmændəˌtɔri plæn, ə ʃɛl ˈsteɪʃən ɔn ˈnɔrðərn ˈbʊləˌvɑrd ənd strit wɑz ˈgɪvɪŋ əˈweɪ ə ˈsimɪŋli ˈɛndləs səˈplaɪ əv gæs ˈmeɪnli tɪ ˈmɛmbərz əv ˈtæksi ˈmoʊgəl ˈtæksi flit. gæs ˈsteɪʃən hæd θri ˈwərkɪŋ pəmps ɔn ˈθərzˌdeɪ ənd həz bɪn fləʃ wɪθ gæs ɪn ðə weɪk əv ðə ˈhərəˌkeɪnz, ˈivɪn ɛz ˈdəzənz əv ˈəðərz əraʊnd ðə faɪv bəroʊz ræn draɪ ənd kloʊzd, ˈspɑrkɪŋ ˈmæsɪv laɪnz. ðə ˈsteɪʃən weɪvd əˈweɪ æt list faɪv ˈplidɪŋ ˈmoʊtərɪsts traɪɪŋ tɪ fɪl əp æt ðə pəmp wɪˈθɪn ən aʊər ðət ˈivnɪŋ waɪl ˈjɛloʊ kæbz flu θru ðə laɪn ənd fɪld əp, ɛz əˈfɪʃəlz frəm ðə ˈsɪtiz ˈtæksi ənd ˈlɪməˌzin kəˈmɪʃən stʊd baɪ ənd wɔʧt. "wɪr ʤɪst hir tɪ prəˈvaɪd sɪˈkjʊrəti," sɛd ə əˈfɪʃəl, hu tərnd əp æt ðə ˈsteɪʃən æt 5 p.m*. ˈθərzˌdeɪ, əˈlɔŋ wɪθ ˈsɛvərəl ˌɛnˈwaɪˌpiˌdi ˈɔfɪsərz, ˈæftər ˈgɪtɪŋ "ˈhənərdz" əv 911 kɔlz əˈbaʊt faɪts æt ðət ˈsteɪʃən. tu pəmps wər rɪˈzərvd fər ˈtæksi kləb ˈmænɪʤmənt, ˈmæsɪv flit əv kæbz. ɔl ˈəðər kæb ˈdraɪvərz, hu hæd bɪn tərnd əˈweɪ frəm ðə ˈsteɪʃən ənˈtɪl ðə ˌɪntərˈvind ˈwɛnzˌdeɪ, hæd tɪ weɪt ɪn laɪnz tɪ juz ðə θərd pəmp, ˈivɪn wɪn ðə ˈtæksi kləb laɪnz wər ˈɛmti. ðə sin keɪm ɛz ðə ˈsɪti roʊld aʊt ə ˌkɑntrəˈvərʃəl gæs ˈræʃənɪŋ plæn gæs ˈræʃənɪŋ plæn, ˈoʊnli əˈlaʊɪŋ ðoʊz huz ˈlaɪsəns pleɪt ɛndz ɪn ən ˈivɪn ˈnəmbər tɪ gɪt gæs ɔn deɪz, ənd ðoʊz huz ˈlaɪsəns pleɪt ɛndz ɪn ən ɑd ˈnəmbər, ə ˈlɛtər ər əˈnəðər ˈkɛrɪktər tɪ gɪt gæs ɔn deɪz. ðə ˈɔrdər dɪz nɑt əˈplaɪ tɪ ˈtæksiz ər ˈlɪvəri ˈviɪkəlz, bɪˈkəz ðeɪ ər ə pɑrt əv ðə "ˈpəblɪk ˌtrænspərˈteɪʃən ˈsɪstəm," ˈsɪti əˈfɪʃəlz sɛd ˈθərzˌdeɪ. pəˈlis hu wər ˈbrifli ɔn hænd æt ðə ˈʤæksən haɪts ˈsteɪʃən ˈθərzˌdeɪ dɪˈrɛktɪd ˈtræfɪk ənd traɪd tɪ kip ˈɔrdər, ˈtɛlɪŋ wən ˈæŋgri ˈdraɪvər ˈweɪtɪŋ ɪn ə lɔŋ laɪn ðət ðɛr wɑz ˈnəθɪŋ hi kʊd du bɪˈkəz ɪt wɑz ə ˈpraɪvət fəˈsɪlɪti. "ɪf jʊr ˈsərvɪŋ ðə ˈpəblɪk, ju ʃʊd sərv ðə ˈpəblɪk æt ɔl taɪmz," ˈmɑrɪbɛl egipciaco*, 52 hu ˈweɪtɪd ɪn laɪn fər 15 ˈmɪnəts ˌbiˈfɔr ən əˈtɛndənt keɪm aʊt ənd ʃud hər əˈweɪ. ˈædɪd ðət ʃi plænz tɪ ˈbɔɪˌkɑt ðə ˈsteɪʃən lɔŋ ˈæftər ðə gæs ˌsɪʧuˈeɪʃən rɪˈtərnz tɪ ˈnɔrməl, ənd ˌrɛkəˈmɛndɪd ˈəðərz du ðə seɪm. ˈfridmən, hu həz 232 məˈdæljənz, ðə moʊst oʊnd baɪ ˈɛniˌwən ɪn ðə ˈsɪti, əˈkɔrdɪŋ tɪ kreɪnz, dɪˈfɛndɪd hɪz ˈtæktɪks. "ɪts maɪ gæs ðət əm peɪɪŋ ə rɪˈdɪkjələs əˈmaʊnt əv ˈməni fər," sɛd ˈfridmən, ˈædɪŋ hiz bɪn ˈʃɪpɪŋ ðə gæs ɪn frəm ˈpleɪsɪz laɪk ˈbɔstən ənd nu ˈhæmʃər, "aɪ θɪŋk wɪr prəˈvaɪdɪŋ ən ɛˈsɛnʃəl ˈsərvɪs fər ˈtæksi kæbz." gæs æt ðə ˈsteɪʃən wɑz goʊɪŋ fər ə ˈgælən fər ˈdraɪvərz nɑt ɪn flit, wɪθ ə ˈmæksəməm ˈpərʧəs əv 40 ˈfridmən, 41 ˈɛməˌgreɪtɪd tɪ ðə juˈnaɪtɪd steɪts frəm ðə ˈsoʊviˌɛt ˈjunjən ɪn 1976 əˈkɔrdɪŋ tɪ kreɪnz nu jɔrk ˈbɪznɪs, ənd bɪˈkeɪm ʤaɪənt əv ðə ˈtæksi ˈɪndəstri hu oʊnz wən əv ðə ˈsɪtiz ˈlɑrʤəst flits, ˈtæksi kləb ˈmænɪʤmənt, ɪŋk. hɪz kæb ˈkəmpəˌniz ˌɪnˈklud: strit ˈmænɪʤmənt, wɪʧ ɪz beɪst ɪn ˈʧɛlsi; ðə gərɑʒ ˈwʊdˌsaɪd ˈmænɪʤmənt; ˈdaʊnˈtaʊn ˈtæksi ˈmænɪʤmənt, wɪʧ ɪz beɪst ɪn pɑrk sloʊp; ənd ˈtənəl ˈtæksi ˈmænɪʤmənt, wɪʧ ɪz beɪst ɪn lɔŋ ˈaɪlənd ˈsɪti. ˈdraɪvərz hæd ˈəðər wərdz fər ðə ˈlɑˌkaʊt. ˈwʊdˌsaɪd ˈrɛzɪdənt wɪl, 25 wɑz ˈdraɪvɪŋ əraʊnd ɔn ˈwɛnzˌdeɪ ˈlʊkɪŋ tɪ fɪl əp hɪz ˈpɛrənts' kɑr. hi ˈweɪtɪd fər 15 ˈmɪnəts, ənd ðə kɑr wɑz bɪˈloʊ ə əv gæs wɪn hi wɑz tərnd əˈweɪ. "ðə ˈsəbˌweɪz ər bæk," sɛd. "ðɛr ˈdəzənt sim laɪk ˈɛni ˈrizən tɪ bi duɪŋ ðɪs 'ˈtæksiz ˈoʊnli' rul." kæb ˈdraɪvər ˈmɑrɪs hɪˈmɛˌnɛz, 43 hu sɛd hi droʊv ɛz fɑr ɛz ˈwɛstˌpɔrt kɔrt ɪn sərʧ əv gæs, wɑz əˈməŋ wən ðə ˈdraɪvərz tərnd əˈweɪ baɪ əˈtɛndənts æt ʃɛl ˈsteɪʃən. "ðeɪ æst mi 'wət gərɑʒ du ju bɪˈlɔŋ tɪ?' ənd aɪ nu wət wɑz ˈhæpənɪŋ," sɛd hɪˈmɛˌnɛz, hu dɪz nɑt draɪv fər ˈtæksi kləb. "ðeɪ wər ˈbeɪsɪkli ʤɪst səˈplaɪɪŋ ðɛr [flit əv] kɑz wɪθ gæs." ə ˈspoʊksmən sɛd ðə ˈeɪʤənsi wɑz əˈwɛr əv ðə ˈsteɪʃən, ənd kənˈfərmd ðət ðeɪ hæd dɪˈspæʧt ə ˈditeɪl əv 8 ˈɔfɪsərz ənd ˌsupərˈvaɪzərz tɪ ðə saɪt ˈθərzˌdeɪ naɪt ˈæftər pəˈlis rɪkˈwɛstɪd hɛlp wɪθ kraʊd kənˈtroʊl. ˈspoʊksmən ˈælən sɛd hi wɑz nɑt əˈwɛr əv ˈɛni ˈəðər ˈsteɪʃənz wɛr ðə hæd tɪ bɪˈkəm ˌɪnˈvɑlvd ɪn ə ˈsɪmələr ˈmænər. hi ˈædɪd ðət ˈeɪʤənts wər ðɛr ˈpjʊrli fər kraʊd kənˈtroʊl, nɑt tɪ stɑp ˈpraɪvət ˈdraɪvərz frəm ˈgɪtɪŋ gæs. wʊd nɑt bi ɑr roʊl tɪ tərn ˈpipəl away,”*,” hi sɛd. hi sɛd hi ˈwəzənt ʃʊr ˈwɛðər ðət ˈsteɪʃən ɪz ˈtɪpɪkəli rɪˈzərvd fər kæbz bət sɛd hɪz ˌəndərˈstændɪŋ wɑz ðət ðə ˈoʊnər ˈjuzɪz ɪt ˈmoʊstli tɪ ˈsərvɪs hɪz oʊn flit. hi ˈædɪd ðət ðə dɪˈstrɪbjətəd fri gæs tɪ ˈlɪvəri kæbz ənd ˈjɛloʊ kæbz æt flɔɪd ˈbɛnɪt fild frəm 9 p.m*. ˈθərzˌdeɪ naɪt tɪ 6 a.m*. ˈfraɪˌdeɪ. ðə ˈɔlsoʊ həz ə fəˈsɪlɪti ɪn ˈwʊdˌsaɪd, ə fju blɑks frəm ˈsteɪʃən, wɛr ˈkæbiz kən ˈɔlsoʊ fjuəl əp fər fri, əˈfɪʃəlz sɛd. ˈnoʊtɪd ðət ə ˈsɪŋgəl kæb kən ˈtrænspɔrt ɛz ˈmɛni ɛz 70 ˈpæsənʤərz ɪn ə ˈgɪvɪn deɪ. ðə ˈspoʊksmən sɛd ðət hi wɑz ˌənəˈwɛr əv ˈɛni ˈəðər ˈsteɪʃən rɪfˈjuzɪŋ ˈsərvɪs tɪ ˈloʊkəlz waɪl ˈsɛlɪŋ gæs tɪ kæb ˈdraɪvərz. ə əˈfɪʃəl æst ðə əˈtɛndənts ˈθərzˌdeɪ ɪf ðeɪ kʊd lɛt ðə ˈəðər kæbz juz ðə ˈoʊpən pəmps, tɪ noʊ əˈveɪl. "aɪ wɑz ʤɪst seɪɪŋ tɪ ðɪs gaɪ, 'waɪ kænt ju ˈoʊpən ðə rɛst əv ðiz tɪ sərv ðiz kæbz ˈfæstər?'" ðə əˈfɪʃəl sɛd. |
this article is going to be somewhat different in that not really writing it for the typical embeddedtems engineer. rather kind of a specialized topic, so be surprised if you get bored and move on to something else. fine by me.
anyway, just jump ahead to the punchline. aerical simulation of a step response to a \(, \) padéimation of a time delay:
impressed? maybe you should be. this is a goal been bugging the heck out of me for a few months, and finally reached something useful.
let’s start with a quick overview.
1. denial
padé
if done any studying of linear (lti)tems, you know that the transfer function of a time delay t is \( h(s) = e^{-st} \). an exponential function. very simple, but kind of an oddball. because most transfer functions are written as a ratio of \( h(s) = \frac{p(s)}{q(s)} \) in other words a rational function and analyzed by standard techniques to find their poles and zeros and do some sort oferical calculation with them. so we find the “poles” of \( h(s) = e^{-st} \), because there any. huh.
okay, so what do we do instead?
if using to model something, fine to just add a time delay. has some secret recipe for handling time delays and it works just fine.
but what if you want torform some kind of analysis where you need a rational transfer function? well, you could try to convert everything to aimation, where a time delay is very easy and becomes a shift in a state variable array. or you canimate a delay with a rational function. and whenever you see the words “approximate… rational function”, the first thing that should come to mind is padéimation. this is a technique to compute the “closest” rational function to a given function using power series. kind of theuivalent to a taylor series based upon the function and its derivatives at a single point and if read my article onimation, know i particularly like taylor series, but it has its place, and so does padéimation. padéimation has a reputation for being a “magic” solution that somehow captures more of the essence of a smooth function than a power series, with a wider range of convergence. look at a mildly interesting example: \( f(x) = 10}) + \frac{2}{x} \) near \( \).
import as import import as f(x): return) + x =.arange(-3,5,0.002) # plot so it doesn't draw an extra line across a discontinuity asymptote_nan(y,x,x0list): =.atleast_1d(x0list) for in:))] = float('nan') return y y =]) fig =.figure(figsize=(8,6)) ax =) ax.plot(x,y)) ax.grid('on')
we can use to figure outerical coefficients of a taylor series and the padéimations, using.interpolate.approximate_taylor_polynomial and.misc.pade : (warning:.misc.pade expects its input coefficients to be in order of ascending degree, whereas the return values of both functions are.poly1d objects that yield coefficients in order of descending degree. hence the] expression to reverse the order.)
import.interpolate import.misc = =.interpolate.approximate_taylor_polynomial(f,x=x0,degree=10,) =.misc.pade(t10poly.coeffs[::-1],5) = lambda x:(x-x0) = lambda x:)
fig =.figure(figsize=(8,6)) ax =) ax.plot(x,y,label='f(x)')) =(x) # use real roots of) for finding asymptotes =, x, for r in roots(q5poly) if.abs(np.imag(r)) <]) ax.plot(x,t10(x),label='t10(x)'), label='r5,5(x)'))) ax.grid('on')
so an example of padé magic. the rational function does a better job than the polynomial. why is that a big deal?
well, the two functions \(}(x) \) and \(}(x) =(x)/q_5(x) \) each have 11 degrees of freedom: \(} \) has 11 coefficients, \( \) and \( \) each have 6 coefficients but we lose one degree of freedom since we can scale \( \) and \( \) by the same arbitrary constant \( k \) and leave the resulting rational function unchanged. moreover, we derived \(} \) directly from \( f(x) \), but derived \(} \) from \(} \). so no additional “information” in \(} \) beyond in \(} \), just some freedom of structure, since \(} \) is required to be a polynomial whereas \(} \) is a rational function.
but \(} \) has a much wider range of applicability than \(} \): while \(} \) is a decentimation to \( f(x) \) over a range of about \( x \in [0.2,] \), the function \(} \) looks very good over the range \( x \in [-3,] \). and the kicker: somehow the function \(}(x) \) “knows” about the discontinuity at \( \) just from looking at the polynomial \(}(x) \). we lost the pole at \( \) going from \( f(x) \) to the taylor series \(}(x) \), but somehow got it back when we used padéimation to go from \(}(x) \) to the rational function \(}(x) \). magic!
in the words of the authors oferical recipes (see page 202):
padé has the uncanny knack of picking the function you had in mind from among all the possibilities. except when it!
the structure of a rational function usually lets it do a better job ofimating, but sometimes it. anyway, this article really about padéimation in general, but about the use of padéimation for time delays.
time delays and padé
the padéimation \( r_{p,q}(x) = \frac{n_{p,q}(x)}{d_{p,q}(x)} e^{-x} \) is well-known, and its coefficients can be determined exactly using these formulas (see moler and van loan for a reputable reference for \( \)):
$$ \begin{eqnarray} n_{p,q}(x) &=& d_{p,q}(x) &=& \end{eqnarray} $$
here the \( n_{p,q}(x) \) has degree \( p \) and denominator \( d_{p,q}(x) \) has degree \( q \). the expression \( n! \) denotes n factorial, namely the product of all positive integers between 1 and \( n \), so \( 5! = 5 \times 4 \times 3 \times 2 \times 1 = 120 \). the various combinations of \( p \) and \( q \) can be used to show the variousimations in form, known as a padé table. just for some examples,
$$ \begin{array}{ll} r_{1,1}(x) = -}{2}x} {1 +}{2}x} & r_{1,2}(x) = -}{3}x} {1 + +}{6}x^2} & r_{1,3}(x) = -}{4}x} {1 + +}{4}x^2 +}{24}x^3} r_{2,1}(x) = - +}{6}x^2} {1 +}{3}x} & r_{2,2}(x) = -}{2}x +}{12}x^2} {1 +}{2}x +}{12}x^2} & r_{2,3}(x) = - +}{20}x^2} {1 + + +}{60}x^3} r_{3,1}(x) = - +}{4}x^2 -}{24}x^3} {1 +}{4}x} & r_{3,2}(x) = - + -}{60}x^3} {1 + +}{20}x^2} & r_{3,3}(x) = -}{2}x +}{10}x^2 -}{120}x^3} {1 +}{2}x +}{10}x^2 +}{120}x^3} \end{array}$$
which can be seen in the following graph:
fig =.figure(figsize=(10,6)) ax =) x =.arange(-5,5,0.0005) ax.semilogy(x,np.exp(-x),'--',label='e^-x') ax.grid('on')_coeffs(p,q): ''' calculate the and denominator polynomial coefficients of theimation to ''' n = max(p,q) c = 1 d = 1 = [c] = [d] for k in): c *= -1.0*(p-k+1)/(p+q-k+1)/k if k <= p:.append(c) d *=*(q-k+1)/(p+q-k+1)/k if k <= q:.append(d) return.array(clist[::-1]),np.array(dlist[::-1]) argbox(y,ymin,ymax,imin,imax): ''' find limits (we hope) where y[i] is between and ''' =.argwhere(np.logical_and(y>ymin,y<ymax)) =[ii >= imin] =[ii <= imax] return.min(ii),np.max(ii) = len(x) = min(x) = max(x) = (xmin,xmax) = (1e-4,1e4) for p in [1,2,3]: for q in [1,2,3]: pcoeffs, =_coeffs(p,q) p =.poly1d(pcoeffs) q =.poly1d(qcoeffs) = p(x) den = q(x) ax.semilogy(x,num/den,label='p=%d, q=%d' % (p,q)) # now label the end lines it = argbox(num/den,[0],[1], 0,/2)[0] = it == 0 = x[it] * (0.99 if else 1) = p(xt)/q(xt) if else[1]*0.95 ax.text(xt,yt,' (%d,%d)' % (p,q), va='top', rotation='horizontal' if else -90.0) it = argbox(num/den,[0],[1],/2,)[1] = it ==) = x[it] * (0.99 if else 1) = p(xt)/q(xt) if else[0]*1.2 ax.text(xt,yt,'(%d,%d)' % (p,q), va='bottom', ha='right' if else 'left', rotation='horizontal' if else -90.0) ax.set_xlim(xlim) ax.set_ylim(ylim) ax.set_xlabel('x') = f(x)')) at>
increasing either \( p \) or \( q \) expands the region of close convergence by a little bit.
but we were talking about simulating time delays. so we really care too much about \( e^{-x} \) for real values of \( x \); instead we care about bode plots of \( e^{-s} \) for \( \).
w =.arange(0,10,0.001) s = fig =.figure(figsize=(10,6)) for k in [1,2]: ax = fig.add_subplot(2,1,k) if k == 1: f = lambda h: 20*np.log10(np.abs(h)) = '$20\\,\\log_{10} |h(j\\omega)|$' else: f = lambda h:.unwrap(np.angle(h))*180/np.pi = '$\\angle h(j\\omega)$')) ax.set_xlabel('$\omega$',) ax.plot(w,-w*180/np.pi,'--',label='e^jw') for q in [1,2,3]: for p in.arange(1,q+1): pcoeffs, =_coeffs(p,q) p =.poly1d(pcoeffs) q =.poly1d(qcoeffs) h = p(s)/q(s) ax.plot(w,f(h),label='p=%d,q=%d' % (p,q)) ax.set_ylabel(ylabel,) ax.grid('on') ax.legend(loc='best',)
these are bode plots, but linear rather than logarithmic in frequency, so that we can compare to \( e^{-s} \) which has a unity gain and linear phase responses. here we are only using \( p q \), otherwise the gain increases as \( \omega \), which is not realizable. when \( p = q \), the gain is 1, independent of frequency. the higher \( p \) and \( q \) are, the more the phase response approaches the ideal \( e^{-s} \) for larger frequencies. looks great, right?
let’s try using the padé coefficients in the time domain, with.signal.lti to simulate the step responses:
import.signal t =.arange(0,3,0.001) fig =.figure(figsize=(10,6)) ax =) ax.set_xlabel('t') ax.plot(t,t>=1,'--k') for q in [1,2,3]: for p in.arange(1,q+1): pcoeffs, =_coeffs(p,q) p =.poly1d(pcoeffs) q =.poly1d(qcoeffs) h =.signal.lti(p,q) _,y = h.step(t=t) ax.plot(t,y,label='p=%d,q=%d' % (p,q)) ax.grid('on') ax.legend(loc='best',) at>
well, that look very satisfying. not even close to a step. this is the problem with time frequency transforms; if something looks great in the time domain it usually looks bad in the frequency domain, and vice-versa.
let’s just look at the \( \) case since the degree of the transfer function denominator is the main determining factor in realizability; once decided, for example, that going to use a degree polynomial denominator, it really matter much for realization purposes whether the is just 1 or a or degree polynomial. and for a denominator, the higher degree does a better job ofimating \( e^{-s} \). besides, when you see of padéimations, like in matlab, usually just using \( \). this gives a unity gain at all frequencies (“all-pass”) without any-filtering.
here’s the step responses for the first 10 \( \) padéimations to a unit delay:
import.signal t =.arange(0,3,0.001) fig =.figure(figsize=(10,6)) ax =) ax.set_xlabel('t') ax.plot(t,t>=1,'--k') for q in.arange(1,11): p = q pcoeffs, =_coeffs(p,q) p =.poly1d(pcoeffs) q =.poly1d(qcoeffs) h =.signal.lti(p,q) _,y = h.step(t=t) ax.plot(t,y,label='p=q=%d' % q) ax.grid('on') ax.legend(loc='best',) at>
they get better as \( q \) increases, but still this nasty jump near \( \), and ringing between \( \) and \( \) kind of like the phenomenon of gibbs ears in partial fourier sums toimate a square wave.
but still, kind of cool; we canimate a time delay with a rational transfer function.
great! so use just keep on going in degree:
import.signal t =.arange(0,3,0.001) fig =.figure(figsize=(10,6)) ax =) ax.set_xlabel('t') ax.plot(t,t>=1,'--k') for q in [5,10,15,20,21,22]: p = q pcoeffs, =_coeffs(p,q) p =.poly1d(pcoeffs) q =.poly1d(qcoeffs) h =.signal.lti(p,q) _,y = h.step(t=t) ax.plot(t,y,label='p=q=%d' % q)) ax.grid('on') ax.legend(loc='best',) at>
uh oh. things look good until about \( \), and then bam! we get instability. the footnote in padéimation says this:
high-order padéimations produce transfer functions with clustered poles. because such pole configurations tend to be very sensitive torturbations, padéimations with order should be avoided.
and maybe four or five years ago, when i was last messing around with padéimations for a time delay, i left it at that. because why would you need a padéimation anyway? rare to havetems where a time delay but no additional rolloff, and when you add that, the ringing look as bad. the step response of a unit time delay cascaded in series with a filter. show time constants,,, and, and look at the exact answer and some padéimations of order 5, 10, and 15.
t =.arange(0,4,0.001) = for in [0.1,,,]: fig =.figure(figsize=(10,6)) ax =) ax.set_xlabel('t') = (t>tdelay)*(1-np.exp(-(t-tdelay)/tau)) ax.plot(t,y_exact,'--k',label='exact') for q in [5,10,15]: p = q pcoeffs, =_coeffs(p,q) p =.poly1d(pcoeffs) q =.poly1d(qcoeffs) h =.signal.lti(p,q) _,y = h.step(t=t) #,_ =.signal.lsim([[1/tau],[1, 1/tau]],y,t) ax.plot(t,y2,label='p=q=%d' % q)) ax.grid('on') ax.legend(loc='best',) ax.text(1.1*tdelay,0,'tau=%.2f' %,)
the longer the time constant, the less relevant are those ripples from theimation.
see? no problem here. no problem at all.
2. anger
but then a few months ago i needed to get the step response (in a-free manner) for sometems that had time delays that very small, and i needed to know if the ripples were due toerical simulation issues or they were real, so a clean response was important. grrr.
padé problems: take two
something’s fishy here. says we should avoid orders more than 10, but the step responses of \( \) and \( \) look reasonable. take a look at this “clustered poles” explanation by plotting the poles and zeros:
import.signal t =.arange(0,3,0.001) fig =.figure(figsize=(10,10)) ax =) for q in [5,10,15,20,25]: p = q pcoeffs, =_coeffs(p,q) p =.poly1d(pcoeffs) q =.poly1d(qcoeffs) h =.signal.lti(p,q) #poles =.roots(qcoeffs) #zeros =.roots(pcoeffs) poles = zeros = for in [(poles,'x'),(zeros,'o')]: ax.plot(np.real(z),np.imag(z),'.k',marker=m,mfc='none').axis('equal')));
huh that look bad. the poles and zeros are for \( \) and line up along arcs that get further away from the origin as the value of \( q \) increases. i see any “clustering” here, and showing values up to \(=25 \).
so why do we get instability in simulation?
it really depends on how simulations are implemented. for.signal.lti , the key is that simulations ( , step , impulse , etc.) depend on representation of an ltitem. this means we rely on converting from transfer function form (arrays of and denominator polynomial coefficients) to via . how does work?
pigs in
here’s a sampletem: look at \( h(s) = \frac{p(s)}{q(s)} =}{(s+1)(0.5s+1)(0.2s+1)(0.1s+1)} =00}{s^4 + + + + 100} \):
abcd =.signal.tf2ss([100],[1,18,97,180,100]) for in enumerate('abcd'): print '%s=
%s' % (suffix,[k]) a= [[ -18. -97. -180. -100.] [ 1. 0. 0. 0.] [ 0. 1. 0. 0.] [ 0. 0. 1. 0.]] b= [[ 1.] [ 0.] [ 0.] [ 0.]] c= [[ 0. 0. 0. 100.]] d= [ 0.]
what’s all this a b c d stuff anyway?
state-space is a representation for ltitems using matrices, that has a couple of advantages over the rational transfer function approach we tend to learn in introductory controltems courses. one is that it can be used to model (mimo)tems. another is that we can transform a scalar differentialuation (e.g. \(} +} +} + 180\frac{dy}{dt} + = \)) into a matrix differentialuation. it can simulate aspects oftems /tems) that easily modeled with transfer functions. also more amenable to computerized analysis, and it has someerical advantages over the transfer function approach that look at in a bit.
an ltitem looks like this:
$$ \begin{eqnarray} x &=& x + u y &=& x + u \end{eqnarray} $$
where \( u \) is a vector of input signals, \( x \) is a vector of internal state signals (which is why called) and \( y \) is a vector of output signals. you can still use in the case, in which case \( u \) and \( y \) are scalar values but \( x \) remains a vector of lengthual to the order of thetem. in our example case, we have
$$ \begin{eqnarray} a &=& \begin{bmatrix} -18 & -97 & -180 & -100 1 & 0 & 0 & 0 0 & 1 & 0 & 0 0 & 0 & 1 & 0 \end{bmatrix} b &=& \begin{bmatrix} 1 & 0 & 0 & 0 c &=& \begin{bmatrix} 0 & 0 & 0 & 100 \end{bmatrix} d &=& 0 \end{eqnarray} $$
the \( a \) matrix here has a particular structure. a variant of called a companion matrix of the denominator polynomial \( q(x) \) of the transfer function just means that the term of highest degree has a coefficient of 1); special about it is
the first row is -1 times the coefficients of \( q(x) \) aside from the leading coefficient
the elements are 1, and the remaining elements are 0, forming a shift matrix in the lower rows
the characteristic polynomial of the companion matrix isual to \( q(x) \), meaning its eigenvalues areual to the roots of \( q(x) \)
furthermore and this applies to any square matrix \( a \) if all the eigenvalues, which areual to the roots of \( q(x) \), are distinct, then \( a \) is similar to any other matrix \( m \) with the same eigenvalues, meaning that there is some transformation matrix \( t \) such that \( m = \), and \( a \) is diagonalizable, meaning it can be factored as \( a =} \) where \( v \) is a matrix of and \( \lambda \) is the diagonal matrix of corresponding eigenvalues.
matrix matrix if not familiar or comfortable with linear algebra, this stuff will just make your eyes glaze over. (especially when you ask how to obtain the transfer function, which ends up being \( h(s) = + d \); computing the inverse term gets ugly very quickly, and thisuation always makes me think of some obscure hungarian mathematician for some reason.) worry; walk you through the implications.
in our particular example, the stateuation can be written out as
$$ x}{dt} = \frac{d}{dt} \begin{bmatrix}}} \frac{dx}{dt} x \end{bmatrix} = \begin{bmatrix} -18 & -97 & -180 & -100 1 & 0 & 0 & 0 0 & 1 & 0 & 0 0 & 0 & 1 & 0 \end{bmatrix} \begin{bmatrix}}} \frac{dx}{dt} x \end{bmatrix} + 0 0 0\end{bmatrix} u = x + b u $$
so in this representation of the transfer function, the elements of the state vector are just a scalar state variable \( x \) with transfer function \(}{q(s)} = \frac{x(s)}{u(s)} \), and the first \( \) derivatives of \( x \). the \( \) bottom rows fall out from the relation between successive elements of the state vector: each element is the derivative of the next element. and the top row is from the differentialuation relating \( x \) and \( u \).
this is called the controllable canonical form, which uses, and its main virtue is that it is easy to construct the \( a \), \( b \), \( c \), and \( d \) matrices directly from the transfer function. it has some lousy properties, though.
betrayal: therils of polynomial coefficients and the companion matrix
for symbolic analysis of ltitems, use of the companion matrix is fine. but things can get ugly if we try to use them inerical analysis.
the problems start because of finite computational precision and something called conditioning, which measures the relative error gain from “input” to “output”, where “input” and “output” here are interpreted loosely, depending on the context. usually when someone talks about, in the context of solving the linear matrixuation \( \) for \( x \), in which case the conditionber is \( \kappa(a) = \|a\|}\| \) this involves matrix norms, which you can read about at your leisure. when solving \( \), it means that if i have some relative error \( \) in \( b \), the relative error \( \) in the solution \( x \) can be bounded by \( \kappa(a) \), so the conditionber \( \kappa(a) \) represents a error magnification ratio.
for example, if you have theuation
$$ax = \begin{bmatrix}\end{bmatrix} = b$$
where \( \kappa(a) 6248 \), the solution for \( b = [1,2]^t \) is \( =, = 0 \). if we have \( b = [0.99,2]^t \), a small change, the solution shifts drastically to \( = -4.495, = 10 \). the problem input \( b \) only changed by a relative error of \(} \), whereas the problem output \( x \) changed by a relative error of \( + \) a magnification factor of 4999.
ill-conditioning inerical analysis is kind of like the of mercury in fish, only worse. if you eat a lot of tuna, the mercury content in your body can accumulate to a higher concentration than it was in the tuna, which in turn had higher concentrations than in the fish eaten by the tuna.
there’s not a practical way of removing the mercury once in the fish. but you can control how much of it you eat, and the human body does get rid of it (albeit very slowly). whereas once you have introducederical errors into mathematical calculations, rarely any way to get rid of them. let me say this again:erical errors are even worse than toxic poison! the best way to avoid their problems is to keep them out of yourtem in the first place; once made their way into calculations too late. and unfortunately,erical problems are error magnets that turn the very small but unavoidable errors of calculations into large errors.
anyway, the sensitivity of solving lineartems is only one way toine conditionbers. another is to look at sensitivity of the roots of a polynomial given its coefficients.
for example, take \( q(s) = + + + + 100 \) and find the sensitivity of its roots to the coefficients. there are four roots and four coefficients, so we can find a 4 4 matrix of sensitivities. if we increase the last coefficient by \( \) with \( \delta = \) (from 100 to), the roots change from \( [-10, -5, -2, -1] \) toimately \( [-9.99997222, -5.00016666, -1.99958324, -1.00027788] \), which is a relative change ofimately \( \delta \times [-0.02777811,, -2.08380389,] \). this is the first column of a sensitivity matrix, and we can repeat the same thing for the other three columns:
q =.poly1d([1,18,97,180,100]) find_root_sensitivities(q,, extras=false): """ returns a relative sensitivity matrix s from coefficients to roots. if extras is true, returns s, kappa, v, with: kappa = the norm of the sensitivity matrix v = a unit vector of maximum sensitivity which produces sensitivity gain kappa """ q =.poly1d(q) n = roots =.roots(q) s =.zeros((n,n), dtype=roots.dtype) # allow for complexbers for k in xrange(n): # finderical derivative # from differences = =[k] *= (1+delta/2.0)[k] *= (1-delta/2.0) =.roots(qplus) =.roots(qminus) if.any(np.iscomplex(rplus)) or.any(np.iscomplex(rminus)): s =) s[:,k] = (np.roots(qplus) -.roots(qminus)) / roots / delta if not extras: return s # extras: find a direction of maximum sensitivity =.linalg.svd(s, compute_uv=true) # largest singular direction in reverse order # to match polynomial coefficients:0 return] = find_root_sensitivities(q, extras=true),0001248, -2.69444733,], [, -3.00002156,, -7.49996509], [-2.08332684,, -8.08332734,], [ , -5.00000152,, -0.49999782]]),,,, -0.49695306,4158266]))
# double-check that this direction vector v works: # if werturb the coefficients towards v and away from v, # we should be able to see that the magnitude of change # in the coefficient vector is amplified by kappa to yield # a larger magnitude of change in the root vector = = r =.roots(q) delta =.coeffs[1:] *=.coeffs[1:] *= =.roots(qplus) =.roots(qminus) dr = -)/r/delta print dr.linalg.norm(dr,2) [ -4.57977833 -11.17900439]
we can adjust each coefficient \( \) by some relative factor \( 1 + \), where \( \sum = 1 \) and \( \delta \) is a magnitude of adjustment. the resulting measure of relative change of the roots \( r = |\delta} \) where \( \delta \) is the relative change in each root. if we choose the \( \) appropriately (and it turns out that we can obtain \( \) by calculating the singular value decomposition of the sensitivity matrix \( s = v \), and then take \( \) as the first row of \( v \)), then we can get the maximum value of \( r = \kappa \delta \): the of relative changes in the roots, isual to the of relative changes in the coefficients, magnified by this factor \( \kappa \) which is the norm of the sensitivity matrix, and can be as a conditionber because it tells the relative gain of input error to output error.
for our example, \( q(s) = + + + + 100 \), \( \kappa \).erical errors in the coefficients produceserical errors in the roots that, depending on the direction, can be as much as just over times as large.
all (1st-degree) have \( \kappa = 1 \), but as the degree of a polynomial increases, the conditionber of its roots generally increases to a very largeber. for example, the polynomial \( p_{10}(x) =} (x-\frac{1}{k}) \), the conditionber \( \kappa \) is over a million. in fact, difficult to estimate this conditionber accurately.
p10 = for k in): =*np.poly1d([1, -1.0/k]) poly1d([0000000e+00, -2.92896825e+00,, -2.31743276e+00,, -2.48582176e-01,, -5.00165344e-03,, -1.51565256e-05,])
s,kappa,v =, extras=true) kappa
this matters because small changes in polynomial coefficients can produce large changes in the roots. in fact, polynomial coefficients expressed asbers are a really lousy way to analyze and evaluate unless the polynomial degree is small. let that sink in for a moment: large degree specified by coefficients are poorly conditioned forerical analysis. (and by “large”, talking above the degree range, depending on the application.)
in terms of simulation, this is important: the roots of the transfer denominator polynomial determine the dynamics of thetem, and high sensitivity of these roots to errors in coefficients (which is how we specify the \( a \) matrix in ) make simulating transfer functions very.
we can look at the root sensitivity conditionber for the \( (p,q) \) padéimation of a unit time delay, as a function of the polynomial degree:
for n in [5,10,15,20,25]: pcoeffs, =_coeffs(n,n) q =.poly1d(qcoeffs) = find_root_sensitivities(q, extras=true) print 'n=%d, kappa=%g' % (n,kappa),,,,,
ouch! no wonder the transfer function approach fails for large degree. this really stinks. in fact, if we continue to try to compute the poles and zeros of the padéimations from their coefficients, the results start to become inaccurate above about degree 25. plotting those results looks like a marching band about to go berserk:
import.signal t =.arange(0,3,0.001) fig =.figure(figsize=(10,10)) ax =) for q in [22,24,26,28,30,32]: p = q pcoeffs, =_coeffs(p,q) p =.poly1d(pcoeffs) q =.poly1d(qcoeffs) h =.signal.lti(p,q) #poles =.roots(qcoeffs) #zeros =.roots(pcoeffs) poles = zeros = for in [(poles,'x'),(zeros,'o')]: ax.plot(np.real(z),np.imag(z),'.k',marker=m,mfc='none').axis('equal')));
the simulation functions ( , step , impulse , etc.) for5.x and earlier are even worse in this regard than finding roots of, because they try to the \( a \) matrix as \( a =} \), which has its own problems at large degree. for example, if we the companion matrix of the degree polynomial \( p_{10}(x) =} (x-\frac{1}{k}) \), we get an matrix \( v \) that has a conditionber of more than \(} \), whereas the eigenvalue sensitivity we computed earlier was only about million.
a10=np.polynomial.polynomial.polycompanion(p10.coeffs[::-1]) =.linalg.eig(a10) print '%g' %.linalg.cond(v)
drat..
3. bargaining
throwing polynomial coefficients out the window
well, if one major cause of problems is the expression of transfer functions as a pair of by listing their coefficients, then maybe another way to make them work.
there are other ways to describe. two of them which suffer from the problems of polynomial coefficients are
factoring write a polynomial as a product \( p(x) = a\prod\limits_{k=0}^{n}(x-r_k) \) rather than a sum \( p(x) = \sum\limits_{k=0}^{n} \)
sum of write \( p(x) = \sum\limits_{k=0}^{n}t_k(u) \) with \( u = \frac{2x-a-b}{b-a} \) to scale \( x \in [a,b] \) to \( u \in [-1,1] \)
chebyshev \( t_k(u) \) work well because they are bounded between \( \pm 1 \) and run into theerical problems we get when we evaluate large powers of \( x \) that partially cancel each other out. evaluating them from the recurrence relation \( t_n(u) = 2ut_{n-1}(u) - t_{n-2}(u) \) iserically stable. but they only work well in a bounded range \( x \in [a,b] \). if we have an unbounded range then they help.
so factoring is another approach. but then we have to find the roots of the. and the formulas we have for the padéimation to \( e^{-s} \) give us the coefficients; we already know finding the roots from coefficients is a problem. if we have to start from coefficients, the poison is already there, and dead in the water.
zeros of the function \( {}_1f_1 \)
both the and the denominator of the padéimation to \( e^{-s} \) have the same form, which can be written in terms of the function \( {}_1f_1(a;b;z) \):
$$ \begin{eqnarray} n_{p,q}(x) &=& &=& {} _ d_{p,q}(x) &=& &=& {} _ \end{eqnarray} $$
now we just need a way to find the zeros of these functions so we can dispense with having to deal with their coefficients.
there are tons of obscure mathematical papers on the zeros of special functions; and 1975 paper on the zeros and poles of padé to \( \) prove about the locations of the poles and zeros in the complex plane, but say nothing about how toerically compute them.
after a bunch of floundering around, i found two very interesting papers that are relevant to finding these poles and zeros:
campos and paper on the explore a different special function, but they have the same general problem and they make a rather remark about finding zeros using a property of the:
$$\sum\limits_{k
eq - z_k} + +} = 0$$
this set of nonlinearuations can be solved by standard methods. we have used a newton method to solve them up to \(00 \) and \( \).
this intrigued me they found roots of a degree polynomial using someuations and method but it was unclear how to repeat the approach or adapt it to the padé.
grünbaum’s article states that for any with simple (nonrepeated) roots,
if (x-x_n)$$ then at any root \( \) of \( p \) we have $$p’‘(x_k) =
eq k}\frac{1}{x_k-x_j}$$
this means that at any root \( \), then
$$\frac{p’‘(x_k)}{2p’(x_k)} =
eq k}\frac{1}{x_k-x_j}$$
for our padé, the wikipedia page on \( {}_1f_1 \) has \( w={}_1f_1(a;b;z) \) satisfying the differentialuation
$$z} + (b-z)\frac{dw}{dz} - aw = 0$$
and at the roots where \( \),
$$z} + (b-z)\frac{dw}{dz} = 0$$
so that
$$ \frac{\frac{d^2w}{dz^2}}{2\frac{dw}{dz}} = \frac{z-b}{2z} $$
therefore, at all zeros \( \) of the denominator polynomial \( d_{p,q}(x) = w={}_1f_1(a=-q;b=-p-q;x) \), we have
$$0 =} + \frac{-p-q}{2x_k} +
eq k}\frac{1}{x_k-x_j}$$.
there are \( q \) of theseuations and they can each be treated as one component of a vectoruation \( v) = 0 \) where \( v \) is the set of the \( \) roots. the method applied to vectoruations is that if we have some estimate \( v[m] \), we can calculate the next estimate \(] \) as follows:
calculate \( y = v[m]) \)
calculate the matrix \( j = v} \) evaluated at \( v[m] \)
solve for \( \delta v \) where \( j \delta v = y \)
calculate \(] = v[m] - \delta v \)
we also need an initial guess; some empirical messing around trying toimate the zeros for \( d_{p,q}(x) \) in the range led me to the initial guess
$$] = -p -} + + u $$
where \( u \) is the vector with the \( k \)th component \( = -)}{q} \) for \( k = 0 \) this leads to the \( \) nearly spanning the range \( (-1,1) \) and \( \) is the square of the vector \( u \).
this approach actually surprisingly well. what i understand is why it to the right answer, rather than getting stuck at some other solution or running into someerical problems due to; methods can be very iffy and always converge well. but in this case it can easily be used to get the poles and zeros for \( p \) and \( q \) in the range of several hundred. (the \( n_{p,q}(x) \) has the same exact method and its vector of zeros \( v \) areual to -1 times the zeros of the denominator polynomial with \( p \) and \( q \) swapped.)
and an example of it in action with \(,0 \):
import plotpolezero(z,p,ax=none): if ax is none: fig =.figure(figsize=(8,8)) ax =, aspect='equal') ax.plot(np.real(z),np.imag(z),'ok',markersize=3,mfc='none')) return ax for q in [25,50,75,100,125,150,175,200]: =.padeexponential(q,q) zeros, poles, k =.zpk ax=plotpolezero(zeros,poles,ax)
things get more interesting if we look at \( \); if \( p \) is small enough, some of the poles can drift into the right, indicating an unstabletem:
ax=none for p in [15,20,25,30,35,40]: =.padeexponential(p,40) zeros, poles, k =.zpk ax=plotpolezero(zeros,poles,ax) ax.grid('on')
the minimum value \( p_{min}(q) \) that produces all poles in the left is less than but close to \( q \); if we graph \( q - p_{min}(q) \) we get values that gradually increase:
pminlist = [] =.arange(250) p = 0 for q in: = p while p < q: =.padeexponential(p,q) =.zpk if.all(np.real(poles) < 0): break else: p += 1 if -) < (q-p): print.append(p).plot(qlist,-pminlist,'.').xlabel('q').ylabel('q - p_min') 0 0 0 1 0 2 0 3 0 4 1 6 3 9 7 14 11 19 17 26 25 35 34 45 45 57 59 72 75 89 93 108 114 130 139 156 166 184 196 215 at>
let’s shift our attention back to actually trying to use the padéimation. now that we can find the poles and zeros using method, we can avoid the poison of the polynomial coefficient expression, and start using it in the frequency domain even for large values of \( p \) and \( q \), since just a matter of evaluating the transfer function at the frequencies of our choice. the phase angle of the transfer function \( \frac{n_{p,q}(s)}{d_{p,q}(s)} \) roughly matches a pure unit time delay \( e^{-s} \) up to a frequency ofimately \( \omega = \); a graph showing the \( \) case up to \(=120 \):
w =.arange(0,300,0.01) s =.plot(w,-w, ':', label='e^-s') for q in [20,40,60,80,100,120]: =.padeexponential(q,q).plot(w,np.unwrap(np.angle(pe(s))), label='(p=q=%d)' % q).xlabel('$\\omega$',).ylabel('$\\angle h(j\\omega)$, radians',).legend(loc='lower left',);
the tough part is going to be dealing with ourtem in the time domain. we have the technology, though, now that we can get the poles and zeros without having to go through the polynomial coefficients.
4. depression
okay, so now the question is how we setup a lineartem for simulation. if you look at the documentation for.signal.lti , see that
the lti class can be instantiated with either 2, 3 or 4 arguments. the following gives theber of elements in the and the interpretation: - 2: (numerator, denominator) - 3: (zeros, poles, gain) - 4: (a, b, c, d) each argument can be an array or sequence.
so just use the constructor so we can utilize the zero, poles, gain triple directly:
t =.arange(0,3,0.001) fig =.figure(figsize=(10,6)) ax =) ax.set_xlabel('t') ax.plot(t,t>=1,'--k') for q in [18,20,22]: =.padeexponential(q,q) zeros, poles, k =.zpk h =.signal.lti(zeros, poles, k) _,y = h.step(t=t) ax.plot(t,y,label='p=q=%d' % q) ax.grid('on') ax.legend(loc='best',));
huh? in trouble again at \(=22 \). going on?
the key here is how.signal.lti handles simulations. this behavior changed between version5 and version6, but in both cases simulation always utilizes the (a,b,c,d) form, and if thetem is specified in one of the other two methods coefficient vectors, or =), it is converted to first.
in version5 the calculation of the matrices in the.signal.lti class goes through the _update method which, in the case of, calls2ss :
def _update(self, n): if n == 2: self._zeros, self._poles, = tf2zpk(self.num, self.den) self._a, self._b, self._c, =(self.num, self.den) if n == 3: self._num,en =2tf(self.zeros, self.poles, self.gain) self._a, self._b, self._c, =2ss(self.zeros, self.poles, self.gain) if n == 4: self._num,en = ss2tf(self.a, self.b, self.c, self.d) self._zeros, self._poles, = ss2zpk(self.a, self.b, self.c, self.d)
this is promising, but then if we look at2ss , we see this:
def2ss(z, p, k): representation to representation parameters ---------- z, p : sequence zeros and poles. k : floattem gain. returns ------- a, b, c, d : state space representation of thetem, in controller canonical form. """ return(*zpk2tf(z, p, k))
we call2tf which goes from form to transfer function coefficients, and then call . horrors! right we went to great lengths to avoid polynomial coefficients because of their, and instead work directly with the poles and zeros, but2ss throws all that care away and goes right back to the polynomial coefficient approach.
version6 has been to separate classes for each form of construction, and the class has a method used in simulation:
def(self): """ converttem representation to `statespace`. returns ------- : instance of `statespace` state space model of the currenttem """ return statespace(*zpk2ss(self.zeros, self.poles, self.gain))
and in version6 the same old sloppy2ss function that goes through transfer function coefficients:
def2ss(z, p, k): representation to representation parameters ---------- z, p : sequence zeros and poles. k : floattem gain. returns ------- a, b, c, d : state space representation of thetem, in controller canonical form. """ return(*zpk2tf(z, p, k))
it’s the same in7. so we lose! dammit. controller canonical form really sucks forerical purposes.
the right way to implement2ss
we need a better way to implement2ss , and since do it for us, have to do it ourselves. a little research on matrices easily shows that the way to keep the conditionber of the \( a \) matrix to a minimum is to make it a pure diagonal matrix. go back to thetem we talked about earlier:
$$h(s) = \frac{p(s)}{q(s)} =}{(s+1)(0.5s+1)(0.2s+1)(0.1s+1)} =00}{s^4 + + + + 100}$$
which has a controller canonical form of
$$ \begin{eqnarray} a &=& \begin{bmatrix} -18 & -97 & -180 & -100 1 & 0 & 0 & 0 0 & 1 & 0 & 0 0 & 0 & 1 & 0 \end{bmatrix} b &=& \begin{bmatrix} 1 & 0 & 0 & 0 c &=& \begin{bmatrix} 0 & 0 & 0 & 100 \end{bmatrix} d &=& 0 \end{eqnarray} $$
where the \( a \) matrix has a conditionber of just over 521:
a,b,c,d =.signal.tf2ss([100],[1,18,97,180,100]).linalg.cond(a)
we could \( a =} \)erically:
lambda,v =.linalg.eig(a) print "lambda = ", lambda print "v =" print v print =" print.dot(np.dot(v,np.diag(lambda)),np.linalg.inv(v)) lambda = [-10. -5. -2. -1.] v = [[ -9.79797151e-01 -5.00000000e-01] [ -9.94987442e-025959430e-01 -4.33860916e-01] [ -3.91918861e-02 -5.00000000e-01] [ -9.94987442e-04 -1.08465229e-01]] = [[ -1.80000000e+01 -9.70000000e+01 -1.80000000e+02 -1.00000000e+02] [0000000e+00 -3.55271368e-15] [4083409e-170000000e+002140518e-14] [0000000e+00 -8.88178420e-16]]
but then already picked up the poison of, by working with controller canonical form. it works okay for small matrices, but we have much hope above \( \) or so.
instead we have to things analytically, and that means working through the modal form, which uses a diagonal \( a \) matrix with elementsual to the transfer function poles:
$$ a = \begin{bmatrix} -10 & 0 & 0 & 0 0 & -5 & 0 & 0 0 & 0 & -2 & 0 0 & 0 & 0 & -1 \end{bmatrix} $$
now the only hard part is coming up with \( b \) and \( c \) matrices to make things work properly. there a unique choice here; we just need to make sure that the net transfer function \( h(s) = + d \) is what we need, and for a diagonal matrix, the \(} \) term is also a diagonal matrix with terms \(}{s+p} \) along the diagonal:
$$} = \begin{bmatrix}}{s+10} & 0 & 0 & 0 0 &}{s+5} & 0 & 0 0 & 0 &}{s+2} & 0 0 & 0 & 0 &}{s+1} \end{bmatrix} $$
the reason to use modal form is that with modes as state variables, there is no between modes, and in the time domain each state variable represents an independenttem. very easy to analyze! as far as figuring out the \( b \) and \( c \) matrices goes, since \(} \) is diagonal with terms \(}{s+p_k} \), any choice of \( b \) and \( c \) is fine that satisfies \( h(s) = \frac{b_kc_k}{s+p_k} \). we need to compute the residue coefficients \( \) such that \( h(s) = \frac{r_k}{s+p_k} \) and divide up factors \( \) between \( b \) and \( c \) as desired: for example, taking \( b \) as all ones and \( = \), or \( c \) as all ones and \( = \), or make them identical as \( = = \sqrt{r_k} \).
in our specific case, we can use the method to determine the residues as
$$\begin{eqnarray} a _ 0 &=& \left.\frac{100}{(s+1)(s+2)(s+5)}\right| _} =} a _ 1 &=& \left.\frac{100}{(s+1)(s+2)(s+10)}\right| _} =} a _ 2 &=& \left.\frac{100}{(s+1)(s+5)(s+10)}\right| _} =} a _ 3 &=& \left.\frac{100}{(s+2)(s+5)(s+10)}\right| _} =} \end{eqnarray}$$
and therefore if we take \( b = & 1 & 1 & \), then \( c =} &} &} &}\end{bmatrix} \), which we can verify:
h2 =.signal.lti(diag([-10,-5,-2,-1]), [[1]]*4, [-5.0/18,, -25.0/6,], 0 ) print print print 'cond(a)=',np.linalg.cond(h2.a)= [[ -1.06581410e-14 -8.52651283e-14 -1.13686838e-130000000e+02]] den= [ 1. 18. 97. 180. 100.] cond(a)=
the modal form expresses anytem as the parallel sum of separatetems; the conditionber of the \( a \) matrix is just the ratio of the largest and smallest eigenvalue magnitudes. actual physicaltems rarely have only real poles, but rather at least one pair of complex conjugate eigenvalues, so we have to be cautious with this approach, because it means the \( a \), \( b \), and \( c \) matrices will have complex coefficients; an alternative is to group any complex poles in conjugate pairs and use a \( a \) matrix with block elements that are either for real poles, or of the form \( \begin{bmatrix}-\sigma&\omega\cr-\omega&-\sigma\end{bmatrix} \), which has eigenvalues \( \). this yields matrices and can be used with all of the functions; some of them work well with matrixes.
okay, so do it; in the.padeexponential class included properties (pure diagonal matrix) and (block diagonal matrix):
t =.arange(0,3,0.001) fig =.figure(figsize=(10,6)) ax =) ax.set_xlabel('t') ax.plot(t,t>=1,'--k') for q in [18,20,22]: =.padeexponential(q,q) zeros, poles, k =.zpk h =.lti_ssrealmodal _,y = h.step(t=t) ax.plot(t,y,label='p=q=%d' % q) ax.grid('on') ax.legend(loc='best',));
wheeeeeee!!!!!!!!! it works! march onward to higher degree:
t =.arange(0,3,0.001) fig =.figure(figsize=(10,6)) ax =) ax.set_xlabel('t') ax.plot(t,t>=1,'--k') for q in [20,22,24,26,28]: =.padeexponential(q,q) zeros, poles, k =.zpk h =.lti_ssrealmodal _,y = h.step(t=t) ax.plot(t,y,label='p=q=%d' % q) ax.grid('on') ax.legend(loc='best',));
oh, it work. argh.... after a bunch of looking around, i noticed the2 and functions, which use ode solvers to simulate; the and step functions try to be smart and use solutions to lineartems (relying on matrix exponentials), and this works better for sometems but causeserical problems in others, andtems is one of those times.
so use.signal.step2 instead:
t =.arange(0,3,0.001) fig =.figure(figsize=(10,6)) ax =) ax.set_xlabel('t') ax.plot(t,t>=1,'--k') for q in [20,22,24,26,28]: =.padeexponential(q,q) zeros, poles, k =.zpk h =.lti_ssrealmodal =.array(1) # todo: fix fix fix _,y =.signal.step2(h,t=t) ax.plot(t,y,label='p=q=%d' % q) ax.grid('on') ax.legend(loc='best',));
we managed to push things out further by another 4 degrees, to \(=24 \); borderline stable at \(=26 \), and then fails at higher values.
damn, damn, damn.
5. acceptance…?
after i managed to figure out how to compute poles and zeros of padé time delayimations using method, i spent a very long day trying to get the implementation working, first stymied by the implementation of ‘s2ss , and then in a failed attempt at a modal form implementation.
it took me a long time to figure out why the modal form work, even though the conditionber of the \( a \) matrix is much lower:
pe =.padeexponential(12,12) =.zpk =.signal.lti(zeros, poles, k) =.lti_ssrealmodal print "controller canonical form k(a)=%g" %.linalg.cond(h1.a) print "modal form k(a)=%g" %.linalg.cond(h2.a) controller canonical form modal form
wow. the modal form has a conditionber of for \(=12 \), whereas the controller canonical form has a conditionber of over \(} \). the modal form be causing userical problems at all.... but the problem is that the has been “swept aside” into the \( b \) and \( c \) matrices:
print "b=" print.b print "c=" print.c b= [[] [] [] [] [] [] [] [-1303.54031239] [] [] [ -223.46066064] [ ]] c= [[ -3177.55610818 -1898.61079121 -126.23776885 -37.6807615 ]]
my implementation uses \( = = \sqrt{r_k} \) to reduce magnitudes, but still a delicate cancellation between modes. each of the modes is oscillating at its own characteristic frequency, most of them with a relatively large amplitude, and they are supposed to sum up to small values. this work too well once thetem order gets fairly large:
for q in [16,18,20,22,24]: =.padeexponential(q,q) =.zpk =.lti_ssrealmodal print "c_%d=" % q print.c= [[ -4.50120393e+04 -3.21075818e+04 -6.80395204e+02 -1.63614662e+03]]= [[2201903e+04 -1.69418842e+05 -1.28145915e+05 -3.50145127e+02 -8.01311715e+03 -8.02882151e+02 -4.43317147e+01]]= [[9480088e+03 -6.37675797e+05 -5.05485067e+05 -3.63903841e+04 -6.14389658e+03 -1.86962826e+02]]= [[5615111e+049897177e+065222307e+06 -2.40016773e+06 -1.97709719e+06 -1.57696485e+051020692e+05 -3.78633338e+04 -1.08300118e+02]]= [[ -9.03411488e+06 -7.68407951e+06 -6.62292235e+05 -2.06529518e+05 -1.40768237e+03 -1.29015506e+01]]
the modal form has gooderical stability in the \( a \) matrix, but sacrificeserical stability in thetem as a whole, so unfortunately not a good choice either.
cascade
the right choice is a cascade (series) implementation. if we can break down thetem into 1st- andtems with appropriate eigenvalues that can be cascaded into atem, then we require additive cancellation between modes.
the algebra of cascaded is as follows:
if we have twotems \( =,,,) \) and \( =,,,) \) such that the inputs of \( \) are the outputs of \( \), then the combinedtem \(} =},},},}) \) can be computed as
$$ \begin{eqnarray}} &=& & 0c_1 &\end{bmatrix}} &=&d_1 \end{bmatrix}} &=& &\end{bmatrix}} &=&d_1 \end{eqnarray} $$
this cascade combination can be continued to more than twotems; for example, the cascade looks like this:
$$ \begin{eqnarray}3} &=& & 0 & 0c_1 & & 0 & &\end{bmatrix}3} &=&d_1\end{bmatrix}3} &=& & & c_3\end{bmatrix}3} &=& \end{eqnarray} $$
and the cascade looks like this:
$$ \begin{eqnarray}34} &=& & 0 & 0 &c_1 & & 0 & 0 & & & 0 & & & \end{bmatrix}34} &=&d_1 b_4d_3d_2d_1\end{bmatrix}34} &=& & & & c_4\end{bmatrix}34} &=& \end{eqnarray} $$
in general, the resulting cascadedtem has an \( a \) matrix which is block lower triangular; if the \( d \) terms are zero then block lower bidiagonal. the conditionber of this matrix as low as with the modal form (though still much lower than controller canonical form!), but overall much more stable:
pe =.padeexponential(12,12) =.zpk =.lti_sscascade print "cascade form k(a) = ",.linalg.cond(h3.a) print.c cascade form k(a) = [[ -66.02737609 -628.04637117 -63.9781648 -196.10488621 -59.72456992 -102.02762662 -52.888034 -56.65414163 -42.63766873 -28.21917019 -26.74418646 -8.83087886]]
so finally we can try our step response withtems using a cascaded implementation:
t =.arange(0,2,0.001) fig =.figure(figsize=(10,6)) ax =) ax.set_xlabel('t') ax.plot(t,t>=1,'--k') for q in [20,40,60,80,100]: =.padeexponential(q,q) zeros, poles, k =.zpk h =.lti_sscascade _,y =.signal.step2(h,t=t) ax.plot(t,y,label='p=q=%d' % q) ax.grid('on') ax.legend(loc='best',));
success! we did it!
we can reduce the ringing during the delay time (with a minor increase in ringing after the delay time) if we use a slightly lower order polynomial in the of the transfer function:
t =.arange(0,2,0.001) fig =.figure(figsize=(10,6)) ax =) ax.set_xlabel('t') ax.plot(t,t>=1,'--k') for q in [20,40,60,80,100]: p = =.padeexponential(p,q) zeros, poles, k =.zpk h =.lti_sscascade _,y =.signal.step2(h,t=t) ax.plot(t,y,label='p=%d, q=%d' % (p,q)) ax.grid('on') ax.legend(loc='best',));
and pretty much all there is to say here....
taking it further
hmmm. the overshoot is kind of annoying, though, it? what if, instead of taking all 100 poles and putting them into a time delay, we put some of them into a very slight filter to attenuate the ripples?
we have to be careful here, because most filters introduce more overshoot rather than less overshoot. the best one to use is probably a filter, for two reasons:
it has very little overshoot
it has a very flat group delay; in the the of time delay is very low
there’s another reason too; the transfer function of a filter happens to be the same as the \( \) padéimation to a time delay, but with a of 1, and the cutoff frequency scaled by a factor of \(}{2} \). thosesky functions again!) so we already have all the machinery to construct atem for filters.
b5 =.bessel(5,) print "5th order unit filter denominator polynomial" =.poly(b5.poles) assert.all(np.imag(bp5)<1e-12) print.real(bp5) b =.bessel(10,) h = _,y =.signal.step2(h,t=t).plot(t,y); order unit filter denominator polynomial [ 1. 15. 105. 420. 945. 945.]
a unit filter has a group delay of, so what we can do is allocate some of the time delay to a filter and some of the time delay to a padé delay:
a = # 5% of the delay goes to, the rest to n = 100 # order of the wholetem m = 10 # order of the filterb =.bessel(m,1.0/a) =b.lti_sscascade=sspade.padeexponential(n-m,n-m,1/(1-a)) =.cascade(hb,hp) #tem #1: cascaded + t =.arange(0,2,0.001) #tem #2: only2=sspade.padeexponential(n-m,n)=pe2.lti_sscascade #tem #3: only=sspade.bessel(n).lti_sscascade))) for k in)] for label, h in [ %d,%d' % (pe2.p,pe2.q),), %d $\\rightarrow$ %d,%d' % (m,pe.p,pe.q),), %d' % n,) ]: _,y =.signal.step2(h,t=t) for in ax:.plot(t,y,label=label) for k in): if k > 0:.set_xlim(0.9,1.1) ax[k].legend(loc='best'))
the pure filter of order 100 is very smooth but not very steep. the pure padé filter of order 100 (with degree 90) is very steep but has quite a bit of ripple. the hybrid cascade quite as steep as the padé filter but it greatly attenuates the ripple.
the thing about the padé filter is that it the frequency response, and comes closest to any other filter of the same/denominator at meeting the frequency response of a pure time delay. but time domain and frequency domain characteristics conflict to some degree: a filter with arfectly sharp cutoff in the frequency domain implies ripple in the time domain, and vice versa. if we were optimizing, we might want to find ther filter that is the bestimation to the step response of a version of a gaussian filter:
$$h(t) =}{\sqrt{2\pi}\tau}e^{-\frac{t^2}{2\tau^2}} h(s) =}{\sqrt{2\pi}}e^{s^2\tau^2}$$
this is a filter, which has a step response \(
ewcommand{\erf}{\mathop{\rm erf\,}
olimits} y(t) =}{2}\left(1 + \erf{\frac{t}{\sqrt{2}\tau}}\right) \) where \( \erf{x} \) is the error function; it ramps up smoothly from 0 to 1 with maximum slope \(}{\sqrt{2\pi}\tau} \):
import.special t =.arange(-6,6,0.001) =.plot(t,0.5 +*scipy.special.erf(t/np.sqrt(2)/tau)) slope =/np.sqrt(2*np.pi)/tau.plot([-0.5/slope,/slope],[0,1],'--r').ylim(-0.02,1.02);
for certain particular combinations of delay/order/steepness, we can come pretty close to a gaussian filter. the filter of order \( n \) and cutoff frequency \( \) is supposedly the bestimation to the gaussian with time constant \( =/\sqrt{2n} \) and an added time delay \( = \):
n=15=t0/np.sqrt(2*n) t =.arange(0,2,0.001)*t0 b =.bessel(n,f0) = _,y =.signal.step2(hb,t=t).figure(figsize=(8,6)).plot(t,0.5 +*scipy.special.erf((t-t0)/np.sqrt(2)/tau)).plot(t,y).ylim(-0.05,1.05).legend(['gaussian filter=%.3f' %, (n=%d, f0=%.3f)' %)], left');
the thing is, not sure if a straightforward procedure for finding the bestr filterimation to a gaussian filter with arbitrary time delay where “best” here means error in the time domain. one of those things that gauss or fourier or legendre probably wrote a paper about some general topic, at the age of 23, of which my problem is just one special case, and they stuck it in a drawer because at the time there any applications.
so just going to leave it at that.
wrapup
the padéimation to \( e^{-st} \) (paest) is a rational function with specified degree \( p \) in the and \( q \) in the denominator, that comes very close to matching a time delay in the frequency domain, and can be used as a rational transfer function for simulating a delay of time t.
padéimation in general is similar to a taylor series approach, but it uses rational functions instead of, and can produce a betterimation for certain functions that to polynomialimation.
polynomial coefficients for thisimation are integers (for at least) and can be computed in terms of or combinations using recurrence formulas.
scipy.signal.lti can be used with and denominator to simulate a padé time delay.
can be used with and denominator to simulate a padé time delay. theimations look very good (especially with \( \); if \( p \) is slightly less than \( q \) not too bad)
padé time delays necessarily have to be very accurate, if they are combined with othertems that have similar or slower dynamics.
using.signal.lti with polynomial coefficients of breaks down just above order 20.
with polynomial coefficients of breaks down just above order 20. the reason this approach breaks down is becauseerical conditioning of polynomial coefficients becomes toxic as the degree increases. (and, no, toxic some clever acronym, just emphasizing it loudly.)
as the degree increases. (and, no, some clever acronym, just emphasizing it loudly.) formulations of a lineartem are not unique, and have several forms. theault form used by.signal.lti is the controller canonical form, which expresses atem directly from the toxic polynomial coefficients of the transfer function and denominator.
is the controller canonical form, which expresses atem directly from the polynomial coefficients of the transfer function and denominator. analysis of the poles and zeros of is an around polynomial coefficients, and can be accomplished using iteration to obtain poles and zeros directly, with high-accuracy, based on residue sums using the differentialuation form for the function \( {}_1f_1 \).
paest with \( \) is unstable if \( p \) is too small, because of the presence of poles.
scipy.signal.lti has a constructor that can use form (zeros, poles, dc gain) but it fails miserably because.signal.zpk2ss converts form to toxic polynomial coefficients as an intermediate form before converting to
has a constructor that can use form (zeros, poles, dc gain) but it fails miserably because converts form to polynomial coefficients as an intermediate form before converting to we can convert poles and zeros of to, but we have to take care in doing so.
the \( a \) matrix uses ad (“modal”) form, but this fails on mosttems as well, because the is pushed out to the \( b \) and \( c \) matrices, and convergence relies on delicate cancellation of sums oftems.
the cascaded series form appears to be the best overall method of formulating atem from poles and zeros, by first grouping them into (for real poles and zeros) or (for complex conjugate poles and zeros)tems and then forming overall matrices using combination formulas.
paest of order 100+ works well using the cascade form with.signal.step2 and.signal.lsim2 to simulate response.
and to simulate response. the ripple of can be reduced greatly for a given ordertem, by sacrificing some bandwidth and combining with a filter.
references and other stuff
the module
i’ve included the python module on my account; it is free to use under the apache license, and has aber of features used in this article, including these:
cascade(sys1,sys2) computes thetem that is the series cascade oftems1 and2
— computes thetem that is the series cascade oftems and2ss_cascade(z,p,k) converts = a list of zeros, poles, and dc gain, to a ltitem using the cascade approach outlined in this article
— converts = a list of zeros, poles, and dc gain, to a ltitem using the cascade approach outlined in this article2ss_modal(z,p,k) converts to a ltitem using a diagonal a matrix
— converts to a ltitem using a diagonal a matrix2ss_realmodal(z,p,pk) converts to a ltitem using a real block diagonal a matrix composed of at most blocks
— converts to a ltitem using a real block diagonal a matrix composed of at most blocksexponential(p,q,f0) utility class for creating padéimations of order \( p \) and denominator order \( q \) for a time delay
— utility class for creating padéimations of order \( p \) and denominator order \( q \) for a time delay(n,f0) utility class for creating filters
technical references
numerical analysis
the classicerical analysis books i have on my bookshelf are:
numerical recipes in c, press, teukolsky, vetterling, and flannery the math explanations are invaluable and fairly easy to understand. the c code is awful, a straight port of from the days when alphanumeric characters were a scarce resource and so variable names had to be cryptic in order to fit in memory.
the art of computer programming, vol. 2, donald a. knuth. this get into linear algebra, but the foundations of scalar arithmetic are covered here. if you can understand a section of fully without your brain hurting, you must be a mathematician.
matrix computations, gene h. golub and charles van loan. (also known as “golub and van loan”) i have the edition. this book is dense, and if you understand the basics of linear algebra you will get lost quickly, but it includes error analysis bounds and order of operation counts on many matrix algorithms.
it’s also worth reading the paper what every computer scientist should know about arithmetic by david goldberg, which is a little bit more accessible (and more in-depth) than treatment, in my opinion.
these books may be useful as well to the advanced reader, and are on my list i vouch for them yet, but their authors are well-reknowned.
lineartems and
sorry, i have anything i can recommend here; what read is either mediocre or falls deeply into theoretical matrix hell without really coming up for air. (the at mit fall into this latter category.)
lineartems theory by p. may be of use. chapter 1 is freely available online, and i found it useful for the various interconnections. but it looks like a typical textbook overreliance on matlab. oh, and i stand the heading typography; textbooks look like ships’ logs from star trek.
padé
other stuff
dedicated to a.r., who was frequently upset.
© 2016 jason m. sachs, all rights reserved. | ðɪs ˈɑrtɪkəl ɪz goʊɪŋ tɪ bi ˈsəmˈwət ˈdɪfərənt ɪn ðət nɑt ˈrɪli ˈraɪtɪŋ ɪt fər ðə ˈtɪpɪkəl ɛmˈbɛdɪd ˈsɪstəmz ˈɛnʤəˈnɪr. ˈrəðər kaɪnd əv ə ˈspɛʃəˌlaɪzd ˈtɑpɪk, soʊ bi səˈpraɪzd ɪf ju gɪt bɔrd ənd muv ɔn tɪ ˈsəmθɪŋ ɛls. faɪn baɪ mi. ˈɛniˌweɪ, ʤɪst ʤəmp əˈhɛd tɪ ðə ˈpənˌʧlaɪn. ə nuˈmɛrɪkəl ˌsɪmjəˈleɪʃən əv ə stɛp rɪˈspɑns tɪ ə padé*é əˌprɑksəˈmeɪʃən əv ə taɪm dɪˈleɪ: ˌɪmˈprɛst? ˈmeɪbi ju ʃʊd bi. ðɪs ɪz ə goʊl bɪn ˈbəgɪŋ ðə hɛk aʊt əv mi fər ə fju mənθs, ənd ˈfaɪnəli riʧt ˈsəmθɪŋ ˈjusfəl. stɑrt wɪθ ə kwɪk ˈoʊvərvˌju. 1 dɪˈnaɪəl padé*é ɪf dən ˈɛni ˈstədiɪŋ əv ˈlɪniər (ˌɛˌtiˈaɪ) ˈsɪstəmz, ju noʊ ðət ðə ˈtrænsfər ˈfəŋkʃən əv ə taɪm dɪˈleɪ ti ɪz h(s*) e^{-st*} ən ˌɛkspoʊˈnɛnʃəl ˈfəŋkʃən. ˈvɛri ˈsɪmpəl, bət kaɪnd əv ən ˈɑdˌbɔl. bɪˈkəz moʊst ˈtrænsfər ˈfəŋkʃənz ər ˈrɪtən ɛz ə ˈreɪʃiˌoʊ əv h(s*) \frac{p(s)}{q(s*)} ɪn ˈəðər wərdz ə ˈræʃənəl ˈfəŋkʃən ənd ˈænəˌlaɪzd baɪ ˈstændərd tɛkˈniks tɪ faɪnd ðɛr poʊlz ənd ˈzɪroʊz ənd du səm sɔrt əv nuˈmɛrɪkəl ˌkælkjəˈleɪʃən wɪθ ðɛm. soʊ wi faɪnd ðə ““poles”*” əv h(s*) e^{-st*} bɪˈkəz ðɛr ˈɛni. hə. ˌoʊˈkeɪ, soʊ wət du wi du ˌɪnˈstɛd? ɪf ˈjuzɪŋ tɪ ˈmɑdəl ˈsəmθɪŋ, faɪn tɪ ʤɪst æd ə taɪm dɪˈleɪ. həz səm ˈsikrɪt ˈrɛsəpi fər ˈhændəlɪŋ taɪm dɪˈleɪz ənd ɪt wərks ʤɪst faɪn. bət wət ɪf ju wɔnt tɪ pərˈfɔrm səm kaɪnd əv æˈnælɪsɪs wɛr ju nid ə ˈræʃənəl ˈtrænsfər ˈfəŋkʃən? wɛl, ju kʊd traɪ tɪ ˈkɑnvərt ˈɛvriˌθɪŋ tɪ ə əˌprɑksəˈmeɪʃən, wɛr ə taɪm dɪˈleɪ ɪz ˈvɛri ˈizi ənd bɪˈkəmz ə ʃɪft ɪn ə steɪt ˈvɛriəbəl əreɪ. ər ju kən əˈprɑksəˌmeɪt ə dɪˈleɪ wɪθ ə ˈræʃənəl ˈfəŋkʃən. ənd wɛˈnɛvər ju si ðə wərdz ““approximate…*… ˈræʃənəl function”*”, ðə fərst θɪŋ ðət ʃʊd kəm tɪ maɪnd ɪz padé*é əˌprɑksəˈmeɪʃən. ðɪs ɪz ə tɛkˈnik tɪ kəmˈpjut ðə ““closest”*” ˈræʃənəl ˈfəŋkʃən tɪ ə ˈgɪvɪn ˈfəŋkʃən ˈjuzɪŋ paʊər ˈsɪriz. kaɪnd əv ðə ɪkˈwɪvələnt tɪ ə ˈteɪlər ˈsɪriz beɪst əˈpɑn ðə ˈfəŋkʃən ənd ɪts dərˈɪvətɪvz æt ə ˈsɪŋgəl pɔɪnt ənd ɪf rɛd maɪ ˈɑrtɪkəl ɔn əˌprɑksəˈmeɪʃən, noʊ aɪ ˌpɑrˈtɪkjələrli laɪk ˈteɪlər ˈsɪriz, bət ɪt həz ɪts pleɪs, ənd soʊ dɪz padé*é əˌprɑksəˈmeɪʃən. padé*é əˌprɑksəˈmeɪʃən həz ə ˌrɛpjəˈteɪʃən fər biɪŋ ə ““magic”*” səˈluʃən ðət ˈsəmˌhaʊ ˈkæpʧərz mɔr əv ðə ˈɛsəns əv ə smuð ˈfəŋkʃən ðən ə paʊər ˈsɪriz, wɪθ ə ˈwaɪdər reɪnʤ əv kənˈvərʤəns. lʊk æt ə ˈmaɪldli ˈɪntəˌrɛstɪŋ ɪgˈzæmpəl: f(x*) 10 \frac{2}{x*} nɪr ˌɪmˈpɔrt ɛz ˌɪmˈpɔrt ˌɪmˈpɔrt ɛz f(x*): rɪˈtərn ɛks plɑt soʊ ɪt ˈdəzənt drɔ ən ˈɛkstrə laɪn əˈkrɔs ə dɪˌskɑntɪˈnuɪti asymptote_nan(y,x,x0list*): np.atleast_1d(x0list*) fər ɪn: float('nan*') rɪˈtərn waɪ waɪ fɪg æks ax.plot(x,y*) ax.grid('on*') wi kən juz tɪ ˈfɪgjər aʊt nuˈmɛrɪkəl ˌkoʊəˈfɪʃənts əv ə ˈteɪlər ˈsɪriz ənd ðə padé*é əˌprɑksəˈmeɪʃənz, ˈjuzɪŋ ənd (ˈwɔrnɪŋ: ɪkˈspɛkts ɪts ˈɪnˌpʊt ˌkoʊəˈfɪʃənts tɪ bi ɪn ˈɔrdər əv əˈsɛndɪŋ dɪˈgri, wɛˈræz ðə rɪˈtərn ˈvæljuz əv boʊθ ˈfəŋkʃənz ər ˈɑbʤɛkts ðət jild ˌkoʊəˈfɪʃənts ɪn ˈɔrdər əv dɪˈsɛndɪŋ dɪˈgri. hɛns ðə ɪkˈsprɛʃən tɪ rɪˈvərs ðə ˈɔrdər.) ˌɪmˈpɔrt ˌɪmˈpɔrt ˈlæmdə ɛks: ˈlæmdə ɛks: fɪg æks ax.plot(x,y,label='f(x*)') r5_5(x*) juz ril ruts əv fər ˈfaɪndɪŋ ˈæsɪmpˌtoʊts ɛks, fər ɑr ɪn roots(q5poly*) ɪf np.abs(np.imag(r*)) ax.plot(x,t10(x),label='t10(x*)') label='r5,5(x*)') ax.grid('on*') soʊ ən ɪgˈzæmpəl əv padé*é ˈmæʤɪk. ðə ˈræʃənəl ˈfəŋkʃən dɪz ə ˈbɛtər ʤɑb ðən ðə ˌpɑˌliˈnoʊmiəl. waɪ ɪz ðət ə bɪg dil? wɛl, ðə tu ˈfəŋkʃənz t_{10}(x*) ənd r_{5,5}(x*) p_5(x)/q_5(x*) iʧ hæv 11 dɪˈgriz əv ˈfridəm: həz 11 ˌkoʊəˈfɪʃənts, ənd iʧ hæv 6 ˌkoʊəˈfɪʃənts bət wi luz wən dɪˈgri əv ˈfridəm sɪns wi kən skeɪl ənd baɪ ðə seɪm ˈɑrbɪˌtrɛri ˈkɑnstənt keɪ ənd liv ðə rɪˈzəltɪŋ ˈræʃənəl ˈfəŋkʃən ənˈʧeɪnʤd. mɔˈroʊvər, wi dəraɪvd dɪˈrɛkli frəm f(x*) bət dəraɪvd frəm soʊ noʊ əˈdɪʃənəl ““information”*” ɪn bɪɔnd ɪn ʤɪst səm ˈfridəm əv ˈstrəkʧər, sɪns ɪz rikˈwaɪərd tɪ bi ə ˌpɑˌliˈnoʊmiəl wɛˈræz ɪz ə ˈræʃənəl ˈfəŋkʃən. bət həz ə məʧ ˈwaɪdər reɪnʤ əv ˌæpləkəˈbɪləti ðən waɪl ɪz ə ˈdisənt əˌprɑksəˈmeɪʃən tɪ f(x*) ˈoʊvər ə reɪnʤ əv əˈbaʊt ɛks \ɪn ðə ˈfəŋkʃən lʊks ˈvɛri gʊd ˈoʊvər ðə reɪnʤ ɛks \ɪn 3 ənd ðə ˈkɪkər: ˈsəmˌhaʊ ðə ˈfəŋkʃən r_{5,5}(x*) ““knows”*” əˈbaʊt ðə dɪˌskɑntɪˈnuɪti æt ʤɪst frəm ˈlʊkɪŋ æt ðə ˌpɑˌliˈnoʊmiəl t_{10}(x*) wi lɔst ðə poʊl æt goʊɪŋ frəm f(x*) tɪ ðə ˈteɪlər ˈsɪriz t_{10}(x*) bət ˈsəmˌhaʊ gɑt ɪt bæk wɪn wi juzd padé*é əˌprɑksəˈmeɪʃən tɪ goʊ frəm t_{10}(x*) tɪ ðə ˈræʃənəl ˈfəŋkʃən r_{5,5}(x*) ˈmæʤɪk! ɪn ðə wərdz əv ðə ˈɔθərz əv nuˈmɛrɪkəl ˈrɛsəpiz (si peɪʤ 202 padé*é həz ðə ənˈkæni næk əv ˈpɪkɪŋ ðə ˈfəŋkʃən ju hæd ɪn maɪnd frəm əˈməŋ ɔl ðə ˌpɑsəˈbɪlətiz. ɪkˈsɛpt wɪn ɪt! ðə ˈstrəkʧər əv ə ˈræʃənəl ˈfəŋkʃən ˈjuʒəwəli lɛts ɪt du ə ˈbɛtər ʤɑb əv əˈprɑksɪˌmeɪtɪŋ, bət ˈsəmˌtaɪmz ɪt. ˈɛniˌweɪ, ðɪs ˈɑrtɪkəl ˈrɪli əˈbaʊt padé*é əˌprɑksəˈmeɪʃən ɪn ˈʤɛnərəl, bət əˈbaʊt ðə juz əv padé*é əˌprɑksəˈmeɪʃən fər taɪm dɪˈleɪz. taɪm dɪˈleɪz ənd padé*é ðə padé*é əˌprɑksəˈmeɪʃən r_{p,q}(x*) \frac{n_{p,q}(x)}{d_{p,q}(x*)} e^{-x*} ɪz ˈwɛlˈnoʊn, ənd ɪts ˌkoʊəˈfɪʃənts kən bi dɪˈtərmənd ɪgˈzæktli ˈjuzɪŋ ðiz ˈfɔrmjələz (si ˈmoʊlər ənd væn loʊn fər ə ˈrɛpjətəbəl ˈrɛfərəns fər \begin{eqnarray*} n_{p,q}(x*) d_{p,q}(x*) \end{eqnarray*} hir ðə n_{p,q}(x*) həz dɪˈgri pi ənd dɪˈnɑməˌneɪtər d_{p,q}(x*) həz dɪˈgri kju ðə ɪkˈsprɛʃən ɛn! dɪˈnoʊts ɛn factorial*, ˈneɪmli ðə ˈprɑdəkt əv ɔl ˈpɑzətɪv ˈɪntəʤərz bɪtˈwin 1 ənd ɛn soʊ 5 5 \taɪmz 4 \taɪmz 3 \taɪmz 2 \taɪmz 1 120 ðə ˈvɛriəs ˌkɑmbəˈneɪʃənz əv pi ənd kju kən bi juzd tɪ ʃoʊ ðə ˈvɛriəs əˌprɑksəˈmeɪʃənz ɪn fɔrm, noʊn ɛz ə padé*é ˈteɪbəl. ʤɪst fər səm ɪgˈzæmpəlz, \begin{array}{ll*} r_{1,1}(x*) } 1 } r_{1,2}(x*) \frac{1}{3}x*} 1 r_{1,3}(x*) \frac{1}{4}x*} 1 r_{2,1}(x*) 1 \frac{1}{3}x*} r_{2,2}(x*) 1 r_{2,3}(x*) 1 r_{3,1}(x*) 1 \frac{1}{4}x*} r_{3,2}(x*) 1 r_{3,3}(x*) 1 \end{array*}$$ wɪʧ kən bi sin ɪn ðə ˈfɑloʊɪŋ græf: fɪg æks ɛks ax.semilogy(x,np.exp(-x),'--',label='e^-x*') ax.grid('on*') pade_coeffs(p,q*): ˈkælkjəˌleɪt ðə ənd dɪˈnɑməˌneɪtər ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts əv ðə əˌprɑksəˈmeɪʃən tɪ ɛn max(p,q*) si 1 di 1 [si] [di] fər keɪ ɪn si (p-k+1)/(p+q-k+1)/k* ɪf keɪ pi: clist.append(c*) di (q-k+1)/(p+q-k+1)/k* ɪf keɪ kju: dlist.append(d*) rɪˈtərn argbox(y,ymin,ymax,imin,imax*): faɪnd ˈlɪmɪts (wi hoʊp) wɛr y[i*] ɪz bɪtˈwin ənd np.argwhere(np.logical_and(y>ymin,y<ymax*)) imin*] ˈaɪˌmæks] rɪˈtərn np.min(ii),np.max(ii*) len(x*) min(x*) max(x*) (xmin,xmax*) fər pi ɪn fər kju ɪn pcoeffs*, pade_coeffs(p,q*) pi np.poly1d(pcoeffs*) kju np.poly1d(qcoeffs*) p(x*) dɛn q(x*) ax.semilogy(x,num/den,label='p=%d*, q=%d*' (p,q*)) naʊ ˈleɪbəl ðə ɛnd laɪnz ɪt argbox(num/den*, 0 ɪt 0 x[it*] ɪf ɛls 1 p(xt)/q(xt*) ɪf ɛls ax.text(xt,yt*,' (%d,%d*)' (p,q*), va='top*', rotation='horizontal*' ɪf ɛls ɪt argbox(num/den*, ɪt x[it*] ɪf ɛls 1 p(xt)/q(xt*) ɪf ɛls ax.text(xt,yt,'(%d,%d*)' (p,q*), va='bottom*', ha='right*' ɪf ɛls 'lɛft', rotation='horizontal*' ɪf ɛls ax.set_xlim(xlim*) ax.set_ylim(ylim*) ax.set_xlabel('x*') f(x*)') æt ˌɪnˈkrisɪŋ ˈiðər pi ər kju ɪkˈspændz ðə ˈriʤən əv kloʊz kənˈvərʤəns baɪ ə ˈlɪtəl bɪt. bət wi wər ˈtɔkɪŋ əˈbaʊt ˈsɪmjəˌleɪtɪŋ taɪm dɪˈleɪz. soʊ wi ˈrɪli kɛr tu məʧ əˈbaʊt e^{-x*} fər ril ˈvæljuz əv ɛks ˌɪnˈstɛd wi kɛr əˈbaʊt boʊd plɑts əv e^{-s*} fər ˈdəbəlju ɛs fɪg fər keɪ ɪn æks fig.add_subplot(2,1,k*) ɪf keɪ 1 ɛf ˈlæmdə eɪʧ: 20*np.log10(np.abs(h*)) |h(j\\omega*)|$' ɛls: ɛf ˈlæmdə eɪʧ: '$\\ˈæŋgəl h(j\\omega*)$' ax.set_xlabel('$\omega*$', ax.plot(w,-w*180/np.pi,'--',label='e^jw*') fər kju ɪn fər pi ɪn pcoeffs*, pade_coeffs(p,q*) pi np.poly1d(pcoeffs*) kju np.poly1d(qcoeffs*) eɪʧ p(s)/q(s*) ax.plot(w,f(h),label='p=%d,q=%d*' (p,q*)) ax.set_ylabel(ylabel*, ax.grid('on*') ax.legend(loc='best*', ðiz ər boʊd plɑts, bət ˈlɪniər ˈrəðər ðən ˌlɑgərˈɪðmɪk ɪn ˈfrikwənsi, soʊ ðət wi kən kəmˈpɛr tɪ e^{-s*} wɪʧ həz ə ˈjunɪti geɪn ənd ˈlɪniər feɪz rɪˈspɑnsɪz. hir wi ər ˈoʊnli ˈjuzɪŋ pi kju ˈəðərˌwaɪz ðə geɪn ˌɪnˈkrisɪz ɛz \oʊˈmɛgə wɪʧ ɪz nɑt ˌriəˈlaɪzəbəl. wɪn pi kju ðə geɪn ɪz 1 ˌɪndɪˈpɛndənt əv ˈfrikwənsi. ðə haɪər pi ənd kju ər, ðə mɔr ðə feɪz rɪˈspɑns əˈproʊʧɪz ðə aɪˈdil e^{-s*} fər ˈlɑrʤər ˈfrikwənsiz. lʊks greɪt, raɪt? traɪ ˈjuzɪŋ ðə padé*é ˌkoʊəˈfɪʃənts ɪn ðə taɪm doʊˈmeɪn, wɪθ tɪ ˈsɪmjəˌleɪt ðə stɛp rɪˈspɑnsɪz: ˌɪmˈpɔrt ti fɪg æks ax.set_xlabel('t*') ax.plot(t,t>=1,'--k*') fər kju ɪn fər pi ɪn pcoeffs*, pade_coeffs(p,q*) pi np.poly1d(pcoeffs*) kju np.poly1d(qcoeffs*) eɪʧ scipy.signal.lti(p,q*) _,waɪ h.step(t=t*) ax.plot(t,y,label='p=%d,q=%d*' (p,q*)) ax.grid('on*') ax.legend(loc='best*', æt wɛl, ðət lʊk ˈvɛri ˈsætɪsˌfaɪɪŋ. nɑt ˈivɪn kloʊz tɪ ə stɛp. ðɪs ɪz ðə ˈprɑbləm wɪθ taɪm ˈfrikwənsi trænsˈfɔrmz; ɪf ˈsəmθɪŋ lʊks greɪt ɪn ðə taɪm doʊˈmeɪn ɪt ˈjuʒəwəli lʊks bæd ɪn ðə ˈfrikwənsi doʊˈmeɪn, ənd vice-versa*. ʤɪst lʊk æt ðə keɪs sɪns ðə dɪˈgri əv ðə ˈtrænsfər ˈfəŋkʃən dɪˈnɑməˌneɪtər ɪz ðə meɪn dɪˈtərmənɪŋ ˈfæktər ɪn realizability*; wəns ˌdɪˈsaɪdɪd, fər ɪgˈzæmpəl, ðət goʊɪŋ tɪ juz ə dɪˈgri ˌpɑˌliˈnoʊmiəl dɪˈnɑməˌneɪtər, ɪt ˈrɪli ˈmætər məʧ fər ˈriləˈzeɪʃən ˈpərpəsɪz ˈwɛðər ðə ɪz ʤɪst 1 ər ə ər dɪˈgri ˌpɑˌliˈnoʊmiəl. ənd fər ə dɪˈnɑməˌneɪtər, ðə haɪər dɪˈgri dɪz ə ˈbɛtər ʤɑb əv əˈprɑksɪˌmeɪtɪŋ e^{-s*} ˌbiˈsaɪdz, wɪn ju si əv padé*é əˌprɑksəˈmeɪʃənz, laɪk ɪn matlab*, ˈjuʒəwəli ʤɪst ˈjuzɪŋ ðɪs gɪvz ə ˈjunɪti geɪn æt ɔl ˈfrikwənsiz (““all-pass”*”) wɪˈθaʊt ˈɛni low-pass-filtering*. ðə stɛp rɪˈspɑnsɪz fər ðə fərst 10 padé*é əˌprɑksəˈmeɪʃənz tɪ ə ˈjunɪt dɪˈleɪ: ˌɪmˈpɔrt ti fɪg æks ax.set_xlabel('t*') ax.plot(t,t>=1,'--k*') fər kju ɪn pi kju pcoeffs*, pade_coeffs(p,q*) pi np.poly1d(pcoeffs*) kju np.poly1d(qcoeffs*) eɪʧ scipy.signal.lti(p,q*) _,waɪ h.step(t=t*) ax.plot(t,y,label='p=q=%d*' kju) ax.grid('on*') ax.legend(loc='best*', æt ðeɪ gɪt ˈbɛtər ɛz kju ˌɪnˈkrisɪz, bət stɪl ðɪs ˈnæsti ʤəmp nɪr ənd ˈrɪŋɪŋ bɪtˈwin ənd kaɪnd əv laɪk ðə fəˈnɑməˌnɑn əv gɪbz ɪrz ɪn ˈpɑrʃəl ˈfʊrieɪ səmz tɪ əˈprɑksəˌmeɪt ə skwɛr weɪv. bət stɪl, kaɪnd əv kul; wi kən əˈprɑksəˌmeɪt ə taɪm dɪˈleɪ wɪθ ə ˈræʃənəl ˈtrænsfər ˈfəŋkʃən. greɪt! soʊ juz ʤɪst kip ɔn goʊɪŋ ɪn dɪˈgri: ˌɪmˈpɔrt ti fɪg æks ax.set_xlabel('t*') ax.plot(t,t>=1,'--k*') fər kju ɪn pi kju pcoeffs*, pade_coeffs(p,q*) pi np.poly1d(pcoeffs*) kju np.poly1d(qcoeffs*) eɪʧ scipy.signal.lti(p,q*) _,waɪ h.step(t=t*) ax.plot(t,y,label='p=q=%d*' kju) ax.grid('on*') ax.legend(loc='best*', æt ə oʊ. θɪŋz lʊk gʊd ənˈtɪl əˈbaʊt ənd ðɛn bæm! wi gɪt ˌɪnstəˈbɪlɪti. ðə ˈfʊtˌnoʊt ɪn padé*é əˌprɑksəˈmeɪʃən sɪz ðɪs: padé*é əˌprɑksəˈmeɪʃənz ˈproʊdus ˈtrænsfər ˈfəŋkʃənz wɪθ ˈkləstərd poʊlz. bɪˈkəz səʧ poʊl kənˌfɪgjərˈeɪʃənz tɛnd tɪ bi ˈvɛri ˈsɛnsɪtɪv tɪ ˌpərtərˈbeɪʃənz, padé*é əˌprɑksəˈmeɪʃənz wɪθ ˈɔrdər ʃʊd bi əˈvɔɪdɪd. ənd ˈmeɪbi fɔr ər faɪv jɪrz əˈgoʊ, wɪn aɪ wɑz læst ˈmɛsɪŋ əraʊnd wɪθ padé*é əˌprɑksəˈmeɪʃənz fər ə taɪm dɪˈleɪ, aɪ lɛft ɪt æt ðət. bɪˈkəz waɪ wʊd ju nid ə padé*é əˌprɑksəˈmeɪʃən ˈɛniˌweɪ? rɛr tɪ hæv ˈsɪstəmz wɛr ə taɪm dɪˈleɪ bət noʊ əˈdɪʃənəl rolloff*, ənd wɪn ju æd ðət, ðə ˈrɪŋɪŋ lʊk ɛz bæd. ðə stɛp rɪˈspɑns əv ə ˈjunɪt taɪm dɪˈleɪ kæˈskeɪdɪd ɪn ˈsɪriz wɪθ ə ˈfɪltər. ʃoʊ taɪm ˈkɑnstənts ənd ənd lʊk æt ðə ɪgˈzækt ˈænsər ənd səm padé*é əˌprɑksəˈmeɪʃənz əv ˈɔrdər 5 10 ənd 15 ti fər ɪn fɪg æks ax.set_xlabel('t*') (t>tdelay)*(1-np.exp(-(t-tdelay)/tau*)) ax.plot(t,y_exact,'--k',label='exact*') fər kju ɪn pi kju pcoeffs*, pade_coeffs(p,q*) pi np.poly1d(pcoeffs*) kju np.poly1d(qcoeffs*) eɪʧ scipy.signal.lti(p,q*) _,waɪ h.step(t=t*) 1/tau]],y,t*) ax.plot(t,y2,label='p=q=%d*' kju) ax.grid('on*') ax.legend(loc='best*', ax.text(1.1*tdelay,0,'tau=%.2f*' , ðə ˈlɔŋgər ðə taɪm ˈkɑnstənt, ðə lɛs ˈrɛləvənt ər ðoʊz ˈrɪpəlz frəm ðə əˌprɑksəˈmeɪʃən. si? noʊ ˈprɑbləm hir. noʊ ˈprɑbləm æt ɔl. 2 ˈæŋgər bət ðɛn ə fju mənθs əˈgoʊ aɪ ˈnidɪd tɪ gɪt ðə stɛp rɪˈspɑns (ɪn ə ˈmænər) fər səm ˈsɪstəmz ðət hæd taɪm dɪˈleɪz ðət ˈvɛri smɔl, ənd aɪ ˈnidɪd tɪ noʊ ɪf ðə ˈrɪpəlz wər du tɪ nuˈmɛrɪkəl ˌsɪmjəˈleɪʃən ˈɪʃuz ər ðeɪ wər ril, soʊ ə klin rɪˈspɑns wɑz ˌɪmˈpɔrtənt. grrr*. padé*é ˈprɑbləmz: teɪk tu ˈfɪʃi hir. sɪz wi ʃʊd əˈvɔɪd ˈɔrdərz mɔr ðən 10 bət ðə stɛp rɪˈspɑnsɪz əv ənd lʊk ˈrizənəbəl. teɪk ə lʊk æt ðɪs poles”*” ˌɛkspləˈneɪʃən baɪ ˈplɑtɪŋ ðə poʊlz ənd ˈzɪroʊz: ˌɪmˈpɔrt ti fɪg æks fər kju ɪn pi kju pcoeffs*, pade_coeffs(p,q*) pi np.poly1d(pcoeffs*) kju np.poly1d(qcoeffs*) eɪʧ scipy.signal.lti(p,q*) #poʊlz np.roots(qcoeffs*) #ˈzɪroʊz np.roots(pcoeffs*) poʊlz ˈzɪroʊz fər ɪn [(poles,'x'),(zeros,'o*')]: ax.plot(np.real(z),np.imag(z),'.k',marker=m,mfc='none*') plt.axis('equal*') hə ðət lʊk bæd. ðə poʊlz ənd ˈzɪroʊz ər fər ənd laɪn əp əˈlɔŋ ɑrks ðət gɪt ˈfərðər əˈweɪ frəm ðə ˈɔrəʤən ɛz ðə ˈvælju əv kju ˌɪnˈkrisɪz. aɪ si ˈɛni ““clustering”*” hir, ənd ʃoʊɪŋ ˈvæljuz əp tɪ soʊ waɪ du wi gɪt ˌɪnstəˈbɪlɪti ɪn ˌsɪmjəˈleɪʃən? ɪt ˈrɪli dɪˈpɛndz ɔn haʊ ˌsɪmjəˈleɪʃənz ər ˈɪmpləˌmɛnəd. fər ðə ki ɪz ðət ˌsɪmjəˈleɪʃənz stɛp ˌɪmˈpəls ˌɛtˈsɛtərə.) dɪˈpɛnd ɔn ˌrɛprəzɛnˈteɪʃən əv ən ˌɛˌtiˈaɪ ˈsɪstəm. ðɪs minz wi rɪˈlaɪ ɔn kənˈvərtɪŋ frəm ˈtrænsfər ˈfəŋkʃən fɔrm (əreɪz əv ənd dɪˈnɑməˌneɪtər ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts) tɪ ˈviə haʊ dɪz wərk? pɪgz ɪn ə ˈsæmpəl ˈsɪstəm: lʊk æt h(s*) \frac{p(s)}{q(s*)} 100 fər ɪn enumerate('abcd*'): prɪnt '%ɛs= %ɛs' (ˈsəfɪks, abcd[k*]) ə= 18 97 180 100 1 0 0 0 0 1 0 0 0 0 1 0 bi= 1 0 0 0 si= 0 0 0 100 di= 0 ɔl ðɪs ə bi si di stəf ˈɛniˌweɪ? ɪz ə ˌrɛprəzɛnˈteɪʃən fər ˌɛˌtiˈaɪ ˈsɪstəmz ˈjuzɪŋ ˈmeɪtrɪsɪz, ðət həz ə ˈkəpəl əv ædˈvæntɪʤɪz ˈoʊvər ðə ˈræʃənəl ˈtrænsfər ˈfəŋkʃən əˈproʊʧ wi tɛnd tɪ lərn ɪn ˌɪntrəˈdəktəri kənˈtroʊl ˈsɪstəmz ˈkɔrsɪz. wən ɪz ðət ɪt kən bi juzd tɪ ˈmɑdəl (mimo*) ˈsɪstəmz. əˈnəðər ɪz ðət wi kən ˈtrænsfɔrm ə ˈskeɪlər ˌdɪfərˈɛnʃəl ɪkˈweɪʒən (e.g*. 180\frac{dy}{dt*} ˈɪntu ə ˈmeɪtrɪks ˌdɪfərˈɛnʃəl ɪkˈweɪʒən. ɪt kən ˈsɪmjəˌleɪt ˈæˌspɛkts əv ˈsɪstəmz ˈsɪstəmz) ðət ˈizəli ˈmɑdəld wɪθ ˈtrænsfər ˈfəŋkʃənz. ˈɔlsoʊ mɔr əˈmɛnəbəl tɪ kəmˈpjutərˌaɪzd æˈnælɪsɪs, ənd ɪt həz səm nuˈmɛrɪkəl ædˈvæntɪʤɪz ˈoʊvər ðə ˈtrænsfər ˈfəŋkʃən əˈproʊʧ ðət lʊk æt ɪn ə bɪt. ən ˌɛˌtiˈaɪ ˈsɪstəm lʊks laɪk ðɪs: \begin{eqnarray*} ɛks ɛks ju waɪ ɛks ju \end{eqnarray*} wɛr ju ɪz ə ˈvɛktər əv ˈɪnˌpʊt ˈsɪgnəlz, ɛks ɪz ə ˈvɛktər əv ˌɪnˈtərnəl steɪt ˈsɪgnəlz (wɪʧ ɪz waɪ kɔld) ənd waɪ ɪz ə ˈvɛktər əv ˈaʊtˌpʊt ˈsɪgnəlz. ju kən stɪl juz ɪn ðə keɪs, ɪn wɪʧ keɪs ju ənd waɪ ər ˈskeɪlər ˈvæljuz bət ɛks rɪˈmeɪnz ə ˈvɛktər əv lɛŋθ ˈikwəl tɪ ðə ˈɔrdər əv ðə ˈsɪstəm. ɪn ɑr ɪgˈzæmpəl keɪs, wi hæv \begin{eqnarray*} ə \begin{bmatrix*} 18 97 180 100 1 0 0 0 0 1 0 0 0 0 1 0 \end{bmatrix*} bi \begin{bmatrix*} 1 0 0 0 si \begin{bmatrix*} 0 0 0 100 \end{bmatrix*} di 0 \end{eqnarray*} ðə ə ˈmeɪtrɪks hir həz ə ˌpɑˈtɪkjələr ˈstrəkʧər. ə ˈvɛriənt əv kɔld ə kəmˈpænjən ˈmeɪtrɪks əv ðə dɪˈnɑməˌneɪtər ˌpɑˌliˈnoʊmiəl q(x*) əv ðə ˈtrænsfər ˈfəŋkʃən ʤɪst minz ðət ðə tərm əv haɪəst dɪˈgri həz ə ˌkoʊəˈfɪʃənt əv 1 ˈspɛʃəl əˈbaʊt ɪt ɪz ðə fərst roʊ ɪz 1 taɪmz ðə ˌkoʊəˈfɪʃənts əv q(x*) əˈsaɪd frəm ðə ˈlidɪŋ ˌkoʊəˈfɪʃənt ðə ˈɛləmənts ər 1 ənd ðə rɪˈmeɪnɪŋ ˈɛləmənts ər 0 ˈfɔrmɪŋ ə ʃɪft ˈmeɪtrɪks ɪn ðə loʊər roʊz ðə ˌkɛrɪktərˈɪstɪk ˌpɑˌliˈnoʊmiəl əv ðə kəmˈpænjən ˈmeɪtrɪks ɪz ˈikwəl tɪ q(x*) ˈminɪŋ ɪts ˈaɪgənˌvæljuz ər ˈikwəl tɪ ðə ruts əv q(x*) ˈfərðərˌmɔr ənd ðɪs əˈplaɪz tɪ ˈɛni skwɛr ˈmeɪtrɪks ə ɪf ɔl ðə ˈaɪgənˌvæljuz, wɪʧ ər ˈikwəl tɪ ðə ruts əv q(x*) ər dɪˈstɪŋkt, ðɛn ə ɪz ˈsɪmələr tɪ ˈɛni ˈəðər ˈmeɪtrɪks ɛm wɪθ ðə seɪm ˈaɪgənˌvæljuz, ˈminɪŋ ðət ðɛr ɪz səm ˌtrænsfərˈmeɪʃən ˈmeɪtrɪks ti səʧ ðət ɛm ənd ə ɪz diagonalizable*, ˈminɪŋ ɪt kən bi ˈfæktərd ɛz ə wɛr vi ɪz ə ˈmeɪtrɪks əv ənd \ˈlæmdə ɪz ðə daɪˈægənəl ˈmeɪtrɪks əv ˌkɔrəˈspɑndɪŋ ˈaɪgənˌvæljuz. ˈmeɪtrɪks ˈmeɪtrɪks ɪf nɑt fəˈmɪljər ər ˈkəmfərtəbəl wɪθ ˈlɪniər ˈælʤəbrə, ðɪs stəf wɪl ʤɪst meɪk jʊr aɪz gleɪz ˈoʊvər. (əˈspɛʃəli wɪn ju æsk haʊ tɪ əbˈteɪn ðə ˈtrænsfər ˈfəŋkʃən, wɪʧ ɛndz əp biɪŋ h(s*) di kəmˈpjutɪŋ ðə ˌɪnˈvərs tərm gɪts ˈəgli ˈvɛri kˈwɪkli, ənd ðɪs ɪkˈweɪʒən ˈɔlˌweɪz meɪks mi θɪŋk əv səm əbˈskjʊr həŋˈgɛriən ˌmæθəməˈtɪʃən fər səm ˈrizən.) ˈwəri; wɔk ju θru ðə ˌɪmpləˈkeɪʃənz. ɪn ɑr ˌpɑˈtɪkjələr ɪgˈzæmpəl, ðə steɪt ɪkˈweɪʒən kən bi ˈrɪtən aʊt ɛz x}{dt*} \frac{d}{dt*} \begin{bmatrix*} \frac{dx}{dt*} ɛks \end{bmatrix*} \begin{bmatrix*} 18 97 180 100 1 0 0 0 0 1 0 0 0 0 1 0 \end{bmatrix*} \begin{bmatrix*} \frac{dx}{dt*} ɛks \end{bmatrix*} 0 0 0\end{bmatrix*} ju ɛks bi ju soʊ ɪn ðɪs ˌrɛprəzɛnˈteɪʃən əv ðə ˈtrænsfər ˈfəŋkʃən, ðə ˈɛləmənts əv ðə steɪt ˈvɛktər ər ʤɪst ə ˈskeɪlər steɪt ˈvɛriəbəl ɛks wɪθ ˈtrænsfər ˈfəŋkʃən \frac{1}{q(s*)} \frac{x(s)}{u(s*)} ənd ðə fərst dərˈɪvətɪvz əv ɛks ðə ˈbɑtəm roʊz fɔl aʊt frəm ðə riˈleɪʃən bɪtˈwin səkˈsɛsɪv ˈɛləmənts əv ðə steɪt ˈvɛktər: iʧ ˈɛləmənt ɪz ðə dərˈɪvɪtɪv əv ðə nɛkst ˈɛləmənt. ənd ðə tɔp roʊ ɪz frəm ðə ˌdɪfərˈɛnʃəl ɪkˈweɪʒən rɪˈleɪtɪŋ ɛks ənd ju ðɪs ɪz kɔld ðə kənˈtroʊləbəl kəˈnɑnəkəl fɔrm, wɪʧ ˈjuzɪz, ənd ɪts meɪn ˈvərʧu ɪz ðət ɪt ɪz ˈizi tɪ ˈkɑnstrəkt ðə ə bi si ənd di ˈmeɪtrɪsɪz dɪˈrɛkli frəm ðə ˈtrænsfər ˈfəŋkʃən. ɪt həz səm ˈlaʊzi ˈprɑpərtiz, ðoʊ. bɪˈtreɪəl: ðə ˈpɛrəlz əv ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts ənd ðə kəmˈpænjən ˈmeɪtrɪks fər sɪmˈbɑlɪk æˈnælɪsɪs əv ˌɛˌtiˈaɪ ˈsɪstəmz, juz əv ðə kəmˈpænjən ˈmeɪtrɪks ɪz faɪn. bət θɪŋz kən gɪt ˈəgli ɪf wi traɪ tɪ juz ðɛm ɪn nuˈmɛrɪkəl æˈnælɪsɪs. ðə ˈprɑbləmz stɑrt bɪˈkəz əv ˈfaɪˌnaɪt ˌkɑmpjuˈteɪʃənəl priˈsɪʒən ənd ˈsəmθɪŋ kɔld kənˈdɪʃənɪŋ, wɪʧ ˈmɛʒərz ðə ˈrɛlətɪv ˈɛrər geɪn frəm ““input”*” tɪ ““output”*”, wɛr ““input”*” ənd ““output”*” hir ər ˌɪnˈtərprətəd ˈlusli, dɪˈpɛndɪŋ ɔn ðə ˈkɑntɛkst. ˈjuʒəwəli wɪn ˈsəmˌwən tɔks əˈbaʊt, ɪn ðə ˈkɑntɛkst əv ˈsɑlvɪŋ ðə ˈlɪniər ˈmeɪtrɪks ɪkˈweɪʒən fər ɛks ɪn wɪʧ keɪs ðə kənˈdɪʃən ˈnəmbər ɪz \kappa(a*) \|ə\| ðɪs ˌɪnˈvɑlvz ˈmeɪtrɪks nɔrmz, wɪʧ ju kən rɛd əˈbaʊt æt jʊr ˈlɛʒər. wɪn ˈsɑlvɪŋ ɪt minz ðət ɪf aɪ hæv səm ˈrɛlətɪv ˈɛrər ɪn bi ðə ˈrɛlətɪv ˈɛrər ɪn ðə səˈluʃən ɛks kən bi ˈbaʊndɪd baɪ \kappa(a*) soʊ ðə kənˈdɪʃən ˈnəmbər \kappa(a*) ˌrɛprɪˈzɛnts ə ˈɛrər ˌmægnəfəˈkeɪʃən ˈreɪʃiˌoʊ. fər ɪgˈzæmpəl, ɪf ju hæv ðə ɪkˈweɪʒən $$æks \begin{bmatrix*} x_2\end{bmatrix*} bi$$ wɛr \kappa(a*) 6248 ðə səˈluʃən fər bi ɪz 0 ɪf wi hæv bi ə smɔl ʧeɪnʤ, ðə səˈluʃən ʃɪfts ˈdræstɪkli tɪ 10 ðə ˈprɑbləm ˈɪnˌpʊt bi ˈoʊnli ʧeɪnʤd baɪ ə ˈrɛlətɪv ˈɛrər əv wɛˈræz ðə ˈprɑbləm ˈaʊtˌpʊt ɛks ʧeɪnʤd baɪ ə ˈrɛlətɪv ˈɛrər əv ə ˌmægnəfəˈkeɪʃən ˈfæktər əv 4999 ɪn nuˈmɛrɪkəl æˈnælɪsɪs ɪz kaɪnd əv laɪk ðə əv ˈmərkjəri ɪn fɪʃ, ˈoʊnli wərs. ɪf ju it ə lɔt əv ˈtunə, ðə ˈmərkjəri ˈkɑntɛnt ɪn jʊr ˈbɑdi kən əˈkjumjəˌleɪt tɪ ə haɪər ˌkɑnsənˈtreɪʃən ðən ɪt wɑz ɪn ðə ˈtunə, wɪʧ ɪn tərn hæd haɪər ˌkɑnsənˈtreɪʃənz ðən ɪn ðə fɪʃ ˈitən baɪ ðə ˈtunə. nɑt ə ˈpræktɪkəl weɪ əv riˈmuvɪŋ ðə ˈmərkjəri wəns ɪn ðə fɪʃ. bət ju kən kənˈtroʊl haʊ məʧ əv ɪt ju it, ənd ðə ˈjumən ˈbɑdi dɪz gɪt rɪd əv ɪt (ɔlˈbiɪt ˈvɛri sˈloʊli). wɛˈræz wəns ju hæv ˌɪntrəˈdust nuˈmɛrɪkəl ˈɛrərz ˈɪntu ˌmæθəˈmætɪkəl ˌkælkjəˈleɪʃənz, ˈrɛrli ˈɛni weɪ tɪ gɪt rɪd əv ðɛm. lɛt mi seɪ ðɪs əˈgɛn: nuˈmɛrɪkəl ˈɛrərz ər ˈivɪn wərs ðən ˈtɑksɪk ˈpɔɪzən! ðə bɛst weɪ tɪ əˈvɔɪd ðɛr ˈprɑbləmz ɪz tɪ kip ðɛm aʊt əv jʊr ˈsɪstəm ɪn ðə fərst pleɪs; wəns meɪd ðɛr weɪ ˈɪntu ˌkælkjəˈleɪʃənz tu leɪt. ənd ənˈfɔrʧənətli, nuˈmɛrɪkəl ˈprɑbləmz ər ˈɛrər ˈmægnəts ðət tərn ðə ˈvɛri smɔl bət ˌənəˈvɔɪdəbəl ˈɛrərz əv ˌkælkjəˈleɪʃənz ˈɪntu lɑrʤ ˈɛrərz. ˈɛniˌweɪ, ðə ˌsɛnsɪˈtɪvɪti əv ˈsɑlvɪŋ ˈlɪniər ˈsɪstəmz ɪz ˈoʊnli wən weɪ tɪ dɪˈfaɪn kənˈdɪʃən ˈnəmbərz. əˈnəðər ɪz tɪ lʊk æt ˌsɛnsɪˈtɪvɪti əv ðə ruts əv ə ˌpɑˌliˈnoʊmiəl ˈgɪvɪn ɪts ˌkoʊəˈfɪʃənts. fər ɪgˈzæmpəl, teɪk q(s*) 100 ənd faɪnd ðə ˌsɛnsɪˈtɪvɪti əv ɪts ruts tɪ ðə ˌkoʊəˈfɪʃənts. ðɛr ər fɔr ruts ənd fɔr ˌkoʊəˈfɪʃənts, soʊ wi kən faɪnd ə 4 4 ˈmeɪtrɪks əv ˌsɛnsɪˈtɪvɪtiz. ɪf wi ˌɪnˈkris ðə læst ˌkoʊəˈfɪʃənt baɪ wɪθ \ˈdɛltə (frəm 100 tɪ ðə ruts ʧeɪnʤ frəm 10 5 2 1 tɪ əˈprɑksəmətli wɪʧ ɪz ə ˈrɛlətɪv ʧeɪnʤ əv əˈprɑksəmətli \ˈdɛltə \taɪmz ðɪs ɪz ðə fərst ˈkɑləm əv ə ˌsɛnsɪˈtɪvɪti ˈmeɪtrɪks, ənd wi kən rɪˈpit ðə seɪm θɪŋ fər ðə ˈəðər θri ˈkɑləmz: kju find_root_sensitivities(q*, extras=false*): rɪˈtərnz ə ˈrɛlətɪv ˌsɛnsɪˈtɪvɪti ˈmeɪtrɪks ɛs frəm ˌkoʊəˈfɪʃənts tɪ ruts. ɪf ˈɛkstrəz ɪz tru, rɪˈtərnz ɛs, ˈkæpə, vi, wɪθ: ˈkæpə ðə nɔrm əv ðə ˌsɛnsɪˈtɪvɪti ˈmeɪtrɪks vi ə ˈjunɪt ˈvɛktər əv ˈmæksəməm ˌsɛnsɪˈtɪvɪti wɪʧ prəˈdusɪz ˌsɛnsɪˈtɪvɪti geɪn ˈkæpə kju np.poly1d(q*) ɛn ruts np.roots(q*) ɛs np.zeros((n,n*), dtype=roots.dtype*) əˈlaʊ fər ˈkɑmplɛks ˈnəmbərz fər keɪ ɪn xrange(n*): faɪnd nuˈmɛrɪkəl dərˈɪvɪtɪv frəm ˈdɪfərənsɪz qplus[k*] qminus[k*] np.roots(qplus*) np.roots(qminus*) ɪf np.any(np.iscomplex(rplus*)) ər np.any(np.iscomplex(rminus*)): ɛs s[:,k*] (np.roots(qplus*) np.roots(qminus*)) ruts ˈdɛltə ɪf nɑt ˈɛkstrəz: rɪˈtərn ɛs ˈɛkstrəz: faɪnd ə dɪˈrɛkʃɪn əv ˈmæksəməm ˌsɛnsɪˈtɪvɪti np.linalg.svd(s*, compute_uv=true*) ˈlɑrʤəst ˈsɪŋgjələr dɪˈrɛkʃɪn ɪn rɪˈvərs ˈɔrdər tɪ mæʧ ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts rɪˈtərn find_root_sensitivities(q*, extras=true*) ˈdəbəˌlʧɛk ðət ðɪs dɪˈrɛkʃɪn ˈvɛktər vi wərks: ɪf wi pərˈtərb ðə ˌkoʊəˈfɪʃənts təˈwɔrdz vi ənd əˈweɪ frəm vi, wi ʃʊd bi ˈeɪbəl tɪ si ðət ðə ˈmægnəˌtud əv ʧeɪnʤ ɪn ðə ˌkoʊəˈfɪʃənt ˈvɛktər ɪz ˈæmpləˌfaɪd baɪ ˈkæpə tɪ jild ə ˈlɑrʤər ˈmægnəˌtud əv ʧeɪnʤ ɪn ðə rut ˈvɛktər ɑr np.roots(q*) ˈdɛltə np.roots(qplus*) np.roots(qminus*) ˈdɑktər prɪnt ˈdɑktər wi kən əˈʤəst iʧ ˌkoʊəˈfɪʃənt baɪ səm ˈrɛlətɪv ˈfæktər 1 wɛr \səm 1 ənd \ˈdɛltə ɪz ə ˈmægnəˌtud əv əˈʤəstmənt. ðə rɪˈzəltɪŋ ˈmɛʒər əv ˈrɛlətɪv ʧeɪnʤ əv ðə ruts ɑr |\ˈdɛltə wɛr \ˈdɛltə ɪz ðə ˈrɛlətɪv ʧeɪnʤ ɪn iʧ rut. ɪf wi ʧuz ðə əˈproʊpriɪtli (ənd ɪt tərnz aʊt ðət wi kən əbˈteɪn baɪ ˈkælkjəˌleɪtɪŋ ðə ˈsɪŋgjələr ˈvælju ˌdikəmpəˈzɪʃən əv ðə ˌsɛnsɪˈtɪvɪti ˈmeɪtrɪks ɛs vi ənd ðɛn teɪk ɛz ðə fərst roʊ əv vi ðɛn wi kən gɪt ðə ˈmæksəməm ˈvælju əv ɑr \ˈkæpə \ˈdɛltə ðə əv ˈrɛlətɪv ˈʧeɪnʤɪz ɪn ðə ruts, ɪz ˈikwəl tɪ ðə əv ˈrɛlətɪv ˈʧeɪnʤɪz ɪn ðə ˌkoʊəˈfɪʃənts, ˈmægnəˌfaɪd baɪ ðɪs ˈfæktər \ˈkæpə wɪʧ ɪz ðə nɔrm əv ðə ˌsɛnsɪˈtɪvɪti ˈmeɪtrɪks, ənd kən bi ɛz ə kənˈdɪʃən ˈnəmbər bɪˈkəz ɪt tɛlz ðə ˈrɛlətɪv geɪn əv ˈɪnˌpʊt ˈɛrər tɪ ˈaʊtˌpʊt ˈɛrər. fər ɑr ɪgˈzæmpəl, q(s*) 100 \ˈkæpə nuˈmɛrɪkəl ˈɛrərz ɪn ðə ˌkoʊəˈfɪʃənts prəˈdusɪz nuˈmɛrɪkəl ˈɛrərz ɪn ðə ruts ðət, dɪˈpɛndɪŋ ɔn ðə dɪˈrɛkʃɪn, kən bi ɛz məʧ ɛz ʤɪst ˈoʊvər taɪmz ɛz lɑrʤ. ɔl) hæv \ˈkæpə 1 bət ɛz ðə dɪˈgri əv ə ˌpɑˌliˈnoʊmiəl ˌɪnˈkrisɪz, ðə kənˈdɪʃən ˈnəmbər əv ɪts ruts ˈʤɛnərəli ˌɪnˈkrisɪz tɪ ə ˈvɛri lɑrʤ ˈnəmbər. fər ɪgˈzæmpəl, ðə ˌpɑˌliˈnoʊmiəl p_{10}(x*) (x-\frac{1}{k*}) ðə kənˈdɪʃən ˈnəmbər \ˈkæpə ɪz ˈoʊvər ə ˈmɪljən. ɪn fækt, ˈdɪfəkəlt tɪ ˈɛstəˌmeɪt ðɪs kənˈdɪʃən ˈnəmbər ˈækjərətli. fər keɪ ɪn np.poly1d([1* 1.0/k*]) poly1d*([ extras=true*) ˈkæpə ðɪs ˈmætərz bɪˈkəz smɔl ˈʧeɪnʤɪz ɪn ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts kən ˈproʊdus lɑrʤ ˈʧeɪnʤɪz ɪn ðə ruts. ɪn fækt, ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts ɪkˈsprɛst ɛz ˈnəmbərz ər ə ˈrɪli ˈlaʊzi weɪ tɪ ˈænəˌlaɪz ənd ɪˈvæljuˌeɪt ənˈlɛs ðə ˌpɑˌliˈnoʊmiəl dɪˈgri ɪz smɔl. lɛt ðət sɪŋk ɪn fər ə ˈmoʊmənt: lɑrʤ dɪˈgri ˈspɛsəˌfaɪd baɪ ˌkoʊəˈfɪʃənts ər ˈpurli kənˈdɪʃənd fər nuˈmɛrɪkəl æˈnælɪsɪs. (ənd baɪ ““large”*”, ˈtɔkɪŋ əˈbəv ðə dɪˈgri reɪnʤ, dɪˈpɛndɪŋ ɔn ðə ˌæpləˈkeɪʃən.) ɪn tərmz əv ˌsɪmjəˈleɪʃən, ðɪs ɪz ˌɪmˈpɔrtənt: ðə ruts əv ðə ˈtrænsfər dɪˈnɑməˌneɪtər ˌpɑˌliˈnoʊmiəl dɪˈtərmən ðə daɪˈnæmɪks əv ðə ˈsɪstəm, ənd haɪ ˌsɛnsɪˈtɪvɪti əv ðiz ruts tɪ ˈɛrərz ɪn ˌkoʊəˈfɪʃənts (wɪʧ ɪz haʊ wi ˈspɛsəˌfaɪ ðə ə ˈmeɪtrɪks ɪn meɪk ˈsɪmjəˌleɪtɪŋ ˈtrænsfər ˈfəŋkʃənz ˈvɛri. wi kən lʊk æt ðə rut ˌsɛnsɪˈtɪvɪti kənˈdɪʃən ˈnəmbər fər ðə (p,q*) padé*é əˌprɑksəˈmeɪʃən əv ə ˈjunɪt taɪm dɪˈleɪ, ɛz ə ˈfəŋkʃən əv ðə ˌpɑˌliˈnoʊmiəl dɪˈgri: fər ɛn ɪn pcoeffs*, pade_coeffs(n,n*) kju np.poly1d(qcoeffs*) find_root_sensitivities(q*, extras=true*) prɪnt 'n=%d*, kappa=%g*' (n,kappa*) aʊʧ! noʊ ˈwəndər ðə ˈtrænsfər ˈfəŋkʃən əˈproʊʧ feɪlz fər lɑrʤ dɪˈgri. ðɪs ˈrɪli stɪŋks. ɪn fækt, ɪf wi kənˈtɪnju tɪ traɪ tɪ kəmˈpjut ðə poʊlz ənd ˈzɪroʊz əv ðə padé*é əˌprɑksəˈmeɪʃənz frəm ðɛr ˌkoʊəˈfɪʃənts, ðə rɪˈzəlts stɑrt tɪ bɪˈkəm ˌɪˈnækjərət əˈbəv əˈbaʊt dɪˈgri 25 ˈplɑtɪŋ ðoʊz rɪˈzəlts lʊks laɪk ə ˈmɑrʧɪŋ bænd əˈbaʊt tɪ goʊ bərˈsərk: ˌɪmˈpɔrt ti fɪg æks fər kju ɪn pi kju pcoeffs*, pade_coeffs(p,q*) pi np.poly1d(pcoeffs*) kju np.poly1d(qcoeffs*) eɪʧ scipy.signal.lti(p,q*) #poʊlz np.roots(qcoeffs*) #ˈzɪroʊz np.roots(pcoeffs*) poʊlz ˈzɪroʊz fər ɪn [(poles,'x'),(zeros,'o*')]: ax.plot(np.real(z),np.imag(z),'.k',marker=m,mfc='none*') plt.axis('equal*') ðə ˌsɪmjəˈleɪʃən ˈfəŋkʃənz stɛp ˌɪmˈpəls ˌɛtˈsɛtərə.) fər ənd ˈərliər ər ˈivɪn wərs ɪn ðɪs rɪˈgɑrd ðən ˈfaɪndɪŋ ruts əv, bɪˈkəz ðeɪ traɪ tɪ ðə ə ˈmeɪtrɪks ɛz ə wɪʧ həz ɪts oʊn ˈprɑbləmz æt lɑrʤ dɪˈgri. fər ɪgˈzæmpəl, ɪf wi ðə kəmˈpænjən ˈmeɪtrɪks əv ðə dɪˈgri ˌpɑˌliˈnoʊmiəl p_{10}(x*) (x-\frac{1}{k*}) wi gɪt ən ˈmeɪtrɪks vi ðət həz ə kənˈdɪʃən ˈnəmbər əv mɔr ðən wɛˈræz ðə ˈaɪgənˌvælju ˌsɛnsɪˈtɪvɪti wi kəmˈpjutɪd ˈərliər wɑz ˈoʊnli əˈbaʊt ˈmɪljən. prɪnt '%ʤi' np.linalg.cond(v*).. 3 ˈbɑrgɪnɪŋ θroʊɪŋ ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts aʊt ðə ˈwɪndoʊ wɛl, ɪf wən ˈmeɪʤər kɔz əv ˈprɑbləmz ɪz ðə ɪkˈsprɛʃən əv ˈtrænsfər ˈfəŋkʃənz ɛz ə pɛr əv baɪ ˈlɪstɪŋ ðɛr ˌkoʊəˈfɪʃənts, ðɛn ˈmeɪbi əˈnəðər weɪ tɪ meɪk ðɛm wərk. ðɛr ər ˈəðər weɪz tɪ dɪˈskraɪb. tu əv ðɛm wɪʧ ˈsəfər frəm ðə ˈprɑbləmz əv ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts ər ˈfæktərɪŋ raɪt ə ˌpɑˌliˈnoʊmiəl ɛz ə ˈprɑdəkt p(x*) a\prod\limits_{k=0}^{n}(x-r_k*) ˈrəðər ðən ə səm p(x*) \sum\limits_{k=0}^{n*} səm əv raɪt p(x*) \sum\limits_{k=0}^{n*} c_kt_k(u*) wɪθ ju \frac{2x-a-b}{b-a*} tɪ skeɪl ɛks \ɪn [a,b*] tɪ ju \ɪn t_k(u*) wərk wɛl bɪˈkəz ðeɪ ər ˈbaʊndɪd bɪtˈwin \piɛm 1 ənd rən ˈɪntu ðə nuˈmɛrɪkəl ˈprɑbləmz wi gɪt wɪn wi ɪˈvæljuˌeɪt lɑrʤ paʊərz əv ɛks ðət ˈpɑrʃəli ˈkænsəl iʧ ˈəðər aʊt. ɪˈvæljuˌeɪtɪŋ ðɛm frəm ðə rɪˈkərəns riˈleɪʃən t_n(u*) 2ut_{n-1}(u*) t_{n-2}(u*) ɪz nuˈmɛrɪkli ˈsteɪbəl. bət ðeɪ ˈoʊnli wərk wɛl ɪn ə ˈbaʊndɪd reɪnʤ ɛks \ɪn [a,b*] ɪf wi hæv ən ənˈbaʊndɪd reɪnʤ ðɛn ðeɪ hɛlp. soʊ ˈfæktərɪŋ ɪz əˈnəðər əˈproʊʧ. bət ðɛn wi hæv tɪ faɪnd ðə ruts əv ðə. ənd ðə ˈfɔrmjələz wi hæv fər ðə padé*é əˌprɑksəˈmeɪʃən tɪ e^{-s*} gɪv ˈjuˈɛs ðə ˌkoʊəˈfɪʃənts; wi ɔˈrɛdi noʊ ˈfaɪndɪŋ ðə ruts frəm ˌkoʊəˈfɪʃənts ɪz ə ˈprɑbləm. ɪf wi hæv tɪ stɑrt frəm ˌkoʊəˈfɪʃənts, ðə ˈpɔɪzən ɪz ɔˈrɛdi ðɛr, ənd dɛd ɪn ðə ˈwɔtər. ˈzɪroʊz əv ðə ˈfəŋkʃən boʊθ ðə ənd ðə dɪˈnɑməˌneɪtər əv ðə padé*é əˌprɑksəˈmeɪʃən tɪ e^{-s*} hæv ðə seɪm fɔrm, wɪʧ kən bi ˈrɪtən ɪn tərmz əv ðə ˈfəŋkʃən 1f_1(a;b;z*) \begin{eqnarray*} n_{p,q}(x*) d_{p,q}(x*) \end{eqnarray*} naʊ wi ʤɪst nid ə weɪ tɪ faɪnd ðə ˈzɪroʊz əv ðiz ˈfəŋkʃənz soʊ wi kən dɪˈspɛns wɪθ ˈhævɪŋ tɪ dil wɪθ ðɛr ˌkoʊəˈfɪʃənts. ðɛr ər tənz əv əbˈskjʊr ˌmæθəˈmætɪkəl ˈpeɪpərz ɔn ðə ˈzɪroʊz əv ˈspɛʃəl ˈfəŋkʃənz; ənd 1975 ˈpeɪpər ɔn ðə ˈzɪroʊz ənd poʊlz əv padé*é tɪ pruv əˈbaʊt ðə loʊˈkeɪʃənz əv ðə poʊlz ənd ˈzɪroʊz ɪn ðə ˈkɑmplɛks pleɪn, bət seɪ ˈnəθɪŋ əˈbaʊt haʊ tɪ nuˈmɛrɪkli kəmˈpjut ðɛm. ˈæftər ə bənʧ əv ˈflaʊndərɪŋ əraʊnd, aɪ faʊnd tu ˈvɛri ˈɪntəˌrɛstɪŋ ˈpeɪpərz ðət ər ˈrɛləvənt tɪ ˈfaɪndɪŋ ðiz poʊlz ənd ˈzɪroʊz: ˈkæmpoʊz ənd ˈpeɪpər ɔn ðə ɪkˈsplɔr ə ˈdɪfərənt ˈspɛʃəl ˈfəŋkʃən, bət ðeɪ hæv ðə seɪm ˈʤɛnərəl ˈprɑbləm ənd ðeɪ meɪk ə ˈrəðər rɪˈmɑrk əˈbaʊt ˈfaɪndɪŋ ˈzɪroʊz ˈjuzɪŋ ə ˈprɑpərti əv ðə: z_k*} 0 ðɪs sɛt əv nɑnˈlɪˌniər ɪkˈweɪʒənz kən bi sɑlvd baɪ ˈstændərd ˈmɛθədz. wi hæv juzd ə ˈnutən ˈmɛθəd tɪ sɑlv ðɛm əp tɪ ənd ðɪs ˌɪnˈtrigd mi ðeɪ faʊnd ruts əv ə dɪˈgri ˌpɑˌliˈnoʊmiəl ˈjuzɪŋ səm ɪkˈweɪʒənz ənd ˈmɛθəd bət ɪt wɑz ənˈklɪr haʊ tɪ rɪˈpit ðə əˈproʊʧ ər əˈdæpt ɪt tɪ ðə padé*é. ˈɑrtɪkəl steɪts ðət fər ˈɛni wɪθ ˈsɪmpəl (nonrepeated*) ruts, ɪf (x-x_n*)$$ ðɛn æt ˈɛni rut əv pi wi hæv $$p’‘(x_k*) k}\frac{1}{x_k-x_j*}$$ ðɪs minz ðət æt ˈɛni rut ðɛn $$\frac{p’‘(x_k)}{2p’(x_k*)} k}\frac{1}{x_k-x_j*}$$ fər ɑr padé*é, ðə ˈwɪkiˌpiˌdiə peɪʤ ɔn həz w={}_1f_1(a;b;z*) ˈsætɪsˌfaɪɪŋ ðə ˌdɪfərˈɛnʃəl ɪkˈweɪʒən $$zi (b-z)\frac{dw}{dz*} ɔ 0 ənd æt ðə ruts wɛr $$zi (b-z)\frac{dw}{dz*} 0 soʊ ðət \frac{\frac{d^2w}{dz^2}}{2\frac{dw}{dz*}} \frac{z-b}{2z*} ˈðɛrˌfɔr, æt ɔl ˈzɪroʊz əv ðə dɪˈnɑməˌneɪtər ˌpɑˌliˈnoʊmiəl d_{p,q}(x*) w={}_1f_1(a=-q;b=-p-q;x*) wi hæv 0 \frac{-p-q}{2x_k*} k}\frac{1}{x_k-x_j*}$$. ðɛr ər kju əv ðiz ɪkˈweɪʒənz ənd ðeɪ kən iʧ bi ˈtritɪd ɛz wən kəmˈpoʊnənt əv ə ˈvɛktər ɪkˈweɪʒən vi) 0 wɛr vi ɪz ðə sɛt əv ðə ruts. ðə ˈmɛθəd əˈplaɪd tɪ ˈvɛktər ɪkˈweɪʒənz ɪz ðət ɪf wi hæv səm ˈɛstəˌmeɪt v[m*] wi kən ˈkælkjəˌleɪt ðə nɛkst ˈɛstəˌmeɪt ɛz ˈfɑloʊz: ˈkælkjəˌleɪt waɪ v[m*]) ˈkælkjəˌleɪt ðə ˈmeɪtrɪks ʤeɪ vi} ɪˈvæljuˌeɪtəd æt v[m*] sɑlv fər \ˈdɛltə vi wɛr ʤeɪ \ˈdɛltə vi waɪ ˈkælkjəˌleɪt v[m*] \ˈdɛltə vi wi ˈɔlsoʊ nid ən ˌɪˈnɪʃəl gɛs; səm ˌɛmˈpɪrɪkəl ˈmɛsɪŋ əraʊnd traɪɪŋ tɪ əˈprɑksəˌmeɪt ðə ˈzɪroʊz fər d_{p,q}(x*) ɪn ðə reɪnʤ lɛd mi tɪ ðə ˌɪˈnɪʃəl gɛs -pi ju wɛr ju ɪz ðə ˈvɛktər wɪθ ðə keɪ \)ˈtiˈeɪʧ kəmˈpoʊnənt (q-1)}{q*} fər keɪ 0 ðɪs lidz tɪ ðə ˈnɪrli ˈspænɪŋ ðə reɪnʤ ənd ɪz ðə skwɛr əv ðə ˈvɛktər ju ðɪs əˈproʊʧ ˈæˌkʧuəli səˈpraɪzɪŋli wɛl. wət aɪ ˌəndərˈstænd ɪz waɪ ɪt tɪ ðə raɪt ˈænsər, ˈrəðər ðən ˈgɪtɪŋ stək æt səm ˈəðər səˈluʃən ər ˈrənɪŋ ˈɪntu səm nuˈmɛrɪkəl ˈprɑbləmz du tɪ; ˈmɛθədz kən bi ˈvɛri ˈɪfi ənd ˈɔlˌweɪz kənˈvərʤ wɛl. bət ɪn ðɪs keɪs ɪt kən ˈizəli bi juzd tɪ gɪt ðə poʊlz ənd ˈzɪroʊz fər pi ənd kju ɪn ðə reɪnʤ əv ˈsɛvərəl ˈhənərd. (ðə n_{p,q}(x*) həz ðə seɪm ɪgˈzækt ˈmɛθəd ənd ɪts ˈvɛktər əv ˈzɪroʊz vi ər ˈikwəl tɪ 1 taɪmz ðə ˈzɪroʊz əv ðə dɪˈnɑməˌneɪtər ˌpɑˌliˈnoʊmiəl wɪθ pi ənd kju swɔpt.) ənd ən ɪgˈzæmpəl əv ɪt ɪn ˈækʃən wɪθ ˌɪmˈpɔrt plotpolezero(z,p,ax=none*): ɪf æks ɪz nən: fɪg æks aspect='equal*') ax.plot(np.real(z),np.imag(z),'ok',markersize=3,mfc='none*') rɪˈtərn æks fər kju ɪn sspade.padeexponential(q,q*) ˈzɪroʊz, poʊlz, keɪ ax=plotpolezero(zeros,poles,ax*) θɪŋz gɪt mɔr ˈɪntəˌrɛstɪŋ ɪf wi lʊk æt ɪf pi ɪz smɔl ɪˈnəf, səm əv ðə poʊlz kən drɪft ˈɪntu ðə raɪt, ˈɪndəˌkeɪtɪŋ ən ənˈsteɪbəl ˈsɪstəm: fər pi ɪn ˈzɪroʊz, poʊlz, keɪ ax=plotpolezero(zeros,poles,ax*) ax.grid('on*') ðə ˈmɪnəməm ˈvælju p_{min}(q*) ðət prəˈdusɪz ɔl poʊlz ɪn ðə lɛft ɪz lɛs ðən bət kloʊz tɪ kju ɪf wi græf kju p_{min}(q*) wi gɪt ˈvæljuz ðət ˈgræʤuəli ˌɪnˈkris: pi 0 fər kju ɪn: pi waɪl pi kju: sspade.padeexponential(p,q*) ɪf np.all(np.real(poles*) 0 breɪk ɛls: pi 1 ɪf ) (q-p*): prɪnt pminlist.append(p*) plt.plot(qlist*, qlist-pminlist*,'.') plt.xlabel('q*') p_min*') 0 0 0 1 0 2 0 3 0 4 1 6 3 9 7 14 11 19 17 26 25 35 34 45 45 57 59 72 75 89 93 108 114 130 139 156 166 184 196 215 æt ʃɪft ɑr əˈtɛnʃən bæk tɪ ˈæˌkʧuəli traɪɪŋ tɪ juz ðə padé*é əˌprɑksəˈmeɪʃən. naʊ ðət wi kən faɪnd ðə poʊlz ənd ˈzɪroʊz ˈjuzɪŋ ˈmɛθəd, wi kən əˈvɔɪd ðə ˈpɔɪzən əv ðə ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənt ɪkˈsprɛʃən, ənd stɑrt ˈjuzɪŋ ɪt ɪn ðə ˈfrikwənsi doʊˈmeɪn ˈivɪn fər lɑrʤ ˈvæljuz əv pi ənd kju sɪns ʤɪst ə ˈmætər əv ɪˈvæljuˌeɪtɪŋ ðə ˈtrænsfər ˈfəŋkʃən æt ðə ˈfrikwənsiz əv ɑr ʧɔɪs. ðə feɪz ˈæŋgəl əv ðə ˈtrænsfər ˈfəŋkʃən \frac{n_{p,q}(s)}{d_{p,q}(s*)} ˈrəfli ˈmæʧɪz ə pjʊr ˈjunɪt taɪm dɪˈleɪ e^{-s*} əp tɪ ə ˈfrikwənsi əv əˈprɑksəmətli \oʊˈmɛgə ə græf ʃoʊɪŋ ðə keɪs əp tɪ ˈdəbəlju ɛs plt.plot(w,-w*, label='e^-s*') fər kju ɪn sspade.padeexponential(q,q*) plt.plot(w,np.unwrap(np.angle(pe(s*))), label='(p=q=%d*)' kju) plt.xlabel('$\\omega*$', h(j\\omega*)$, radians*', lɛft', ðə təf pɑrt ɪz goʊɪŋ tɪ bi ˈdilɪŋ wɪθ ɑr ˈsɪstəm ɪn ðə taɪm doʊˈmeɪn. wi hæv ðə tɛkˈnɑləʤi, ðoʊ, naʊ ðət wi kən gɪt ðə poʊlz ənd ˈzɪroʊz wɪˈθaʊt ˈhævɪŋ tɪ goʊ θru ðə ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts. 4 dɪˈprɛʃən ˌoʊˈkeɪ, soʊ naʊ ðə kˈwɛʃən ɪz haʊ wi ˈsɛˌtəp ə ˈlɪniər ˈsɪstəm fər ˌsɪmjəˈleɪʃən. ɪf ju lʊk æt ðə ˌdɑkjəmɛnˈteɪʃən fər si ðət ðə ˌɛˌtiˈaɪ klæs kən bi ˌɪnˈstænʃiˌeɪtəd wɪθ ˈiðər 2 3 ər 4 ˈɑrgjəmənts. ðə ˈfɑloʊɪŋ gɪvz ðə ˈnəmbər əv ˈɛləmənts ɪn ðə ənd ðə ˌɪnˌtərprɪˈteɪʃən: 2 (numerator*, dɪˈnɑməˌneɪtər) 3 (ˈzɪroʊz, poʊlz, geɪn) 4 (ə, bi, si, di) iʧ ˈɑrgjəmənt kən bi ən əreɪ ər ˈsikwəns. soʊ ʤɪst juz ðə kənˈstrəktər soʊ wi kən ˈjutəˌlaɪz ðə ˈziroʊ, poʊlz, geɪn ˈtrɪpəl dɪˈrɛkli: ti fɪg æks ax.set_xlabel('t*') ax.plot(t,t>=1,'--k*') fər kju ɪn sspade.padeexponential(q,q*) ˈzɪroʊz, poʊlz, keɪ eɪʧ scipy.signal.lti(zeros*, poʊlz, keɪ) _,waɪ h.step(t=t*) ax.plot(t,y,label='p=q=%d*' kju) ax.grid('on*') ax.legend(loc='best*', hə? ɪn ˈtrəbəl əˈgɛn æt goʊɪŋ ɔn? ðə ki hir ɪz haʊ ˈhændəlz ˌsɪmjəˈleɪʃənz. ðɪs bɪˈheɪvjər ʧeɪnʤd bɪtˈwin ˈvərʒən ənd ˈvərʒən bət ɪn boʊθ ˈkeɪsɪz ˌsɪmjəˈleɪʃən ˈɔlˌweɪz ˈjutəˌlaɪzɪz ðə (a,b,c,d*) fɔrm, ənd ɪf ðə ˈsɪstəm ɪz ˈspɛsəˌfaɪd ɪn wən əv ðə ˈəðər tu ˈmɛθədz ˌkoʊəˈfɪʃənt ˈvɛktərz, ər ), ɪt ɪz kənˈvərtɪd tɪ fərst. ɪn ˈvərʒən ðə ˌkælkjəˈleɪʃən əv ðə ˈmeɪtrɪsɪz ɪn ðə klæs goʊz θru ðə _ˈəpˌdeɪt ˈmɛθəd wɪʧ, ɪn ðə keɪs əv, kɔlz _update(self*, ɛn): ɪf ɛn 2 self._zeros*, self._poles*, tf2zpk(self.num*, self.den*) self._a*, self._b*, self._c*, tf2ss(self.num*, self.den*) ɪf ɛn 3 self._num*, zpk2tf(self.zeros*, self.poles*, self.gain*) self._a*, self._b*, self._c*, zpk2ss(self.zeros*, self.poles*, self.gain*) ɪf ɛn 4 self._num*, ss2tf(self.a*, self.b*, self.c*, self.d*) self._zeros*, self._poles*, ss2zpk(self.a*, self.b*, self.c*, self.d*) ðɪs ɪz ˈprɑməsɪŋ, bət ðɛn ɪf wi lʊk æt wi si ðɪs: zpk2ss(z*, pi, keɪ): ˌrɛprəzɛnˈteɪʃən tɪ ˌrɛprəzɛnˈteɪʃən pərˈæmətərz zi, pi ˈsikwəns ˈzɪroʊz ənd poʊlz. keɪ floʊt ˈsɪstəm geɪn. rɪˈtərnz ə, bi, si, di steɪt speɪs ˌrɛprəzɛnˈteɪʃən əv ðə ˈsɪstəm, ɪn kənˈtroʊlər kəˈnɑnəkəl fɔrm. rɪˈtərn tf2ss(*zpk2tf(z*, pi, keɪ)) wi kɔl wɪʧ goʊz frəm fɔrm tɪ ˈtrænsfər ˈfəŋkʃən ˌkoʊəˈfɪʃənts, ənd ðɛn kɔl ˈhɔrərz! raɪt wi wɛnt tɪ greɪt lɛŋθs tɪ əˈvɔɪd ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts bɪˈkəz əv ðɛr, ənd ˌɪnˈstɛd wərk dɪˈrɛkli wɪθ ðə poʊlz ənd ˈzɪroʊz, bət θroʊz ɔl ðət kɛr əˈweɪ ənd goʊz raɪt bæk tɪ ðə ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənt əˈproʊʧ. ˈvərʒən həz bɪn tɪ ˈsɛpərˌeɪt ˈklæsɪz fər iʧ fɔrm əv kənˈstrəkʃən, ənd ðə klæs həz ə ˈmɛθəd juzd ɪn ˌsɪmjəˈleɪʃən: to_ss(self*): ˈkɑnvərt ˈsɪstəm ˌrɛprəzɛnˈteɪʃən tɪ `statespace*`. rɪˈtərnz ˈɪnstəns əv `statespace*` steɪt speɪs ˈmɑdəl əv ðə ˈkɑrənt ˈsɪstəm rɪˈtərn statespace(*zpk2ss(self.zeros*, self.poles*, self.gain*)) ənd ɪn ˈvərʒən ðə seɪm oʊld sˈlɑpi ˈfəŋkʃən ðət goʊz θru ˈtrænsfər ˈfəŋkʃən ˌkoʊəˈfɪʃənts: zpk2ss(z*, pi, keɪ): ˌrɛprəzɛnˈteɪʃən tɪ ˌrɛprəzɛnˈteɪʃən pərˈæmətərz zi, pi ˈsikwəns ˈzɪroʊz ənd poʊlz. keɪ floʊt ˈsɪstəm geɪn. rɪˈtərnz ə, bi, si, di steɪt speɪs ˌrɛprəzɛnˈteɪʃən əv ðə ˈsɪstəm, ɪn kənˈtroʊlər kəˈnɑnəkəl fɔrm. rɪˈtərn tf2ss(*zpk2tf(z*, pi, keɪ)) ðə seɪm ɪn soʊ wi luz! ˈdæmɪt. kənˈtroʊlər kəˈnɑnəkəl fɔrm ˈrɪli səks fər nuˈmɛrɪkəl ˈpərpəsɪz. ðə raɪt weɪ tɪ ˈɪmpləmənt wi nid ə ˈbɛtər weɪ tɪ ˈɪmpləmənt ənd sɪns du ɪt fər ˈjuˈɛs, hæv tɪ du ɪt ɑrˈsɛlvz. ə ˈlɪtəl ˈrisərʧ ɔn ˈmeɪtrɪsɪz ˈizəli ʃoʊz ðət ðə weɪ tɪ kip ðə kənˈdɪʃən ˈnəmbər əv ðə ə ˈmeɪtrɪks tɪ ə ˈmɪnəməm ɪz tɪ meɪk ɪt ə pjʊr daɪˈægənəl ˈmeɪtrɪks. goʊ bæk tɪ ðə ˈsɪstəm wi tɔkt əˈbaʊt ˈərliər: $$h(s*) \frac{p(s)}{q(s*)} 100 wɪʧ həz ə kənˈtroʊlər kəˈnɑnəkəl fɔrm əv \begin{eqnarray*} ə \begin{bmatrix*} 18 97 180 100 1 0 0 0 0 1 0 0 0 0 1 0 \end{bmatrix*} bi \begin{bmatrix*} 1 0 0 0 si \begin{bmatrix*} 0 0 0 100 \end{bmatrix*} di 0 \end{eqnarray*} wɛr ðə ə ˈmeɪtrɪks həz ə kənˈdɪʃən ˈnəmbər əv ʤɪst ˈoʊvər 521 np.linalg.cond(a*) wi kʊd ə nuˈmɛrɪkli: np.linalg.eig(a*) prɪnt "ˈlæmdə ˈlæmdə prɪnt "vi prɪnt vi prɪnt prɪnt np.dot(np.dot(v,np.diag(lambda)),np.linalg.inv(v*)) ˈlæmdə 10 5 2 1 vi bət ðɛn ɔˈrɛdi pɪkt əp ðə ˈpɔɪzən əv, baɪ ˈwərkɪŋ wɪθ kənˈtroʊlər kəˈnɑnəkəl fɔrm. ɪt wərks ˌoʊˈkeɪ fər smɔl ˈmeɪtrɪsɪz, bət wi hæv məʧ hoʊp əˈbəv ər soʊ. ˌɪnˈstɛd wi hæv tɪ θɪŋz ˌænəˈlɪtɪkli, ənd ðət minz ˈwərkɪŋ θru ðə ˈmoʊdəl fɔrm, wɪʧ ˈjuzɪz ə daɪˈægənəl ə ˈmeɪtrɪks wɪθ ˈɛləmənts ˈikwəl tɪ ðə ˈtrænsfər ˈfəŋkʃən poʊlz: ə \begin{bmatrix*} 10 0 0 0 0 5 0 0 0 0 2 0 0 0 0 1 \end{bmatrix*} naʊ ðə ˈoʊnli hɑrd pɑrt ɪz ˈkəmɪŋ əp wɪθ bi ənd si ˈmeɪtrɪsɪz tɪ meɪk θɪŋz wərk ˈprɑpərli. ðɛr ə juˈnik ʧɔɪs hir; wi ʤɪst nid tɪ meɪk ʃʊr ðət ðə nɛt ˈtrænsfər ˈfəŋkʃən h(s*) di ɪz wət wi nid, ənd fər ə daɪˈægənəl ˈmeɪtrɪks, ðə tərm ɪz ˈɔlsoʊ ə daɪˈægənəl ˈmeɪtrɪks wɪθ tərmz \frac{1}{s+p*} əˈlɔŋ ðə daɪˈægənəl: \begin{bmatrix*} 0 0 0 0 0 0 0 0 0 0 0 0 \end{bmatrix*} ðə ˈrizən tɪ juz ˈmoʊdəl fɔrm ɪz ðət wɪθ moʊdz ɛz steɪt ˈvɛriəbəlz, ðɛr ɪz noʊ bɪtˈwin moʊdz, ənd ɪn ðə taɪm doʊˈmeɪn iʧ steɪt ˈvɛriəbəl ˌrɛprɪˈzɛnts ən ˌɪndɪˈpɛndənt ˈsɪstəm. ˈvɛri ˈizi tɪ ˈænəˌlaɪz! ɛz fɑr ɛz ˈfɪgjərɪŋ aʊt ðə bi ənd si ˈmeɪtrɪsɪz goʊz, sɪns ɪz daɪˈægənəl wɪθ tərmz \frac{1}{s+p_k*} ˈɛni ʧɔɪs əv bi ənd si ɪz faɪn ðət ˈsætɪsˌfaɪz h(s*) \frac{b_kc_k}{s+p_k*} wi nid tɪ kəmˈpjut ðə ˈrɛzəˌdu ˌkoʊəˈfɪʃənts səʧ ðət h(s*) \frac{r_k}{s+p_k*} ənd dɪˈvaɪd əp ˈfæktərz bɪtˈwin bi ənd si ɛz dɪˈzaɪərd: fər ɪgˈzæmpəl, ˈteɪkɪŋ bi ɛz ɔl wənz ənd ər si ɛz ɔl wənz ənd ər meɪk ðɛm aɪˈdɛntɪkəl ɛz \sqrt{r_k*} ɪn ɑr spɪˈsɪfɪk keɪs, wi kən juz ðə ˈmɛθəd tɪ dɪˈtərmən ðə ˈrɛzəˌduz ɛz $$\begin{eqnarray*} ə 0 \left.\frac{100}{(s+1)(s+2)(s+5)}\right*| ə 1 \left.\frac{100}{(s+1)(s+2)(s+10)}\right*| ə 2 \left.\frac{100}{(s+1)(s+5)(s+10)}\right*| ə 3 \left.\frac{100}{(s+2)(s+5)(s+10)}\right*| \end{eqnarray*}$$ ənd ˈðɛrˌfɔr ɪf wi teɪk bi 1 1 ðɛn si \frac{25}{9}\end{bmatrix*} wɪʧ wi kən ˈvɛrəˌfaɪ: 0 prɪnt prɪnt prɪnt 'cond(a)=',np.linalg.cond(h2.a*)= dɛn= 1 18 97 180 100 cond(a*)= ðə ˈmoʊdəl fɔrm ɪkˈsprɛsɪz ˈɛni ˈsɪstəm ɛz ðə ˈpɛrəˌlɛl səm əv ˈsɛpərˌeɪt ˈsɪstəmz; ðə kənˈdɪʃən ˈnəmbər əv ðə ə ˈmeɪtrɪks ɪz ʤɪst ðə ˈreɪʃiˌoʊ əv ðə ˈlɑrʤəst ənd sˈmɔləst ˈaɪgənˌvælju ˈmægnəˌtudz. ˈækʧəwəl ˈfɪzɪkəl ˈsɪstəmz ˈrɛrli hæv ˈoʊnli ril poʊlz, bət ˈrəðər æt list wən pɛr əv ˈkɑmplɛks ˌkɑnʤəˈgeɪt ˈaɪgənˌvæljuz, soʊ wi hæv tɪ bi ˈkɔʃəs wɪθ ðɪs əˈproʊʧ, bɪˈkəz ɪt minz ðə ə bi ənd si ˈmeɪtrɪsɪz wɪl hæv ˈkɑmplɛks ˌkoʊəˈfɪʃənts; ən ɔlˈtərnətɪv ɪz tɪ grup ˈɛni ˈkɑmplɛks poʊlz ɪn ˌkɑnʤəˈgeɪt pɛrz ənd juz ə ə ˈmeɪtrɪks wɪθ blɑk ˈɛləmənts ðət ər ˈiðər fər ril poʊlz, ər əv ðə fɔrm \begin{bmatrix}-\sigma&\omega\cr-\omega&-\sigma\end{bmatrix*} wɪʧ həz ˈaɪgənˌvæljuz ðɪs jildz ˈmeɪtrɪsɪz ənd kən bi juzd wɪθ ɔl əv ðə ˈfəŋkʃənz; səm əv ðɛm wərk wɛl wɪθ ˈmeɪtrɪksɪz. ˌoʊˈkeɪ, soʊ du ɪt; ɪn ðə klæs ˌɪnˈkludɪd ˈprɑpərtiz (pjʊr daɪˈægənəl ˈmeɪtrɪks) ənd (blɑk daɪˈægənəl ˈmeɪtrɪks): ti fɪg æks ax.set_xlabel('t*') ax.plot(t,t>=1,'--k*') fər kju ɪn sspade.padeexponential(q,q*) ˈzɪroʊz, poʊlz, keɪ eɪʧ _,waɪ h.step(t=t*) ax.plot(t,y,label='p=q=%d*' kju) ax.grid('on*') ax.legend(loc='best*', wheeeeeee*!!!!!!!!! ɪt wərks! mɑrʧ ˈɔnwərd tɪ haɪər dɪˈgri: ti fɪg æks ax.set_xlabel('t*') ax.plot(t,t>=1,'--k*') fər kju ɪn sspade.padeexponential(q,q*) ˈzɪroʊz, poʊlz, keɪ eɪʧ _,waɪ h.step(t=t*) ax.plot(t,y,label='p=q=%d*' kju) ax.grid('on*') ax.legend(loc='best*', oʊ, ɪt wərk. ɑrg.... ˈæftər ə bənʧ əv ˈlʊkɪŋ əraʊnd, aɪ ˈnoʊtɪst ðə ənd ˈfəŋkʃənz, wɪʧ juz oʊd ˈsɑlvərz tɪ ˈsɪmjəˌleɪt; ðə ənd stɛp ˈfəŋkʃənz traɪ tɪ bi smɑrt ənd juz səˈluʃənz tɪ ˈlɪniər ˈsɪstəmz (riˈlaɪɪŋ ɔn ˈmeɪtrɪks exponentials*), ənd ðɪs wərks ˈbɛtər fər səm ˈsɪstəmz bət ˈkɔzɪz nuˈmɛrɪkəl ˈprɑbləmz ɪn ˈəðərz, ənd ˈsɪstəmz ɪz wən əv ðoʊz taɪmz. soʊ juz ˌɪnˈstɛd: ti fɪg æks ax.set_xlabel('t*') ax.plot(t,t>=1,'--k*') fər kju ɪn sspade.padeexponential(q,q*) ˈzɪroʊz, poʊlz, keɪ eɪʧ ˌtuˈdu: fɪks fɪks fɪks _,waɪ scipy.signal.step2(h,t=t*) ax.plot(t,y,label='p=q=%d*' kju) ax.grid('on*') ax.legend(loc='best*', wi ˈmænɪʤd tɪ pʊʃ θɪŋz aʊt ˈfərðər baɪ əˈnəðər 4 dɪˈgriz, tɪ ˈbɔrdərˌlaɪn ˈsteɪbəl æt ənd ðɛn feɪlz æt haɪər ˈvæljuz. dæm, dæm, dæm. 5 acceptance…*…? ˈæftər aɪ ˈmænɪʤd tɪ ˈfɪgjər aʊt haʊ tɪ kəmˈpjut poʊlz ənd ˈzɪroʊz əv padé*é taɪm dɪˈleɪ əˌprɑksəˈmeɪʃənz ˈjuzɪŋ ˈmɛθəd, aɪ spɛnt ə ˈvɛri lɔŋ deɪ traɪɪŋ tɪ gɪt ðə ˌɪmpləmɛnˈteɪʃən ˈwərkɪŋ, fərst ˈstaɪmid baɪ ðə ˌɪmpləmɛnˈteɪʃən əv ənd ðɛn ɪn ə feɪld əˈtɛmpt æt ə ˈmoʊdəl fɔrm ˌɪmpləmɛnˈteɪʃən. ɪt tʊk mi ə lɔŋ taɪm tɪ ˈfɪgjər aʊt waɪ ðə ˈmoʊdəl fɔrm wərk, ˈivɪn ðoʊ ðə kənˈdɪʃən ˈnəmbər əv ðə ə ˈmeɪtrɪks ɪz məʧ loʊər: scipy.signal.lti(zeros*, poʊlz, keɪ) prɪnt "kənˈtroʊlər kəˈnɑnəkəl fɔrm k(a)=%g*" np.linalg.cond(h1.a*) prɪnt "ˈmoʊdəl fɔrm k(a)=%g*" np.linalg.cond(h2.a*) kənˈtroʊlər kəˈnɑnəkəl fɔrm ˈmoʊdəl fɔrm waʊ. ðə ˈmoʊdəl fɔrm həz ə kənˈdɪʃən ˈnəmbər əv fər wɛˈræz ðə kənˈtroʊlər kəˈnɑnəkəl fɔrm həz ə kənˈdɪʃən ˈnəmbər əv ˈoʊvər ðə ˈmoʊdəl fɔrm bi ˈkɔzɪŋ ˈjuˈɛs nuˈmɛrɪkəl ˈprɑbləmz æt ɔl.... bət ðə ˈprɑbləm ɪz ðət ðə həz bɪn aside”*” ˈɪntu ðə bi ənd si ˈmeɪtrɪsɪz: prɪnt "bi=" prɪnt prɪnt "si=" prɪnt bi= si= maɪ ˌɪmpləmɛnˈteɪʃən ˈjuzɪz \sqrt{r_k*} tɪ rɪˈdus ˈmægnəˌtudz, bət stɪl ə ˈdɛləkət ˌkænsəˈleɪʃən bɪtˈwin moʊdz. iʧ əv ðə moʊdz ɪz ˈɑsəˌleɪtɪŋ æt ɪts oʊn ˌkɛrɪktərˈɪstɪk ˈfrikwənsi, moʊst əv ðɛm wɪθ ə ˈrɛlətɪvli lɑrʤ ˈæmpləˌtud, ənd ðeɪ ər səˈpoʊzd tɪ səm əp tɪ smɔl ˈvæljuz. ðɪs wərk tu wɛl wəns ðə ˈsɪstəm ˈɔrdər gɪts ˈfɛrli lɑrʤ: fər kju ɪn sspade.padeexponential(q,q*) prɪnt "c_%d*=" kju prɪnt ðə ˈmoʊdəl fɔrm həz gʊd nuˈmɛrɪkəl stəˈbɪlɪti ɪn ðə ə ˈmeɪtrɪks, bət ˈsækrəˌfaɪsɪz nuˈmɛrɪkəl stəˈbɪlɪti ɪn ðə ˈsɪstəm ɛz ə hoʊl, soʊ ənˈfɔrʧənətli nɑt ə gʊd ʧɔɪs ˈiðər. kæˈskeɪd ðə raɪt ʧɔɪs ɪz ə kæˈskeɪd (ˈsɪriz) ˌɪmpləmɛnˈteɪʃən. ɪf wi kən breɪk daʊn ðə ˈsɪstəm ˈɪntu 1st*- ənd ˈsɪstəmz wɪθ əˈproʊpriˌeɪt ˈaɪgənˌvæljuz ðət kən bi kæˈskeɪdɪd ˈɪntu ə ˈsɪstəm, ðɛn wi ˌrikˈwaɪər ˈædɪtɪv ˌkænsəˈleɪʃən bɪtˈwin moʊdz. ðə ˈælʤəbrə əv kæˈskeɪdɪd ɪz ɛz ˈfɑloʊz: ɪf wi hæv tu ˈsɪstəmz ənd səʧ ðət ðə ˈɪnˌpʊts əv ər ðə ˈaʊtˌpʊts əv ðɛn ðə kəmˈbaɪnd ˈsɪstəm kən bi kəmˈpjutɪd ɛz \begin{eqnarray*} 0 a_2\end{bmatrix*} \end{bmatrix*} c_2\end{bmatrix*} \end{eqnarray*} ðɪs kæˈskeɪd ˌkɑmbəˈneɪʃən kən bi kənˈtɪnjud tɪ mɔr ðən tu ˈsɪstəmz; fər ɪgˈzæmpəl, ðə kæˈskeɪd lʊks laɪk ðɪs: \begin{eqnarray*} 0 0 0 a_3\end{bmatrix*} b_3d_2d_1\end{bmatrix*} c_3\end{bmatrix*} \end{eqnarray*} ənd ðə kæˈskeɪd lʊks laɪk ðɪs: \begin{eqnarray*} 0 0 0 0 0 \end{bmatrix*} b_4d_3d_2d_1\end{bmatrix*} c_4\end{bmatrix*} \end{eqnarray*} ɪn ˈʤɛnərəl, ðə rɪˈzəltɪŋ kæˈskeɪdɪd ˈsɪstəm həz ən ə ˈmeɪtrɪks wɪʧ ɪz blɑk loʊər traɪˈæŋgjələr; ɪf ðə di tərmz ər ˈziroʊ ðɛn blɑk loʊər bidiagonal*. ðə kənˈdɪʃən ˈnəmbər əv ðɪs ˈmeɪtrɪks ɛz loʊ ɛz wɪθ ðə ˈmoʊdəl fɔrm (ðoʊ stɪl məʧ loʊər ðən kənˈtroʊlər kəˈnɑnəkəl fɔrm!), bət ˈoʊvərˌɔl məʧ mɔr ˈsteɪbəl: prɪnt "kæˈskeɪd fɔrm k(a*) np.linalg.cond(h3.a*) prɪnt kæˈskeɪd fɔrm k(a*) soʊ ˈfaɪnəli wi kən traɪ ɑr stɛp rɪˈspɑns wɪθ ˈsɪstəmz ˈjuzɪŋ ə kæˈskeɪdɪd ˌɪmpləmɛnˈteɪʃən: ti fɪg æks ax.set_xlabel('t*') ax.plot(t,t>=1,'--k*') fər kju ɪn sspade.padeexponential(q,q*) ˈzɪroʊz, poʊlz, keɪ eɪʧ _,waɪ scipy.signal.step2(h,t=t*) ax.plot(t,y,label='p=q=%d*' kju) ax.grid('on*') ax.legend(loc='best*', səkˈsɛs! wi dɪd ɪt! wi kən rɪˈdus ðə ˈrɪŋɪŋ ˈdʊrɪŋ ðə dɪˈleɪ taɪm (wɪθ ə ˈmaɪnər ˌɪnˈkris ɪn ˈrɪŋɪŋ ˈæftər ðə dɪˈleɪ taɪm) ɪf wi juz ə sˈlaɪtli loʊər ˈɔrdər ˌpɑˌliˈnoʊmiəl ɪn ðə əv ðə ˈtrænsfər ˈfəŋkʃən: ti fɪg æks ax.set_xlabel('t*') ax.plot(t,t>=1,'--k*') fər kju ɪn pi sspade.padeexponential(p,q*) ˈzɪroʊz, poʊlz, keɪ eɪʧ _,waɪ scipy.signal.step2(h,t=t*) ax.plot(t,y,label='p=%d*, q=%d*' (p,q*)) ax.grid('on*') ax.legend(loc='best*', ənd ˈprɪti məʧ ɔl ðɛr ɪz tɪ seɪ hir.... ˈteɪkɪŋ ɪt ˈfərðər hmmm*. ðə ˈoʊvərˌʃut ɪz kaɪnd əv əˈnɔɪɪŋ, ðoʊ, ɪt? wət ɪf, ˌɪnˈstɛd əv ˈteɪkɪŋ ɔl 100 poʊlz ənd ˈpʊtɪŋ ðɛm ˈɪntu ə taɪm dɪˈleɪ, wi pʊt səm əv ðɛm ˈɪntu ə ˈvɛri slaɪt ˈfɪltər tɪ əˈtɛnjuˌeɪt ðə ˈrɪpəlz? wi hæv tɪ bi ˈkɛrfəl hir, bɪˈkəz moʊst ˈfɪltərz ˌɪntrəˈdus mɔr ˈoʊvərˌʃut ˈrəðər ðən lɛs ˈoʊvərˌʃut. ðə bɛst wən tɪ juz ɪz ˈprɑbəˌbli ə ˈfɪltər, fər tu ˈrizənz: ɪt həz ˈvɛri ˈlɪtəl ˈoʊvərˌʃut ɪt həz ə ˈvɛri flæt grup dɪˈleɪ; ɪn ðə ðə əv taɪm dɪˈleɪ ɪz ˈvɛri loʊ əˈnəðər ˈrizən tu; ðə ˈtrænsfər ˈfəŋkʃən əv ə ˈfɪltər ˈhæpənz tɪ bi ðə seɪm ɛz ðə padé*é əˌprɑksəˈmeɪʃən tɪ ə taɪm dɪˈleɪ, bət wɪθ ə əv 1 ənd ðə ˈkəˌtɔf ˈfrikwənsi skeɪld baɪ ə ˈfæktər əv ðoʊz ˈpɛski ˈfəŋkʃənz əˈgɛn!) soʊ wi ɔˈrɛdi hæv ɔl ðə məˈʃinəri tɪ ˈkɑnstrəkt ə ˈsɪstəm fər ˈfɪltərz. prɪnt ˈɔrdər ˈjunɪt ˈfɪltər dɪˈnɑməˌneɪtər ˌpɑˌliˈnoʊmiəl" np.poly(b5.poles*) əˈsərt prɪnt bi eɪʧ _,waɪ scipy.signal.step2(h,t=t*) plt.plot(t,y*); ˈɔrdər ˈjunɪt ˈfɪltər dɪˈnɑməˌneɪtər ˌpɑˌliˈnoʊmiəl 1 15 105 420 945 945 ə ˈjunɪt ˈfɪltər həz ə grup dɪˈleɪ əv soʊ wət wi kən du ɪz ˈæləˌkeɪt səm əv ðə taɪm dɪˈleɪ tɪ ə ˈfɪltər ənd səm əv ðə taɪm dɪˈleɪ tɪ ə padé*é dɪˈleɪ: ə 5 əv ðə dɪˈleɪ goʊz tɪ, ðə rɛst tɪ ɛn 100 ˈɔrdər əv ðə hoʊl ˈsɪstəm ɛm 10 ˈɔrdər əv ðə ˈfɪltər sspade.bessel(m,1.0/a*) pe=sspade.padeexponential(n-m,n-m,1/(1-a*)) sspade.cascade(hb,hp*) ˈsɪstəm 1 kæˈskeɪdɪd ti ˈsɪstəm 2 ˈoʊnli pe2=sspade.padeexponential(n-m,n*) ˈsɪstəm 3 ˈoʊnli fər keɪ ɪn fər ˈleɪbəl, eɪʧ ɪn %d,%d*' (pe2.p,pe2.q*), %di $\\rightarrow*$ %d,%d*' (m,pe.p,pe.q*), %di' ɛn, _,waɪ scipy.signal.step2(h,t=t*) fər ɪn æks: axk.plot(t,y,label=label*) fər keɪ ɪn ɪf keɪ 0 ax[k].legend(loc='best*') ðə pjʊr ˈfɪltər əv ˈɔrdər 100 ɪz ˈvɛri smuð bət nɑt ˈvɛri stip. ðə pjʊr padé*é ˈfɪltər əv ˈɔrdər 100 (wɪθ dɪˈgri 90 ɪz ˈvɛri stip bət həz kwaɪt ə bɪt əv ˈrɪpəl. ðə ˈhaɪbrɪd kæˈskeɪd kwaɪt ɛz stip ɛz ðə padé*é ˈfɪltər bət ɪt ˈgreɪtli əˈtɛnjuˌeɪts ðə ˈrɪpəl. ðə θɪŋ əˈbaʊt ðə padé*é ˈfɪltər ɪz ðət ɪt ðə ˈfrikwənsi rɪˈspɑns, ənd kəmz ˈkloʊsəst tɪ ˈɛni ˈəðər ˈfɪltər əv ðə seɪm æt ˈmitɪŋ ðə ˈfrikwənsi rɪˈspɑns əv ə pjʊr taɪm dɪˈleɪ. bət taɪm doʊˈmeɪn ənd ˈfrikwənsi doʊˈmeɪn ˌkɛrɪktərˈɪstɪks ˈkɑnflɪkt tɪ səm dɪˈgri: ə ˈfɪltər wɪθ ə ˈpərfəktli ʃɑrp ˈkəˌtɔf ɪn ðə ˈfrikwənsi doʊˈmeɪn ˌɪmˈplaɪz ˈrɪpəl ɪn ðə taɪm doʊˈmeɪn, ənd vaɪs ˈvərsə. ɪf wi wər optimizing*, wi maɪt wɔnt tɪ faɪnd ðə ˈfɪltər ðət ɪz ðə bɛst əˌprɑksəˈmeɪʃən tɪ ðə stɛp rɪˈspɑns əv ə ˈvərʒən əv ə ˈgaʊsiən ˈfɪltər: $$h(t*) h(s*) ðɪs ɪz ə ˈfɪltər, wɪʧ həz ə stɛp rɪˈspɑns erf*\,} olimits*} y(t*) \erf{\frac{t}{\sqrt{2}\tau}}\right*) wɛr \erf{x*} ɪz ðə ˈɛrər ˈfəŋkʃən; ɪt ræmps əp sˈmuðli frəm 0 tɪ 1 wɪθ ˈmæksəməm sloʊp \frac{1}{\sqrt{2\pi}\tau*} ˌɪmˈpɔrt ti scipy.special.erf(t/np.sqrt(2)/tau*)) sloʊp plt.plot([-0.5/slope*, 0.5/slope],[0,1],'--r*') fər ˈsərtən ˌpɑˈtɪkjələr ˌkɑmbəˈneɪʃənz əv delay/order/steepness*, wi kən kəm ˈprɪti kloʊz tɪ ə ˈgaʊsiən ˈfɪltər. ðə ˈfɪltər əv ˈɔrdər ɛn ənd ˈkəˌtɔf ˈfrikwənsi ɪz səˈpoʊzədli ðə bɛst əˌprɑksəˈmeɪʃən tɪ ðə ˈgaʊsiən wɪθ taɪm ˈkɑnstənt t_0/\sqrt{2n*} ənd ən ˈædɪd taɪm dɪˈleɪ tau=t0/np.sqrt(2*n*) ti bi _,waɪ scipy.signal.step2(hb,t=t*) scipy.special.erf((t-t0)/np.sqrt(2)/tau*)) plt.plot(t,y*) ˈfɪltər tau=%.3f*' , (n=%d*, f0=%.3f*)' lɛft'); ðə θɪŋ ɪz, nɑt ʃʊr ɪf ə ˈstreɪtˈfɔrwərd prəˈsiʤər fər ˈfaɪndɪŋ ðə bɛst ˈfɪltər əˌprɑksəˈmeɪʃən tɪ ə ˈgaʊsiən ˈfɪltər wɪθ ˈɑrbɪˌtrɛri taɪm dɪˈleɪ wɛr ““best”*” hir minz ˈɛrər ɪn ðə taɪm doʊˈmeɪn. wən əv ðoʊz θɪŋz ðət gaʊs ər ˈfʊrieɪ ər ˈlɛgɪndreɪ ˈprɑbəˌbli roʊt ə ˈpeɪpər əˈbaʊt səm ˈʤɛnərəl ˈtɑpɪk, æt ðə eɪʤ əv 23 əv wɪʧ maɪ ˈprɑbləm ɪz ʤɪst wən ˈspɛʃəl keɪs, ənd ðeɪ stək ɪt ɪn ə drɔr bɪˈkəz æt ðə taɪm ðɛr ˈɛni ˌæpləˈkeɪʃənz. soʊ ʤɪst goʊɪŋ tɪ liv ɪt æt ðət. ˈræpəp ðə padé*é əˌprɑksəˈmeɪʃən tɪ e^{-st*} (paest*) ɪz ə ˈræʃənəl ˈfəŋkʃən wɪθ ˈspɛsəˌfaɪd dɪˈgri pi ɪn ðə ənd kju ɪn ðə dɪˈnɑməˌneɪtər, ðət kəmz ˈvɛri kloʊz tɪ ˈmæʧɪŋ ə taɪm dɪˈleɪ ɪn ðə ˈfrikwənsi doʊˈmeɪn, ənd kən bi juzd ɛz ə ˈræʃənəl ˈtrænsfər ˈfəŋkʃən fər ˈsɪmjəˌleɪtɪŋ ə dɪˈleɪ əv taɪm ti. padé*é əˌprɑksəˈmeɪʃən ɪn ˈʤɛnərəl ɪz ˈsɪmələr tɪ ə ˈteɪlər ˈsɪriz əˈproʊʧ, bət ɪt ˈjuzɪz ˈræʃənəl ˈfəŋkʃənz ˌɪnˈstɛd əv, ənd kən ˈproʊdus ə ˈbɛtər əˌprɑksəˈmeɪʃən fər ˈsərtən ˈfəŋkʃənz ðət tɪ ˌpɑˌliˈnoʊmiəl əˌprɑksəˈmeɪʃən. ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts fər ðɪs əˌprɑksəˈmeɪʃən ər ˈɪntəʤərz (fər æt list) ənd kən bi kəmˈpjutɪd ɪn tərmz əv ər ˌkɑmbəˈneɪʃənz ˈjuzɪŋ rɪˈkərəns ˈfɔrmjələz. kən bi juzd wɪθ ənd dɪˈnɑməˌneɪtər tɪ ˈsɪmjəˌleɪt ə padé*é taɪm dɪˈleɪ. kən bi juzd wɪθ ənd dɪˈnɑməˌneɪtər tɪ ˈsɪmjəˌleɪt ə padé*é taɪm dɪˈleɪ. ðə əˌprɑksəˈmeɪʃənz lʊk ˈvɛri gʊd (əˈspɛʃəli wɪθ ɪf pi ɪz sˈlaɪtli lɛs ðən kju nɑt tu bæd) padé*é taɪm dɪˈleɪz ˌnɛsəˈsɛrəli hæv tɪ bi ˈvɛri ˈækjərət, ɪf ðeɪ ər kəmˈbaɪnd wɪθ ˈəðər ˈsɪstəmz ðət hæv ˈsɪmələr ər sloʊər daɪˈnæmɪks. ˈjuzɪŋ wɪθ ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts əv breɪks daʊn ʤɪst əˈbəv ˈɔrdər 20 wɪθ ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts əv breɪks daʊn ʤɪst əˈbəv ˈɔrdər 20 ðə ˈrizən ðɪs əˈproʊʧ breɪks daʊn ɪz bɪˈkəz nuˈmɛrɪkəl kənˈdɪʃənɪŋ əv ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts bɪˈkəmz ˈtɑksɪk ɛz ðə dɪˈgri ˌɪnˈkrisɪz. (ənd, noʊ, ˈtɑksɪk səm ˈklɛvər ˈækrənɪm, ʤɪst ˈɛmfəˌsaɪzɪŋ ɪt ˈlaʊdli.) ɛz ðə dɪˈgri ˌɪnˈkrisɪz. (ənd, noʊ, səm ˈklɛvər ˈækrənɪm, ʤɪst ˈɛmfəˌsaɪzɪŋ ɪt ˈlaʊdli.) ˌfɔrmjuˈleɪʃənz əv ə ˈlɪniər ˈsɪstəm ər nɑt juˈnik, ənd hæv ˈsɛvərəl fɔrmz. ðə dɪˈfɔlt fɔrm juzd baɪ ɪz ðə kənˈtroʊlər kəˈnɑnəkəl fɔrm, wɪʧ ɪkˈsprɛsɪz ə ˈsɪstəm dɪˈrɛkli frəm ðə ˈtɑksɪk ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts əv ðə ˈtrænsfər ˈfəŋkʃən ənd dɪˈnɑməˌneɪtər. ɪz ðə kənˈtroʊlər kəˈnɑnəkəl fɔrm, wɪʧ ɪkˈsprɛsɪz ə ˈsɪstəm dɪˈrɛkli frəm ðə ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts əv ðə ˈtrænsfər ˈfəŋkʃən ənd dɪˈnɑməˌneɪtər. æˈnælɪsɪs əv ðə poʊlz ənd ˈzɪroʊz əv ɪz ən əraʊnd ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts, ənd kən bi əˈkɑmplɪʃt ˈjuzɪŋ ˌɪtəˈreɪʃən tɪ əbˈteɪn poʊlz ənd ˈzɪroʊz dɪˈrɛkli, wɪθ high-accuracy*, beɪst ɔn ˈrɛzəˌdu səmz ˈjuzɪŋ ðə ˌdɪfərˈɛnʃəl ɪkˈweɪʒən fɔrm fər ðə ˈfəŋkʃən wɪθ ɪz ənˈsteɪbəl ɪf pi ɪz tu smɔl, bɪˈkəz əv ðə ˈprɛzəns əv poʊlz. həz ə kənˈstrəktər ðət kən juz fɔrm (ˈzɪroʊz, poʊlz, ˌdiˈsi geɪn) bət ɪt feɪlz ˈmɪzərəbli bɪˈkəz ˈkɑnvərts fɔrm tɪ ˈtɑksɪk ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts ɛz ən ˌɪnərˈmidiɪt fɔrm ˌbiˈfɔr kənˈvərtɪŋ tɪ həz ə kənˈstrəktər ðət kən juz fɔrm (ˈzɪroʊz, poʊlz, ˌdiˈsi geɪn) bət ɪt feɪlz ˈmɪzərəbli bɪˈkəz ˈkɑnvərts fɔrm tɪ ˌpɑˌliˈnoʊmiəl ˌkoʊəˈfɪʃənts ɛz ən ˌɪnərˈmidiɪt fɔrm ˌbiˈfɔr kənˈvərtɪŋ tɪ wi kən ˈkɑnvərt poʊlz ənd ˈzɪroʊz əv tɪ, bət wi hæv tɪ teɪk kɛr ɪn duɪŋ soʊ. ðə ə ˈmeɪtrɪks ˈjuzɪz ə (““modal”*”) fɔrm, bət ðɪs feɪlz ɔn moʊst ˈsɪstəmz ɛz wɛl, bɪˈkəz ðə ɪz pʊʃt aʊt tɪ ðə bi ənd si ˈmeɪtrɪsɪz, ənd kənˈvərʤəns rɪˈlaɪz ɔn ˈdɛləkət ˌkænsəˈleɪʃən əv səmz əv ˈsɪstəmz. ðə kæˈskeɪdɪd ˈsɪriz fɔrm əˈpɪrz tɪ bi ðə bɛst ˈoʊvərˌɔl ˈmɛθəd əv ˈfɔrmjəˌleɪtɪŋ ə ˈsɪstəm frəm poʊlz ənd ˈzɪroʊz, baɪ fərst ˈgrupɪŋ ðɛm ˈɪntu (fər ril poʊlz ənd ˈzɪroʊz) ər (fər ˈkɑmplɛks ˌkɑnʤəˈgeɪt poʊlz ənd ˈzɪroʊz) ˈsɪstəmz ənd ðɛn ˈfɔrmɪŋ ˈoʊvərˌɔl ˈmeɪtrɪsɪz ˈjuzɪŋ ˌkɑmbəˈneɪʃən ˈfɔrmjələz. əv ˈɔrdər 100 wərks wɛl ˈjuzɪŋ ðə kæˈskeɪd fɔrm wɪθ ənd tɪ ˈsɪmjəˌleɪt rɪˈspɑns. ənd tɪ ˈsɪmjəˌleɪt rɪˈspɑns. ðə ˈrɪpəl əv kən bi rɪˈdust ˈgreɪtli fər ə ˈgɪvɪn ˈɔrdər ˈsɪstəm, baɪ ˈsækrəˌfaɪsɪŋ səm ˈbændwɪdθ ənd kəmˈbaɪnɪŋ wɪθ ə ˈfɪltər. ˈrɛfərənsɪz ənd ˈəðər stəf ðə ˈmɑʤul ˌɪnˈkludɪd ðə ˈpaɪθɑn ˈmɑʤul ɔn maɪ əˈkaʊnt; ɪt ɪz fri tɪ juz ˈəndər ðə əˈpæʧi ˈlaɪsəns, ənd həz ə ˈnəmbər əv ˈfiʧərz juzd ɪn ðɪs ˈɑrtɪkəl, ˌɪnˈkludɪŋ ðiz: kəmˈpjuts ðə ˈsɪstəm ðət ɪz ðə ˈsɪriz kæˈskeɪd əv ˈsɪstəmz ənd kəmˈpjuts ðə ˈsɪstəm ðət ɪz ðə ˈsɪriz kæˈskeɪd əv ˈsɪstəmz ənd zpk2ss_cascade(z,p,k*) ˈkɑnvərts ə lɪst əv ˈzɪroʊz, poʊlz, ənd ˌdiˈsi geɪn, tɪ ə ˌɛˌtiˈaɪ ˈsɪstəm ˈjuzɪŋ ðə kæˈskeɪd əˈproʊʧ ˈaʊˌtlaɪnd ɪn ðɪs ˈɑrtɪkəl ˈkɑnvərts ə lɪst əv ˈzɪroʊz, poʊlz, ənd ˌdiˈsi geɪn, tɪ ə ˌɛˌtiˈaɪ ˈsɪstəm ˈjuzɪŋ ðə kæˈskeɪd əˈproʊʧ ˈaʊˌtlaɪnd ɪn ðɪs ˈɑrtɪkəl zpk2ss_modal(z,p,k*) ˈkɑnvərts tɪ ə ˌɛˌtiˈaɪ ˈsɪstəm ˈjuzɪŋ ə daɪˈægənəl ə ˈmeɪtrɪks ˈkɑnvərts tɪ ə ˌɛˌtiˈaɪ ˈsɪstəm ˈjuzɪŋ ə daɪˈægənəl ə ˈmeɪtrɪks zpk2ss_realmodal(z,p,pk*) ˈkɑnvərts tɪ ə ˌɛˌtiˈaɪ ˈsɪstəm ˈjuzɪŋ ə ril blɑk daɪˈægənəl ə ˈmeɪtrɪks kəmˈpoʊzd əv æt moʊst blɑks ˈkɑnvərts tɪ ə ˌɛˌtiˈaɪ ˈsɪstəm ˈjuzɪŋ ə ril blɑk daɪˈægənəl ə ˈmeɪtrɪks kəmˈpoʊzd əv æt moʊst blɑks juˈtɪləti klæs fər kriˈeɪtɪŋ padé*é əˌprɑksəˈmeɪʃənz əv ˈɔrdər pi ənd dɪˈnɑməˌneɪtər ˈɔrdər kju fər ə taɪm dɪˈleɪ juˈtɪləti klæs fər kriˈeɪtɪŋ padé*é əˌprɑksəˈmeɪʃənz əv ˈɔrdər pi ənd dɪˈnɑməˌneɪtər ˈɔrdər kju fər ə taɪm dɪˈleɪ juˈtɪləti klæs fər kriˈeɪtɪŋ ˈfɪltərz ˈtɛknɪkəl ˈrɛfərənsɪz nuˈmɛrɪkəl æˈnælɪsɪs ðə ˈklæsɪk nuˈmɛrɪkəl æˈnælɪsɪs bʊks aɪ hæv ɔn maɪ ˈbʊkˌʃɛlf ər: nuˈmɛrɪkəl ˈrɛsəpiz ɪn si, prɛs, teukolsky*, vetterling*, ənd ˈflænəri ðə mæθ ˌɛkspləˈneɪʃənz ər ˌɪnˈvæljəbəl ənd ˈfɛrli ˈizi tɪ ˌəndərˈstænd. ðə si koʊd ɪz ˈɔfəl, ə streɪt pɔrt əv frəm ðə deɪz wɪn ˌælfənuˈmɛrɪk ˈkɛrɪktərz wər ə skɛrs ˈrisɔrs ənd soʊ ˈvɛriəbəl neɪmz hæd tɪ bi ˈkrɪptɪk ɪn ˈɔrdər tɪ fɪt ɪn ˈmɛməri. ðə ɑrt əv kəmˈpjutər ˈproʊˌgræmɪŋ, vol*. 2 ˈdɑnəld ə. knuθ. ðɪs gɪt ˈɪntu ˈlɪniər ˈælʤəbrə, bət ðə faʊnˈdeɪʃənz əv ˈskeɪlər ˌɛrɪθˈmɛtɪk ər ˈkəvərd hir. ɪf ju kən ˌəndərˈstænd ə ˈsɛkʃən əv ˈfʊli wɪˈθaʊt jʊr breɪn ˈhərtɪŋ, ju məst bi ə ˌmæθəməˈtɪʃən. ˈmeɪtrɪks ˌkɑmpjuˈteɪʃənz, ʤin eɪʧ. ˈgoʊləb ənd ˈʧɑrəlz væn loʊn. (ˈɔlsoʊ noʊn ɛz ənd væn loan”*”) aɪ hæv ðə ɪˈdɪʃən. ðɪs bʊk ɪz dɛns, ənd ɪf ju ˌəndərˈstænd ðə ˈbeɪsɪks əv ˈlɪniər ˈælʤəbrə ju wɪl gɪt lɔst kˈwɪkli, bət ɪt ˌɪnˈkludz ˈɛrər æˈnælɪsɪs baʊndz ənd ˈɔrdər əv ˌɑpərˈeɪʃən kaʊnts ɔn ˈmɛni ˈmeɪtrɪks ˈælgərˌɪðəmz. ˈɔlsoʊ wərθ ˈrɛdɪŋ ðə ˈpeɪpər wət ˈɛvəri kəmˈpjutər ˈsaɪəntɪst ʃʊd noʊ əˈbaʊt ˌɛrɪθˈmɛtɪk baɪ ˈdeɪvɪd ˈgoʊldbərg, wɪʧ ɪz ə ˈlɪtəl bɪt mɔr ækˈsɛsəbəl (ənd mɔr in-depth*) ðən ˈtritmənt, ɪn maɪ əˈpɪnjən. ðiz bʊks meɪ bi ˈjusfəl ɛz wɛl tɪ ðə ədˈvænst ˈridər, ənd ər ɔn maɪ lɪst aɪ vaʊʧ fər ðɛm jɛt, bət ðɛr ˈɔθərz ər well-reknowned*. ˈlɪniər ˈsɪstəmz ənd ˈsɑri, aɪ hæv ˈɛniˌθɪŋ aɪ kən ˌrɛkəˈmɛnd hir; wət rɛd ɪz ˈiðər ˌmidiˈoʊkər ər fɔlz ˈdipli ˈɪntu ˌθiərˈɛtɪkəl ˈmeɪtrɪks hɛl wɪˈθaʊt ˈrɪli ˈkəmɪŋ əp fər ɛr. (ðə æt ˈɛˈmaɪˈti fɔl ˈɪntu ðɪs ˈlætər ˈkætəˌgɔri.) ˈlɪniər ˈsɪstəmz ˈθɪri baɪ pi. meɪ bi əv juz. ˈʧæptər 1 ɪz ˈfrili əˈveɪləbəl ˈɔnˌlaɪn, ənd aɪ faʊnd ɪt ˈjusfəl fər ðə ˈvɛriəs ˌɪntərkəˈnɛkʃənz. bət ɪt lʊks laɪk ə ˈtɪpɪkəl ˈtɛkstˌbʊk ˈoʊvərrɪˌlaɪəns ɔn matlab*. oʊ, ənd aɪ stænd ðə ˈhɛdɪŋ təˈpɑgrəfi; ˈtɛkstˌbʊks lʊk laɪk ships’*’ lɔgz frəm stɑr trɛk. padé*é ˈəðər stəf ˈdɛdəkeɪtəd tɪ a.r*., hu wɑz ˈfrikwɛntli ˈəpˌsɛt. 2016 ˈʤeɪsən ɛm. sɑks, ɔl raɪts rɪˈzərvd. |
(photos: david bacon)oakland, california since the golden arches rose above the first southern california drive-ins, workers have labored in their shadows for the lowest legal wage a boss can pay. other chains have mushroomed since, copying the same ideas. pay workers the least possible. keep them guessing from week to week how many hours get. if anyone gets upset, there are always many more people on the street, ready to step behind the counter, clean up the dirty tables or stand at the grill in the heat and smoke.
is it a surprise that many people in those jobs came to this country to feed their hungry children or give a future to those they left behind? people will put up with a lot when hungry enough. take ibuprofen to get through the shift or line up for food at the local food pantry at the end of the month, because their paychecks stretch that far. all to keep that job.
these days, many of those workers have heard about strikes and work stoppages. the word is out about protests asking for $15 an hour instead of the $8 minimum. so chains are finally discovering what building service contractors and garment sweatshops have known for years. “suddenly realized” their workers are immigrants, and maybe some have good immigration papers. by asking for papers and firing those who come up with good ones, the restaurants imagine restore the previous willingness of workers to accept the minimum, no questions asked.
is that what happened at jack in the box in oakland? did the corporate office simply decide that the time had come to give workers a good scare? and did the immigration and customs enforcement agency of the department of homeland security help them? it be the first time.
in each of the past five years, ice has audited the records of more than employers, ordering them to fire undocumented workers. the mass firings include thousands of janitors and operators, as well as workers in farms, factories and meatpacking plants. now these so-called “silent raids” have arrived at joints, just in time to scare workers as they stage more walkouts and protests.
the government says forcing bosses to fire workers is more humane than deporting them. instead of mounting the kind of factory raids immigration authorities did a few years ago, with agents carrying machine guns, ice now says it uses this “softer” method. it has an electronic system to find and fire the undocumented a database called e-verify.
ice says it targets employers who force substandard wages or working conditions on their employees. but curing intolerable conditions by firing or deporting workers help the workers. and in the restaurants, the conditions change just because people get fired for not having good papers.
beneath the rhetoric is a whispered subtext, as well. if “those people” without papers work, leave. but no one is heading for mexico. people stay, but instead they lose homes and pull their kids from school, while looking for work on street corners or cleaning other homes.
in 1999 unions said they would try to put a stop to this. at the convention, they said help immigrant workers get organized to raise wages and make conditions better. unions would campaign to repeal the law, called “employer sanctions,” that makes it a crime for someone without papers to hold a job to support his or her family. but today congress is debating laws that would make these firings even more widespread, and criminalize people even more. these bills come from the tea party and mainstream democrats, who see no problem in firing workers for not having papers.
maybe because they just see or hear the workers. they have to listen to parents wondering how put the next meal on the table for their kids.
but maria saucedo and diana rivera are not invisible, nor are they willing to be quiet. both were fired recently at jack in the box in oakland for not having papers. their experiences are a reality check the reality of the “silent raid” and its human cost. today communities and unions are starting to see that the future could change in fast food restaurants because of the willingness of these two women, and others like them, to stand up and ask for that $15 wage. but the organizations that support them have to answer their question: is it just, to get fired because you have papers? everyone have the right to put food on the table for their families?
maria saucedo
i’ve worked at jack in the box in oakland for 12 years, and now firing everyone. i was a cashier, but worked in prep, as a fryer, on the grill, in the seating area every job they have there. you have to know what doing. the company has a way the job should be done. they have their rules, their times. you have to learn their way of doing things.
at the end of the day really tired, especially my feet, because standing all day preparing or serving the food. they demand a lot and put a lot of pressure on you to work fast. always telling you, “hurry up! this is fast food. you have to work faster!” they have a stopwatch, and you have to cook the food in three minutes because they say the customers wait longer than that.
if you do the work fast enough, they take you off that job and put someone else on it. and they give you any help. if working on the grill, there by yourself. they threaten that if you work fast enough, cut your hours or even cut your days.
i was working 35, sometimes 39, hours a week and only taking home $500 every two weeks. so if they take away four or five hours, it has a big impact. i even pay the rent and our bills with what i make. plus, i have to send money to my daughters. sometimes, i get to the end of the month, and i have enough money to buy food. i have to decide which bills i can pay or only pay part of them. i go to the food pantry on avenue to get food then, because i have enough money to buy it.
every day on the table where we put our lunch, we have cans of red bull. instead of drinking soda, lots of people drink it so they can get the strength to keep on working. people take aspirin also for the pain. there was one young man who would take advil with caffeine with his red bull, as a way to keep awake while he was working at night.
i take herbalife that also has caffeine to get the energy to keep working. i take ibuprofen and advil for the pain, especially for the headaches i get because of the pressure and for the aches in my feet. if working on the grill, in the heat, you have to take pills for the pain you get in your hands there, too.
in october the woman in charge of the restaurant was up in her office, and i was working down below. she sent the supervisor to call me in and said my social security number match. that was on a tuesday. she said i could work until saturday, and that would be it. it was the same social security number i gave the company when i began work there 12 years ago. in all that time, they never said anything about it. and not the only one this happened to many other people, too.
they’d been shorting me on my check for weeks. my last check should have been for 40 hours, and instead they only paid me for 21. i told her that if she was firing me, she had to pay me the hours they owed. i told her, “you know my rights you fire me without paying all you owe me.” she said she have any money available for that, and i still been paid.
i think fair to be fired for not having papers. we all have the right to work, the right to live. not robbing or hurting anyone. simply working. every dollar we put in our pocket has been truly earned the hard way. and the people hiring now to take our places stay, not for $8. they work two or three days and then they leave. people who can work here legally have to work for $8.
i think this is happening for two reasons. to begin with, making $8.25 an hour, and hiring people at $8, so save a few cents this way. but i also think this is a racial profile. only asking latinos. why just us? they just think, “for sure, if latino an immigrant.” now they company hiring any latinos or any asians. not against white or black people working here. we all have a right to work and need to eat, to pay rent, to pay bills. but they fire us.
i like these demonstrations for $15 an hour. i went to some. we work much too hard for a wage of $8 an hour. even in the airport they pay $12 for the exact same work. getting rich while the ones doing all the work. and look at how they treat us.
i have two daughters and a husband who work because of an accident on his job. the only person in our family working now. my daughters are both studying in mexico city one studying law and the other economy. paying for their school and for everything else they need. now that i work, going to hurt us a lot maybe have to suspend their studies. i thought yet about what going to do about this.
now going to have to find another job, because i have to keep working. not going to let this beat us. we have to continue struggling. i know what do if i find work quickly. but not thinking about going back to mexico. been here 13 years. from mexico city, and maybe things are hard here, but much harder there. you have to ask yourself, “going back to what?”
this country was built by immigrants. without immigrants, where would it be? they call us illegals, but what doing is even more illegal.
diana rivera
i was off monday and tuesday, so i came in to work on wednesday. i punched in and began to work, and the manager arrived and asked me why i was working. i said, “because my job.” then he called me upstairs and asked me for my social security number and papers. he said, “you have any job here anymore. none of you have any more work here.” when i asked why again, he explained they had orders from higher up in the company not to give us any work. he want to say anything that would get him in trouble with the people above him.
i asked for a letter that would give the reason for firing me. he said it was because we have good social security numbers we have papers. i said they knew that when they hired us. in the two years i worked there, no one said anything about papers or immigration. i asked why they asked for papers until now and were firing so many of us. he know what to say to me, so he just sat there without saying anything.
i make $8.15 -15 cents more than the beginning wage. they want to get rid of all those who make more than $8, because the minimum. i think the demonstrations asking for $15 an hour are a good idea, because considering the work we do, $8 is very little. we do too much work for that. so it would be good if the wages went up. they want us to put in a lot of effort and work fast. so not fair to do this to us after that. it seems very unjust to me.
they give us any notice. we just showed up, and they told us we had no more work. at least with more notice we could have been more prepared and looked for another job. but now? with no job? can you imagine what like? have to start looking for work all over again, and very quickly. i guess try to find the same kind of work in restaurants like jack in the box. my family is going to suffer because we have my salary coming in. my family survive with just the wage my husband is making.
i think unjust to be fired for not having papers because we all have a right to work. we come here for any other reason. i believe working is a crime. what doing is something normal not hurting anyone. i come from guerrero. work there, like in the hotels in acapulco, but it pays much less. so not thinking of going back to mexico. thinking about moving forward. i have children who were born here. i think they have opportunities here.
i liked that job. when used to working you really put an effort into it. so i think it was really unfair the way they fired us. just to tell us all of a sudden, you have no more job.
editor’s note: these photographs were taken at a picket line in front of the ice office in san jose, california, protesting government demands that another employer, bon, fire its workers whose papers are in question. bon manages the cafeterias in many of the high tech buildings in valley, from stanford university to google. all photos by david bacon. | (ˈfoʊˌtoʊz: ˈdeɪvɪd bacon)oakland*, ˌkæləˈfɔrnjə sɪns ðə ˈgoʊldən ˈɑrʧɪz roʊz əˈbəv ðə fərst ˈsəðərn ˌkæləˈfɔrnjə drive-ins*, ˈwərkərz hæv ˈleɪbərd ɪn ðɛr ˈʃæˌdoʊz fər ðə loʊəst ˈligəl weɪʤ ə bɔs kən peɪ. ˈəðər ʧeɪnz hæv ˈməʃˌrʊmd sɪns, ˈkɑpiɪŋ ðə seɪm aɪˈdiəz. peɪ ˈwərkərz ðə list ˈpɑsəbəl. kip ðɛm ˈgɛsɪŋ frəm wik tɪ wik haʊ ˈmɛni aʊərz gɪt. ɪf ˈɛniˌwən gɪts ˈəpˌsɛt, ðɛr ər ˈɔlˌweɪz ˈmɛni mɔr ˈpipəl ɔn ðə strit, ˈrɛdi tɪ stɛp bɪˈhaɪnd ðə ˈkaʊntər, klin əp ðə ˈdərti ˈteɪbəlz ər stænd æt ðə grɪl ɪn ðə hit ənd smoʊk. ɪz ɪt ə səˈpraɪz ðət ˈmɛni ˈpipəl ɪn ðoʊz ʤɑbz keɪm tɪ ðɪs ˈkəntri tɪ fid ðɛr ˈhəŋgri ˈʧɪldrən ər gɪv ə fˈjuʧər tɪ ðoʊz ðeɪ lɛft bɪˈhaɪnd? ˈpipəl wɪl pʊt əp wɪθ ə lɔt wɪn ˈhəŋgri ɪˈnəf. teɪk ˌaɪbjuˈproʊfən tɪ gɪt θru ðə ʃɪft ər laɪn əp fər fud æt ðə ˈloʊkəl fud ˈpæntri æt ðə ɛnd əv ðə mənθ, bɪˈkəz ðɛr ˈpeɪˌʧɛks strɛʧ ðət fɑr. ɔl tɪ kip ðət ʤɑb. ðiz deɪz, ˈmɛni əv ðoʊz ˈwərkərz hæv hərd əˈbaʊt straɪks ənd wərk ˈstɑpɪʤɪz. ðə wərd ɪz aʊt əˈbaʊt ˈproʊˌtɛsts ˈæskɪŋ fər 15 ən aʊər ˌɪnˈstɛd əv ðə 8 ˈmɪnəməm. soʊ ʧeɪnz ər ˈfaɪnəli dɪˈskəvərɪŋ wət ˈbɪldɪŋ ˈsərvɪs ˈkɑnˌtræktərz ənd ˈgɑrmənt sˈwɛtˌʃɑps hæv noʊn fər jɪrz. realized”*” ðɛr ˈwərkərz ər ˈɪməgrənts, ənd ˈmeɪbi səm hæv gʊd ˌɪməˈgreɪʃən ˈpeɪpərz. baɪ ˈæskɪŋ fər ˈpeɪpərz ənd ˈfaɪərrɪŋ ðoʊz hu kəm əp wɪθ gʊd wənz, ðə ˈrɛˌstrɑnts ˌɪˈmæʤən rɪˈstɔr ðə ˈpriviəs ˈwɪlɪŋnəs əv ˈwərkərz tɪ əkˈsɛpt ðə ˈmɪnəməm, noʊ kˈwɛsʧənz æst. ɪz ðət wət ˈhæpənd æt ʤæk ɪn ðə bɑks ɪn ˈoʊklənd? dɪd ðə ˈkɔrpərət ˈɔfəs ˈsɪmpli ˌdɪˈsaɪd ðət ðə taɪm hæd kəm tɪ gɪv ˈwərkərz ə gʊd skɛr? ənd dɪd ðə ˌɪməˈgreɪʃən ənd ˈkəstəmz ɛnˈfɔrsmənt ˈeɪʤənsi əv ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti hɛlp ðɛm? ɪt bi ðə fərst taɪm. ɪn iʧ əv ðə pæst faɪv jɪrz, aɪs həz ˈɔdɪtɪd ðə ˈrɛkərdz əv mɔr ðən ɪmˈplɔɪərz, ˈɔrdərɪŋ ðɛm tɪ faɪər ənˈdɑkjəmɛnɪd ˈwərkərz. ðə mæs ˈfaɪərrɪŋz ˌɪnˈklud ˈθaʊzənz əv ˈʤænətərz ənd ˈɔpərˌeɪtərz, ɛz wɛl ɛz ˈwərkərz ɪn fɑrmz, ˈfæktəriz ənd ˈmitˌpækɪŋ plænts. naʊ ðiz ˈsoʊˈkɔld raids”*” hæv əraɪvd æt ʤɔɪnts, ʤɪst ɪn taɪm tɪ skɛr ˈwərkərz ɛz ðeɪ steɪʤ mɔr ˈwɔˌkaʊts ənd ˈproʊˌtɛsts. ðə ˈgəvərnmənt sɪz ˈfɔrsɪŋ ˈbɔsɪz tɪ faɪər ˈwərkərz ɪz mɔr hjuˈmeɪn ðən dɪˈpɔrtɪŋ ðɛm. ˌɪnˈstɛd əv ˈmaʊntɪŋ ðə kaɪnd əv ˈfæktəri reɪdz ˌɪməˈgreɪʃən əˈθɔrətiz dɪd ə fju jɪrz əˈgoʊ, wɪθ ˈeɪʤənts ˈkɛriɪŋ məˈʃin gənz, aɪs naʊ sɪz ɪt ˈjuzɪz ðɪs ““softer”*” ˈmɛθəd. ɪt həz ən ˌɪˌlɛkˈtrɑnɪk ˈsɪstəm tɪ faɪnd ənd faɪər ðə ənˈdɑkjəmɛnɪd ə ˈdætəˌbeɪs kɔld e-verify*. aɪs sɪz ɪt ˈtɑrgəts ɪmˈplɔɪərz hu fɔrs səbˈstændərd ˈweɪʤɪz ər ˈwərkɪŋ kənˈdɪʃənz ɔn ðɛr ɪmˈplɔɪiz. bət ˈkjʊrɪŋ ˌɪnˈtɑlərəbəl kənˈdɪʃənz baɪ ˈfaɪərrɪŋ ər dɪˈpɔrtɪŋ ˈwərkərz hɛlp ðə ˈwərkərz. ənd ɪn ðə ˈrɛˌstrɑnts, ðə kənˈdɪʃənz ʧeɪnʤ ʤɪst bɪˈkəz ˈpipəl gɪt faɪərd fər nɑt ˈhævɪŋ gʊd ˈpeɪpərz. bɪˈniθ ðə ˈrɛtərɪk ɪz ə ˈwɪspərd ˈsəbˌtɛkst, ɛz wɛl. ɪf people”*” wɪˈθaʊt ˈpeɪpərz wərk, liv. bət noʊ wən ɪz ˈhɛdɪŋ fər ˈmɛksəˌkoʊ. ˈpipəl steɪ, bət ˌɪnˈstɛd ðeɪ luz hoʊmz ənd pʊl ðɛr kɪdz frəm skul, waɪl ˈlʊkɪŋ fər wərk ɔn strit ˈkɔrnərz ər ˈklinɪŋ ˈəðər hoʊmz. ɪn 1999 ˈjunjənz sɛd ðeɪ wʊd traɪ tɪ pʊt ə stɑp tɪ ðɪs. æt ðə kənˈvɛnʃən, ðeɪ sɛd hɛlp ˈɪməgrənt ˈwərkərz gɪt ˈɔrgəˌnaɪzd tɪ reɪz ˈweɪʤɪz ənd meɪk kənˈdɪʃənz ˈbɛtər. ˈjunjənz wʊd kæmˈpeɪn tɪ rɪˈpil ðə lɔ, kɔld sanctions,”*,” ðət meɪks ɪt ə kraɪm fər ˈsəmˌwən wɪˈθaʊt ˈpeɪpərz tɪ hoʊld ə ʤɑb tɪ səˈpɔrt hɪz ər hər ˈfæməli. bət təˈdeɪ ˈkɑŋgrəs ɪz dəˈbeɪtɪŋ lɔz ðət wʊd meɪk ðiz ˈfaɪərrɪŋz ˈivɪn mɔr ˈwaɪdˈsprɛd, ənd ˈkrɪmənəˌlaɪz ˈpipəl ˈivɪn mɔr. ðiz bɪlz kəm frəm ðə ti ˈpɑrti ənd ˈmeɪnˌstrim ˈdɛməˌkræts, hu si noʊ ˈprɑbləm ɪn ˈfaɪərrɪŋ ˈwərkərz fər nɑt ˈhævɪŋ ˈpeɪpərz. ˈmeɪbi bɪˈkəz ðeɪ ʤɪst si ər hir ðə ˈwərkərz. ðeɪ hæv tɪ ˈlɪsən tɪ ˈpɛrənts ˈwəndərɪŋ haʊ pʊt ðə nɛkst mil ɔn ðə ˈteɪbəl fər ðɛr kɪdz. bət mərˈiə saʊˈseɪdoʊ ənd daɪˈænə rɪˈvɛrə ər nɑt ˌɪnˈvɪzəbəl, nɔr ər ðeɪ ˈwɪlɪŋ tɪ bi kwaɪət. boʊθ wər faɪərd ˈrisəntli æt ʤæk ɪn ðə bɑks ɪn ˈoʊklənd fər nɑt ˈhævɪŋ ˈpeɪpərz. ðɛr ɪkˈspɪriənsɪz ər ə ˌriˈæləˌti ʧɛk ðə ˌriˈæləˌti əv ðə raid”*” ənd ɪts ˈjumən kɔst. təˈdeɪ kəmˈjunɪtiz ənd ˈjunjənz ər ˈstɑrtɪŋ tɪ si ðət ðə fˈjuʧər kʊd ʧeɪnʤ ɪn fæst fud ˈrɛˌstrɑnts bɪˈkəz əv ðə ˈwɪlɪŋnəs əv ðiz tu ˈwɪmən, ənd ˈəðərz laɪk ðɛm, tɪ stænd əp ənd æsk fər ðət 15 weɪʤ. bət ðə ˌɔrgənəˈzeɪʃənz ðət səˈpɔrt ðɛm hæv tɪ ˈænsər ðɛr kˈwɛʃən: ɪz ɪt ʤɪst, tɪ gɪt faɪərd bɪˈkəz ju hæv ˈpeɪpərz? ˈɛvriˌwən hæv ðə raɪt tɪ pʊt fud ɔn ðə ˈteɪbəl fər ðɛr ˈfæməliz? mərˈiə saʊˈseɪdoʊ wərkt æt ʤæk ɪn ðə bɑks ɪn ˈoʊklənd fər 12 jɪrz, ənd naʊ ˈfaɪərrɪŋ ˈɛvriˌwən. aɪ wɑz ə kæˈʃɪr, bət wərkt ɪn prɛp, ɛz ə fraɪər, ɔn ðə grɪl, ɪn ðə ˈsitɪŋ ˈɛriə ˈɛvəri ʤɑb ðeɪ hæv ðɛr. ju hæv tɪ noʊ wət duɪŋ. ðə ˈkəmpəˌni həz ə weɪ ðə ʤɑb ʃʊd bi dən. ðeɪ hæv ðɛr rulz, ðɛr taɪmz. ju hæv tɪ lərn ðɛr weɪ əv duɪŋ θɪŋz. æt ðə ɛnd əv ðə deɪ ˈrɪli taɪərd, əˈspɛʃəli maɪ fit, bɪˈkəz ˈstændɪŋ ɔl deɪ pərˈpɛrɪŋ ər ˈsərvɪŋ ðə fud. ðeɪ dɪˈmænd ə lɔt ənd pʊt ə lɔt əv ˈprɛʃər ɔn ju tɪ wərk fæst. ˈɔlˌweɪz ˈtɛlɪŋ ju, əp! ðɪs ɪz fæst fud. ju hæv tɪ wərk faster!”*!” ðeɪ hæv ə ˈstɑpˌwɑʧ, ənd ju hæv tɪ kʊk ðə fud ɪn θri ˈmɪnəts bɪˈkəz ðeɪ seɪ ðə ˈkəstəmərz weɪt ˈlɔŋgər ðən ðət. ɪf ju du ðə wərk fæst ɪˈnəf, ðeɪ teɪk ju ɔf ðət ʤɑb ənd pʊt ˈsəmˌwən ɛls ɔn ɪt. ənd ðeɪ gɪv ju ˈɛni hɛlp. ɪf ˈwərkɪŋ ɔn ðə grɪl, ðɛr baɪ ˈjɔrsɛlf. ðeɪ θˈrɛtən ðət ɪf ju wərk fæst ɪˈnəf, kət jʊr aʊərz ər ˈivɪn kət jʊr deɪz. aɪ wɑz ˈwərkɪŋ 35 ˈsəmˌtaɪmz 39 aʊərz ə wik ənd ˈoʊnli ˈteɪkɪŋ hoʊm 500 ˈɛvəri tu wiks. soʊ ɪf ðeɪ teɪk əˈweɪ fɔr ər faɪv aʊərz, ɪt həz ə bɪg ˌɪmˈpækt. aɪ ˈivɪn peɪ ðə rɛnt ənd ɑr bɪlz wɪθ wət aɪ meɪk. pləs, aɪ hæv tɪ sɛnd ˈməni tɪ maɪ ˈdɔtərz. ˈsəmˌtaɪmz, aɪ gɪt tɪ ðə ɛnd əv ðə mənθ, ənd aɪ hæv ɪˈnəf ˈməni tɪ baɪ fud. aɪ hæv tɪ ˌdɪˈsaɪd wɪʧ bɪlz aɪ kən peɪ ər ˈoʊnli peɪ pɑrt əv ðɛm. aɪ goʊ tɪ ðə fud ˈpæntri ɔn ˈævəˌnu tɪ gɪt fud ðɛn, bɪˈkəz aɪ hæv ɪˈnəf ˈməni tɪ baɪ ɪt. ˈɛvəri deɪ ɔn ðə ˈteɪbəl wɛr wi pʊt ɑr lənʧ, wi hæv kænz əv rɛd bʊl. ˌɪnˈstɛd əv ˈdrɪŋkɪŋ ˈsoʊdə, lɑts əv ˈpipəl drɪŋk ɪt soʊ ðeɪ kən gɪt ðə strɛŋθ tɪ kip ɔn ˈwərkɪŋ. ˈpipəl teɪk ˈæsprɪn ˈɔlsoʊ fər ðə peɪn. ðɛr wɑz wən jəŋ mæn hu wʊd teɪk ˈædˌvɪl wɪθ kæˈfin wɪθ hɪz rɛd bʊl, ɛz ə weɪ tɪ kip əˈweɪk waɪl hi wɑz ˈwərkɪŋ æt naɪt. aɪ teɪk ˈərbəˌlaɪf ðət ˈɔlsoʊ həz kæˈfin tɪ gɪt ðə ˈɛnərʤi tɪ kip ˈwərkɪŋ. aɪ teɪk ˌaɪbjuˈproʊfən ənd ˈædˌvɪl fər ðə peɪn, əˈspɛʃəli fər ðə ˈhɛˌdeɪks aɪ gɪt bɪˈkəz əv ðə ˈprɛʃər ənd fər ðə eɪks ɪn maɪ fit. ɪf ˈwərkɪŋ ɔn ðə grɪl, ɪn ðə hit, ju hæv tɪ teɪk pɪlz fər ðə peɪn ju gɪt ɪn jʊr hænz ðɛr, tu. ɪn ɑkˈtoʊbər ðə ˈwʊmən ɪn ʧɑrʤ əv ðə ˈrɛˌstrɑnt wɑz əp ɪn hər ˈɔfəs, ənd aɪ wɑz ˈwərkɪŋ daʊn bɪˈloʊ. ʃi sɛnt ðə ˈsupərˌvaɪzər tɪ kɔl mi ɪn ənd sɛd maɪ ˈsoʊʃəl sɪˈkjʊrəti ˈnəmbər mæʧ. ðət wɑz ɔn ə ˈtuzˌdeɪ. ʃi sɛd aɪ kʊd wərk ənˈtɪl ˈsæˌtɪˌdeɪ, ənd ðət wʊd bi ɪt. ɪt wɑz ðə seɪm ˈsoʊʃəl sɪˈkjʊrəti ˈnəmbər aɪ geɪv ðə ˈkəmpəˌni wɪn aɪ bɪˈgæn wərk ðɛr 12 jɪrz əˈgoʊ. ɪn ɔl ðət taɪm, ðeɪ ˈnɛvər sɛd ˈɛniˌθɪŋ əˈbaʊt ɪt. ənd nɑt ðə ˈoʊnli wən ðɪs ˈhæpənd tɪ ˈmɛni ˈəðər ˈpipəl, tu. bɪn ˈʃɔrtɪŋ mi ɔn maɪ ʧɛk fər wiks. maɪ læst ʧɛk ʃʊd hæv bɪn fər 40 aʊərz, ənd ˌɪnˈstɛd ðeɪ ˈoʊnli peɪd mi fər 21 aɪ toʊld hər ðət ɪf ʃi wɑz ˈfaɪərrɪŋ mi, ʃi hæd tɪ peɪ mi ðə aʊərz ðeɪ oʊd. aɪ toʊld hər, noʊ maɪ raɪts ju faɪər mi wɪˈθaʊt peɪɪŋ ɔl ju oʊ me.”*.” ʃi sɛd ʃi hæv ˈɛni ˈməni əˈveɪləbəl fər ðət, ənd aɪ stɪl bɪn peɪd. aɪ θɪŋk fɛr tɪ bi faɪərd fər nɑt ˈhævɪŋ ˈpeɪpərz. wi ɔl hæv ðə raɪt tɪ wərk, ðə raɪt tɪ lɪv. nɑt ˈrɑbɪŋ ər ˈhərtɪŋ ˈɛniˌwən. ˈsɪmpli ˈwərkɪŋ. ˈɛvəri ˈdɔlər wi pʊt ɪn ɑr ˈpɑkət həz bɪn ˈtruli ərnd ðə hɑrd weɪ. ənd ðə ˈpipəl ˈhaɪrɪŋ naʊ tɪ teɪk ɑr ˈpleɪsɪz steɪ, nɑt fər 8 ðeɪ wərk tu ər θri deɪz ənd ðɛn ðeɪ liv. ˈpipəl hu kən wərk hir ˈligəli hæv tɪ wərk fər 8 aɪ θɪŋk ðɪs ɪz ˈhæpənɪŋ fər tu ˈrizənz. tɪ bɪˈgɪn wɪθ, ˈmeɪkɪŋ ən aʊər, ənd ˈhaɪrɪŋ ˈpipəl æt 8 soʊ seɪv ə fju sɛnts ðɪs weɪ. bət aɪ ˈɔlsoʊ θɪŋk ðɪs ɪz ə ˈreɪʃəl ˈproʊˌfaɪl. ˈoʊnli ˈæskɪŋ lɑˈtinoʊs. waɪ ʤɪst ˈjuˈɛs? ðeɪ ʤɪst θɪŋk, ʃʊr, ɪf ləˈtinoʊ ən immigrant.”*.” naʊ ðeɪ ˈkəmpəˌni ˈhaɪrɪŋ ˈɛni lɑˈtinoʊs ər ˈɛni ˈeɪʒənz. nɑt əˈgɛnst waɪt ər blæk ˈpipəl ˈwərkɪŋ hir. wi ɔl hæv ə raɪt tɪ wərk ənd nid tɪ it, tɪ peɪ rɛnt, tɪ peɪ bɪlz. bət ðeɪ faɪər ˈjuˈɛs. aɪ laɪk ðiz ˌdɛmənˈstreɪʃənz fər 15 ən aʊər. aɪ wɛnt tɪ səm. wi wərk məʧ tu hɑrd fər ə weɪʤ əv 8 ən aʊər. ˈivɪn ɪn ðə ˈɛrˌpɔrt ðeɪ peɪ 12 fər ðə ɪgˈzækt seɪm wərk. ˈgɪtɪŋ rɪʧ waɪl ðə wənz duɪŋ ɔl ðə wərk. ənd lʊk æt haʊ ðeɪ trit ˈjuˈɛs. aɪ hæv tu ˈdɔtərz ənd ə ˈhəzbənd hu wərk bɪˈkəz əv ən ˈæksədənt ɔn hɪz ʤɑb. ðə ˈoʊnli ˈpərsən ɪn ɑr ˈfæməli ˈwərkɪŋ naʊ. maɪ ˈdɔtərz ər boʊθ ˈstədiɪŋ ɪn ˈmɛksəˌkoʊ ˈsɪti wən ˈstədiɪŋ lɔ ənd ðə ˈəðər ɪˈkɑnəmi. peɪɪŋ fər ðɛr skul ənd fər ˈɛvriˌθɪŋ ɛls ðeɪ nid. naʊ ðət aɪ wərk, goʊɪŋ tɪ hərt ˈjuˈɛs ə lɔt ˈmeɪbi hæv tɪ səˈspɛnd ðɛr ˈstədiz. aɪ θɔt jɛt əˈbaʊt wət goʊɪŋ tɪ du əˈbaʊt ðɪs. naʊ goʊɪŋ tɪ hæv tɪ faɪnd əˈnəðər ʤɑb, bɪˈkəz aɪ hæv tɪ kip ˈwərkɪŋ. nɑt goʊɪŋ tɪ lɛt ðɪs bit ˈjuˈɛs. wi hæv tɪ kənˈtɪnju ˈstrəgəlɪŋ. aɪ noʊ wət du ɪf aɪ faɪnd wərk kˈwɪkli. bət nɑt ˈθɪŋkɪŋ əˈbaʊt goʊɪŋ bæk tɪ ˈmɛksəˌkoʊ. bɪn hir 13 jɪrz. frəm ˈmɛksəˌkoʊ ˈsɪti, ənd ˈmeɪbi θɪŋz ər hɑrd hir, bət məʧ ˈhɑrdər ðɛr. ju hæv tɪ æsk ˈjɔrsɛlf, bæk tɪ what?”*?” ðɪs ˈkəntri wɑz bɪlt baɪ ˈɪməgrənts. wɪˈθaʊt ˈɪməgrənts, wɛr wʊd ɪt bi? ðeɪ kɔl ˈjuˈɛs ˌɪˈligəlz, bət wət duɪŋ ɪz ˈivɪn mɔr ˌɪˈligəl. daɪˈænə rɪˈvɛrə aɪ wɑz ɔf ˈmənˌdeɪ ənd ˈtuzˌdeɪ, soʊ aɪ keɪm ɪn tɪ wərk ɔn ˈwɛnzˌdeɪ. aɪ pənʧt ɪn ənd bɪˈgæn tɪ wərk, ənd ðə ˈmænɪʤər əraɪvd ənd æst mi waɪ aɪ wɑz ˈwərkɪŋ. aɪ sɛd, maɪ job.”*.” ðɛn hi kɔld mi əpˈstɛrz ənd æst mi fər maɪ ˈsoʊʃəl sɪˈkjʊrəti ˈnəmbər ənd ˈpeɪpərz. hi sɛd, hæv ˈɛni ʤɑb hir ˌɛniˈmɔr. nən əv ju hæv ˈɛni mɔr wərk here.”*.” wɪn aɪ æst waɪ əˈgɛn, hi ɪkˈspleɪnd ðeɪ hæd ˈɔrdərz frəm haɪər əp ɪn ðə ˈkəmpəˌni nɑt tɪ gɪv ˈjuˈɛs ˈɛni wərk. hi wɔnt tɪ seɪ ˈɛniˌθɪŋ ðət wʊd gɪt ɪm ɪn ˈtrəbəl wɪθ ðə ˈpipəl əˈbəv ɪm. aɪ æst fər ə ˈlɛtər ðət wʊd gɪv ðə ˈrizən fər ˈfaɪərrɪŋ mi. hi sɛd ɪt wɑz bɪˈkəz wi hæv gʊd ˈsoʊʃəl sɪˈkjʊrəti ˈnəmbərz wi hæv ˈpeɪpərz. aɪ sɛd ðeɪ nu ðət wɪn ðeɪ haɪərd ˈjuˈɛs. ɪn ðə tu jɪrz aɪ wərkt ðɛr, noʊ wən sɛd ˈɛniˌθɪŋ əˈbaʊt ˈpeɪpərz ər ˌɪməˈgreɪʃən. aɪ æst waɪ ðeɪ æst fər ˈpeɪpərz ənˈtɪl naʊ ənd wər ˈfaɪərrɪŋ soʊ ˈmɛni əv ˈjuˈɛs. hi noʊ wət tɪ seɪ tɪ mi, soʊ hi ʤɪst sæt ðɛr wɪˈθaʊt seɪɪŋ ˈɛniˌθɪŋ. aɪ meɪk 15 sɛnts mɔr ðən ðə bɪˈgɪnɪŋ weɪʤ. ðeɪ wɔnt tɪ gɪt rɪd əv ɔl ðoʊz hu meɪk mɔr ðən 8 bɪˈkəz ðə ˈmɪnəməm. aɪ θɪŋk ðə ˌdɛmənˈstreɪʃənz ˈæskɪŋ fər 15 ən aʊər ər ə gʊd aɪˈdiə, bɪˈkəz kənˈsɪdərɪŋ ðə wərk wi du, 8 ɪz ˈvɛri ˈlɪtəl. wi du tu məʧ wərk fər ðət. soʊ ɪt wʊd bi gʊd ɪf ðə ˈweɪʤɪz wɛnt əp. ðeɪ wɔnt ˈjuˈɛs tɪ pʊt ɪn ə lɔt əv ˈɛfərt ənd wərk fæst. soʊ nɑt fɛr tɪ du ðɪs tɪ ˈjuˈɛs ˈæftər ðət. ɪt simz ˈvɛri ənˈʤəst tɪ mi. ðeɪ gɪv ˈjuˈɛs ˈɛni ˈnoʊtɪs. wi ʤɪst ʃoʊd əp, ənd ðeɪ toʊld ˈjuˈɛs wi hæd noʊ mɔr wərk. æt list wɪθ mɔr ˈnoʊtɪs wi kʊd hæv bɪn mɔr priˈpɛrd ənd lʊkt fər əˈnəðər ʤɑb. bət naʊ? wɪθ noʊ ʤɑb? kən ju ˌɪˈmæʤən wət laɪk? hæv tɪ stɑrt ˈlʊkɪŋ fər wərk ɔl ˈoʊvər əˈgɛn, ənd ˈvɛri kˈwɪkli. aɪ gɛs traɪ tɪ faɪnd ðə seɪm kaɪnd əv wərk ɪn ˈrɛˌstrɑnts laɪk ʤæk ɪn ðə bɑks. maɪ ˈfæməli ɪz goʊɪŋ tɪ ˈsəfər bɪˈkəz wi hæv maɪ ˈsæləri ˈkəmɪŋ ɪn. maɪ ˈfæməli sərˈvaɪv wɪθ ʤɪst ðə weɪʤ maɪ ˈhəzbənd ɪz ˈmeɪkɪŋ. aɪ θɪŋk ənˈʤəst tɪ bi faɪərd fər nɑt ˈhævɪŋ ˈpeɪpərz bɪˈkəz wi ɔl hæv ə raɪt tɪ wərk. wi kəm hir fər ˈɛni ˈəðər ˈrizən. aɪ bɪˈliv ˈwərkɪŋ ɪz ə kraɪm. wət duɪŋ ɪz ˈsəmθɪŋ ˈnɔrməl nɑt ˈhərtɪŋ ˈɛniˌwən. aɪ kəm frəm gərˈɛroʊ. wərk ðɛr, laɪk ɪn ðə hoʊˈtɛlz ɪn ˌækəˈpʊlkoʊ, bət ɪt peɪz məʧ lɛs. soʊ nɑt ˈθɪŋkɪŋ əv goʊɪŋ bæk tɪ ˈmɛksəˌkoʊ. ˈθɪŋkɪŋ əˈbaʊt ˈmuvɪŋ ˈfɔrwərd. aɪ hæv ˈʧɪldrən hu wər bɔrn hir. aɪ θɪŋk ðeɪ hæv ˌɑpərˈtunətiz hir. aɪ laɪkt ðət ʤɑb. wɪn juzd tɪ ˈwərkɪŋ ju ˈrɪli pʊt ən ˈɛfərt ˈɪntu ɪt. soʊ aɪ θɪŋk ɪt wɑz ˈrɪli ˌɔnˈfɛr ðə weɪ ðeɪ faɪərd ˈjuˈɛs. ʤɪst tɪ tɛl ˈjuˈɛs ɔl əv ə ˈsədən, ju hæv noʊ mɔr ʤɑb. noʊt: ðiz ˈfoʊtəˌgræfs wər ˈteɪkən æt ə ˈpɪkɪt laɪn ɪn frənt əv ðə aɪs ˈɔfəs ɪn sæn ˌhoʊˈzeɪ, ˌkæləˈfɔrnjə, ˈproʊˌtɛstɪŋ ˈgəvərnmənt dɪˈmændz ðət əˈnəðər ɪmˈplɔɪər, bɑn, faɪər ɪts ˈwərkərz huz ˈpeɪpərz ər ɪn kˈwɛʃən. bɑn ˈmænɪʤɪz ðə ˌkæfəˈtɪriəz ɪn ˈmɛni əv ðə haɪ tɛk ˈbɪldɪŋz ɪn ˈvæli, frəm ˈstænfərd ˌjunəˈvərsəti tɪ ˈgugəl. ɔl ˈfoʊˌtoʊz baɪ ˈdeɪvɪd ˈbeɪkən. |
here & there is a project by berg exploring speculative projections of dense cities. these maps of manhattan look uptown from and 7th, and downtown from and 35th. they're intended to be seen at those same places, putting the viewer simultaneously above the city and in it where she stands, both looking down and looking forward.
(the map deserves to be examined at full scale. prints from a limited run are available for purchase.)
landmarks are in gold. note the figure standing outside cooper union. you'll see him in the distance on the other map of the pair. click to see here & there looking downtown.
what's going on?
imagine a person standing at a street corner. the projection begins with a three-dimensional representation of the immediate environment. close buildings are represented normally, and the viewer himself is shown in the third person, exactly where she stands.
as the model bends from sideways to top-down in a smooth join, more distant parts of the city are revealed in plan view. the projection connects the viewer's local environment to remote destinations normally out of sight.
how?
jack schulze explains...
"first we take an electronic manhattan. it's a of various commercial sources, where we've repaired walls that aren't drawn right and roofs that don't fit. about a tenth of the city is by hand, then textured.
"the projection seen here is a combination of city manipulations in software, and choosing the best lens for the simulated camera. the nearby buildings obstruct the view if you get that wrong, or the distant ones stop working as a conventional map. there's fine tuning and instinct. let's not demo the power of applications, but make a map which is both useful and optically awesome to look at.
"annotations come after the render. you'll see that roads have to contour around buildings that would otherwise hide them. the design key is what's handiest for a person standing in this exact spot, looking at this exact poster."
why?
because the ability to be in a city and to see through it is a superpower, and it's how maps should work.
read more
21 feb. here & there in permanent collection read
03 feb. maps and read
08 may. what if gps worked like here & there? read
04 may. here & there influences read | hir ðɛr ɪz ə ˈprɑʤɛkt baɪ bərg ɪkˈsplɔrɪŋ ˈspɛkjələtɪv prɑˈʤɛkʃənz əv dɛns ˈsɪtiz. ðiz mæps əv mænˈhætən lʊk ˈəpˈtaʊn frəm ənd 7th*, ənd ˈdaʊnˈtaʊn frəm ənd 35th*. ðɛr ˌɪnˈtɛndɪd tɪ bi sin æt ðoʊz seɪm ˈpleɪsɪz, ˈpʊtɪŋ ðə vjuər ˌsaɪməlˈteɪniəsli əˈbəv ðə ˈsɪti ənd ɪn ɪt wɛr ʃi stændz, boʊθ ˈlʊkɪŋ daʊn ənd ˈlʊkɪŋ ˈfɔrwərd. (ðə mæp dɪˈzərvz tɪ bi ɪgˈzæmənd æt fʊl skeɪl. prɪnts frəm ə ˈlɪmɪtɪd rən ər əˈveɪləbəl fər ˈpərʧəs.) ˈlændˌmɑrks ər ɪn goʊld. noʊt ðə ˈfɪgjər ˈstændɪŋ ˈaʊtˈsaɪd ˈkupər ˈjunjən. jul si ɪm ɪn ðə ˈdɪstəns ɔn ðə ˈəðər mæp əv ðə pɛr. klɪk tɪ si hir ðɛr ˈlʊkɪŋ ˈdaʊnˈtaʊn. wəts goʊɪŋ ɔn? ˌɪˈmæʤən ə ˈpərsən ˈstændɪŋ æt ə strit ˈkɔrnər. ðə prɑˈʤɛkʃən bɪˈgɪnz wɪθ ə θˌrizdɪˈmɛnʃənəl ˌrɛprəzɛnˈteɪʃən əv ðə ˌɪˈmiˌdiət ɪnˈvaɪrənmənt. kloʊz ˈbɪldɪŋz ər ˌrɛprɪˈzɛnɪd ˈnɔrməli, ənd ðə vjuər hɪmˈsɛlf ɪz ʃoʊn ɪn ðə θərd ˈpərsən, ɪgˈzæktli wɛr ʃi stændz. ɛz ðə ˈmɑdəl bɛndz frəm ˈsaɪdˌweɪz tɪ ˈtɔpˌdaʊn ɪn ə smuð ʤɔɪn, mɔr ˈdɪstənt pɑrts əv ðə ˈsɪti ər rɪˈvild ɪn plæn vju. ðə prɑˈʤɛkʃən kəˈnɛkts ðə vjuərz ˈloʊkəl ɪnˈvaɪrənmənt tɪ rɪˈmoʊt ˌdɛstəˈneɪʃənz ˈnɔrməli aʊt əv saɪt. haʊ? ʤæk ʃʊlts ɪkˈspleɪnz... "fərst wi teɪk ən ˌɪˌlɛkˈtrɑnɪk mænˈhætən. ɪts ə əv ˈvɛriəs kəˈmərʃəl ˈsɔrsəz, wɛr wiv rɪˈpɛrd wɔlz ðət ˈɑrənt drɔn raɪt ənd rufs ðət doʊnt fɪt. əˈbaʊt ə tɛnθ əv ðə ˈsɪti ɪz baɪ hænd, ðɛn ˈtɛksʧərd. "ðə prɑˈʤɛkʃən sin hir ɪz ə ˌkɑmbəˈneɪʃən əv ˈsɪti məˌnɪpjəˈleɪʃənz ɪn ˈsɔfˌwɛr, ənd ˈʧuzɪŋ ðə bɛst lɛnz fər ðə ˈsɪmjəˌleɪtɪd ˈkæmərə. ðə ˈnɪrˈbaɪ ˈbɪldɪŋz əbˈstrəkt ðə vju ɪf ju gɪt ðət rɔŋ, ər ðə ˈdɪstənt wənz stɑp ˈwərkɪŋ ɛz ə kənˈvɛnʃənəl mæp. ðɛrz faɪn ˈtunɪŋ ənd ˈɪnstɪŋkt. lɛts nɑt ˈdɛmoʊ ðə paʊər əv ˌæpləˈkeɪʃənz, bət meɪk ə mæp wɪʧ ɪz boʊθ ˈjusfəl ənd ˈɑptɪkli ˈɔsəm tɪ lʊk æt. "ˌænəˈteɪʃənz kəm ˈæftər ðə ˈrɛndər. jul si ðət roʊdz hæv tɪ ˈkɑnˌtʊr əraʊnd ˈbɪldɪŋz ðət wʊd ˈəðərˌwaɪz haɪd ðɛm. ðə dɪˈzaɪn ki ɪz wəts ˈhændiəst fər ə ˈpərsən ˈstændɪŋ ɪn ðɪs ɪgˈzækt spɑt, ˈlʊkɪŋ æt ðɪs ɪgˈzækt ˈpoʊstər." waɪ? bɪˈkəz ðə əˈbɪləˌti tɪ bi ɪn ə ˈsɪti ənd tɪ si θru ɪt ɪz ə ˌsupərˈpaʊər, ənd ɪts haʊ mæps ʃʊd wərk. rɛd mɔr 21 ˈfɛbjəˌwɛri. hir ðɛr ɪn ˈpərmɑˌnɛnt kəˈlɛkʃən rɛd 03 ˈfɛbjəˌwɛri. mæps ənd rɛd 08 meɪ. wət ɪf ˈgipiˈɛs wərkt laɪk hir ðɛr? rɛd 04 meɪ. hir ðɛr ˈɪnˌfluənsɪz rɛd |
[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]what is is a site where fans can submit their ideas for lego products, once a project reaches supports it is reviewed by lego and has the possibility to become a have to create an account to contribute. don't worry though, creating an account is easy, you can even use facebook to log in! once you've created your account, you can press the "support" button near the top of this page, and we'll be one step closer to getting this project into the next lego remember, the road to supports is a long one and we can only achieve this goal by working together as a community. make sure to spread the word, tell every fan of the legend of you know to support this project so that we can get a legend of legend of is a sequel to avatar: the last airbender. the show follows the adventures of the young avatar named, who is successor. during the first season of avatar: the last airbender, lego created two sets from the show; unfortunately the line wasn't continued beyond these two sets. however, with the introduction of the legend of we have another chance to get avatar themed lego sets. the show is cleared for 2 seasons, each consisting of 2 "mini seasons" called air temple island set would feature iconic structures and characters frequently shown on air temple island in the show. could include, tenzin, pema, jinora, ikki, meelo, rohan, sky bison), a winged lemur, and a white lotus sentry or two. structures could include the main tower, air bender training area, meditation pavilion, and some miscellaneous sure to check out my other legend of projects as well::: arena :: united forces battleship but these aren't the only legend of/avatar project on, make sure to lend you support to the others! | [][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]wət ɪz ɪz ə saɪt wɛr fænz kən səbˈmɪt ðɛr aɪˈdiəz fər ˈlɛgoʊ ˈprɑdəkts, wəns ə ˈprɑʤɛkt ˈriʧɪz səˈpɔrts ɪt ɪz rivˈjud baɪ ˈlɛgoʊ ənd həz ðə ˌpɑsəˈbɪləˌti tɪ bɪˈkəm ə hæv tɪ kriˈeɪt ən əˈkaʊnt tɪ kənˈtrɪbjut. doʊnt ˈwəri ðoʊ, kriˈeɪtɪŋ ən əˈkaʊnt ɪz ˈizi, ju kən ˈivɪn juz ˈfeɪsˌbʊk tɪ lɔg ɪn! wəns juv kriˈeɪtɪd jʊr əˈkaʊnt, ju kən prɛs ðə "səˈpɔrt" ˈbətən nɪr ðə tɔp əv ðɪs peɪʤ, ənd wɪl bi wən stɛp ˈkloʊzər tɪ ˈgɪtɪŋ ðɪs ˈprɑʤɛkt ˈɪntu ðə nɛkst ˈlɛgoʊ rɪˈmɛmbər, ðə roʊd tɪ səˈpɔrts ɪz ə lɔŋ wən ənd wi kən ˈoʊnli əˈʧiv ðɪs goʊl baɪ ˈwərkɪŋ təˈgɛðər ɛz ə kəmˈjunɪti. meɪk ʃʊr tɪ sprɛd ðə wərd, tɛl ˈɛvəri fæn əv ðə ˈlɛʤənd əv ju noʊ tɪ səˈpɔrt ðɪs ˈprɑʤɛkt soʊ ðət wi kən gɪt ə ˈlɛʤənd əv ˈlɛʤənd əv ɪz ə ˈsikwəl tɪ ˈævəˌtɑr: ðə læst airbender*. ðə ʃoʊ ˈfɑloʊz ðə ædˈvɛnʧərz əv ðə jəŋ ˈævəˌtɑr neɪmd, hu ɪz səkˈsɛsər. ˈdʊrɪŋ ðə fərst ˈsizən əv ˈævəˌtɑr: ðə læst airbender*, ˈlɛgoʊ kriˈeɪtɪd tu sɛts frəm ðə ʃoʊ; ənˈfɔrʧənətli ðə laɪn ˈwəzənt kənˈtɪnjud bɪɔnd ðiz tu sɛts. ˌhaʊˈɛvər, wɪθ ðə ˌɪntrəˈdəkʃən əv ðə ˈlɛʤənd əv wi hæv əˈnəðər ʧæns tɪ gɪt ˈævəˌtɑr θimd ˈlɛgoʊ sɛts. ðə ʃoʊ ɪz klɪrd fər 2 ˈsizənz, iʧ kənˈsɪstɪŋ əv 2 "ˈmɪni ˈsizənz" kɔld ɛr ˈtɛmpəl ˈaɪlənd sɛt wʊd ˈfiʧər ˌaɪˈkɑnɪk ˈstrəkʧərz ənd ˈkɛrɪktərz ˈfrikwɛntli ʃoʊn ɔn ɛr ˈtɛmpəl ˈaɪlənd ɪn ðə ʃoʊ. kʊd ˌɪnˈklud, tenzin*, pema*, jinora*, ikki*, meelo*, roʊən, skaɪ ˈbaɪsən), ə wɪŋd ˈlimər, ənd ə waɪt ˈloʊtəs ˈsɛntri ər tu. ˈstrəkʧərz kʊd ˌɪnˈklud ðə meɪn taʊər, ɛr ˈbɛndər ˈtreɪnɪŋ ˈɛriə, ˌmɛdəˈteɪʃən pəˈvɪljən, ənd səm ˌmɪsəˈleɪniəs ʃʊr tɪ ʧɛk aʊt maɪ ˈəðər ˈlɛʤənd əv ˈprɑʤɛkts ɛz wɛl::: ərˈinə juˈnaɪtɪd ˈfɔrsɪz ˈbætəlˌʃɪp bət ðiz ˈɑrənt ðə ˈoʊnli ˈlɛʤənd əv ˈprɑʤɛkt ɔn, meɪk ʃʊr tɪ lɛnd ju səˈpɔrt tɪ ðə ˈəðərz! |
carson, calif. (tuesday, nov. 25, 2014) la galaxy and major league soccer announced today that defender a.j. delagarza was named the 2014 works humanitarian of the year. delagarza, who was also named the 2014 la galaxy humanitarian of the year, becomes the first player in galaxy history to earn the award. as part of the award, delagarza has been awarded $5,000 by and will donate $2,500 each to hospital los angeles (chla) and spcala.
delagarza, 27, is notorious for being the first to volunteer for la galaxy foundation events and has given his time to support numerous initiatives in the los angeles community. this season, delagarza has spent countless hours in the local community, visiting patients at chla, unveiling a new public soccer field for youth in south los angeles and supporting the heroes night initiative by purchasing tickets for our troops and participating in a california highway patrol (chp) ride along.
the maryland product also participated in the la galaxy annual golf tournament and volunteered for the la galaxy & family run. earlier this month, he helped for the la galaxy involvement in lafest, a soccer tournament held at center. additionally, delagarza visits local schools and spends time participating in youth soccer clinics including the annual la galaxy camps for kids. the 2014 galaxy defender of the year is also an avid animal lover and has volunteered multiple times at spcala.
this year when unborn son luca was diagnosed with a congenital heart defect he immediately thought of the other families affected by a similar illness. a.j. and his wife megan created a fundraising page for the heart institute at chla. due to the generosity of soccer supporters across the country, delagarza helped raised $25,000 to fund heart care and research. he continues to support the hospital and other families affected by heart disease. fundraising efforts have not stopped, and donations in memory are welcomed at support.chla.org/pages/lucaknowsheart.
delagarza already has plans to support la galaxy foundation partner, a place called home, with service through the holidays by donating his time and holiday gifts for youth in need. for more information on the la galaxy toy drive, please visit www.lagalaxy.com/community. | ˈkɑrzən, ˈkælɪf. (ˈtuzˌdeɪ, noʊv. 25 2014 lɑ ˈgæləksi ənd ˈmeɪʤər lig ˈsɑkər əˈnaʊnst təˈdeɪ ðət dɪˈfɛndər a.j*. dɛlɑˈgɑrzə wɑz neɪmd ðə 2014 wərks ˌjuˌmænəˈtɛriən əv ðə jɪr. dɛlɑˈgɑrzə, hu wɑz ˈɔlsoʊ neɪmd ðə 2014 lɑ ˈgæləksi ˌjuˌmænəˈtɛriən əv ðə jɪr, bɪˈkəmz ðə fərst pleɪər ɪn ˈgæləksi ˈhɪstəri tɪ ərn ðə əˈwɔrd. ɛz pɑrt əv ðə əˈwɔrd, dɛlɑˈgɑrzə həz bɪn əˈwɔrdɪd baɪ ənd wɪl ˈdoʊˌneɪt iʧ tɪ ˈhɑˌspɪtəl lɔs ˈænʤəlɪs (chla*) ənd spcala*. dɛlɑˈgɑrzə, 27 ɪz noʊˈtɔriəs fər biɪŋ ðə fərst tɪ ˌvɑlənˈtɪr fər lɑ ˈgæləksi faʊnˈdeɪʃən ɪˈvɛnts ənd həz ˈgɪvɪn hɪz taɪm tɪ səˈpɔrt ˈnumərəs ˌɪˈnɪʃətɪvz ɪn ðə lɔs ˈænʤəlɪs kəmˈjunɪti. ðɪs ˈsizən, dɛlɑˈgɑrzə həz spɛnt ˈkaʊntləs aʊərz ɪn ðə ˈloʊkəl kəmˈjunɪti, ˈvɪzɪtɪŋ ˈpeɪʃənz æt chla*, ənˈveɪlɪŋ ə nu ˈpəblɪk ˈsɑkər fild fər juθ ɪn saʊθ lɔs ˈænʤəlɪs ənd səˈpɔrtɪŋ ðə ˈhɪroʊz naɪt ˌɪˈnɪʃətɪv baɪ ˈpərʧəsɪŋ ˈtɪkɪts fər ɑr trups ənd pɑrˈtɪsəˌpeɪtɪŋ ɪn ə ˌkæləˈfɔrnjə ˈhaɪˌweɪ pəˈtroʊl (chp*) raɪd əˈlɔŋ. ðə ˈmɛrələnd ˈprɑdəkt ˈɔlsoʊ pɑrˈtɪsəˌpeɪtɪd ɪn ðə lɑ ˈgæləksi ˈænjuəl gɔlf ˈtʊrnəmənt ənd ˌvɑlənˈtɪrd fər ðə lɑ ˈgæləksi ˈfæməli rən. ˈərliər ðɪs mənθ, hi hɛlpt fər ðə lɑ ˈgæləksi ˌɪnˈvɑlvmənt ɪn lafest*, ə ˈsɑkər ˈtʊrnəmənt hɛld æt ˈsɛnər. əˈdɪʃəˌnəli, dɛlɑˈgɑrzə ˈvɪzɪts ˈloʊkəl skulz ənd spɛnz taɪm pɑrˈtɪsəˌpeɪtɪŋ ɪn juθ ˈsɑkər ˈklɪnɪks ˌɪnˈkludɪŋ ðə ˈænjuəl lɑ ˈgæləksi kæmps fər kɪdz. ðə 2014 ˈgæləksi dɪˈfɛndər əv ðə jɪr ɪz ˈɔlsoʊ ən ˈævɪd ˈænəməl ˈləvər ənd həz ˌvɑlənˈtɪrd ˈməltəpəl taɪmz æt spcala*. ðɪs jɪr wɪn ˈənˈbɔrn sən ˈlukə wɑz ˌdaɪəgˈnoʊst wɪθ ə kənˈʤɛnətəl hɑrt ˈdifɛkt hi ˌɪˈmiˌdiətli θɔt əv ðə ˈəðər ˈfæməliz əˈfɛktɪd baɪ ə ˈsɪmələr ˈɪlnəs. a.j*. ənd hɪz waɪf ˈmeɪgən kriˈeɪtɪd ə ˈfənˌdreɪsɪŋ peɪʤ fər ðə hɑrt ˈɪnstɪˌtut æt chla*. du tɪ ðə ˌʤɛnərˈɑsəti əv ˈsɑkər səˈpɔrtərz əˈkrɔs ðə ˈkəntri, dɛlɑˈgɑrzə hɛlpt reɪzd tɪ fənd hɑrt kɛr ənd ˈrisərʧ. hi kənˈtɪnjuz tɪ səˈpɔrt ðə ˈhɑˌspɪtəl ənd ˈəðər ˈfæməliz əˈfɛktɪd baɪ hɑrt dɪˈziz. ˈfənˌdreɪsɪŋ ˈɛfərts hæv nɑt stɑpt, ənd doʊˈneɪʃənz ɪn ˈmɛməri ər ˈwɛlkəmd æt support.chla.org/pages/lucaknowsheart*. dɛlɑˈgɑrzə ɔˈrɛdi həz plænz tɪ səˈpɔrt lɑ ˈgæləksi faʊnˈdeɪʃən ˈpɑrtnər, ə pleɪs kɔld hoʊm, wɪθ ˈsərvɪs θru ðə ˈhɑləˌdeɪz baɪ ˈdoʊˌneɪtɪŋ hɪz taɪm ənd ˈhɑlɪˌdeɪ gɪfts fər juθ ɪn nid. fər mɔr ˌɪnˌfɔrˈmeɪʃən ɔn ðə lɑ ˈgæləksi tɔɪ draɪv, pliz ˈvɪzɪt www.lagalaxy.com/community*. |
my journey, from mike power to john buckley, from investigative journalist to drug designer, started six weeks earlier. to understand exactly how access to designer drugs has see exactly how easy it is to commission, purchase and import powerful new compounds that are beyond the reach of the decided to get one made myself.
i chose to focus on the beatles’ drug,: a nod to the cultural significance of and their illustrious user base. how easy would it be to get a legal version made? what procedures would it take, what roadblocks would be put in the way?
i phoned a contact with expertise in chemistry and asked if he could think of a simple molecular tweak that would produce a new version of that would be totally legal. yes, he said. the change would be trivial. what might its effects be? “a fantastic if you want to lose weight, and an effective stimulant.”
the search began for a laboratory that would make a one-off sample. i decided that i would present myself as a legitimate broker for a pharmaceutical firm. taking on my new identity, i posted a buying request for the drug on various public websites that broker deals between individuals and small pharmaceutical manufacturers. dozens of emails came back. not all of them were genuine.
some of these early responders were blatant scammers: cameroon and ukraine do have chemical industries, but those who work in them tend not to be able to offer large amounts of totally new, extremely rare drugs the very next day. my search headed to india, where three firms offered to synthesize the drug for me. on closer examination, though, none of them seemed up to the they were all asking for very large sums of money, well beyond the actual value and difficulty of the compounds we were requesting. one priced the job as high as $10,000.
after weeks of constant searching for a decent lab, one of my contacts sent me the of a site in shanghai that, on the surface of things, has nothing to do with legal highs, analog drugs, or any activity. they sell organic chemicals on international markets to people in many industries, and offer pharmaceutical drugs to legitimate importers.
but insiders in china who prefer to remain anonymous say there is little accountability or oversight of the chemical industry there. once they are licensed, operators are seldom monitored, a scenario that has led to dozens of high-profile public health scares, including children falling sick as a result of melamine being added to milk, and so-called “date rape” drugs appearing in australian toys.
i made an approach to the lab during chinese business hours, and i heard back within an hour. “first, can i know the application of this compound your client use?” asked the person on the other end. “i just want to make sure it is legal application. we can do custom synthesis of this simple chemical surely. but if you can give synthesis route, it will be very good for us and we can save some time for this project.”
i replied, “we are doing basic animal research into the putative analgesic properties. based upon its expected effect on monoamines, we believe it will have fairly potent analgesic effects, whilst causing minimal cardiovascular strain. our intention is to use it as a proof of concept for a new type of analgesic for dogs.”
my online identity for this character and for his company are bare bones: nothing but a address. my cover explanation is that i am designing a, the clear progenitor of this recipe, is not known to have any analgesic qualities. to anyone who cares to look, my story is blatantly false. but the lab does not seem to care.
we agree on a price and discuss quality control standards. the lab eventually agrees to send over data that will, they say, confirm they have created a drug with the makeup i require. the report will be based on liquid chromatography, which chemists use to match a sample to library of known compounds, and nuclear magnetic resonance, which can reveal the structure of a molecule, regardless of whether it has been studied previously.
next we agree few hundred dollars. rather than an untraceable cash transfer such as western union, or an anonymous crypto currency such as bitcoin, we opt for a simple bank transfer. delivery is agreed by a well-known courier firm.
two weeks later i receive another email. the compound is ready, though it is currently a liquid. purity stands at around percent; to purify it to 98 percent will reduce yield. happy to accept that loss, as it will never be consumed. i request that it be salted into a solid, powder form using acid. i receive the qualitative data from the firm by email. the readings feature the long, jagged peaks that suggest the existence of the drug. now that it meets the stringent purity demands of “my client,” i agree: time to ship it.
but how? technically, we are doing nothing illegal, so we smuggle it, or even disguise it. at this stage, though, i have no guarantee beyond the word that they have carried out the work as instructed; they could easily send me an illegal drug instead of the one i have asked for. and while the point of this substance is that it is legal to bring it into the uk, this is not a mainstream importing job. i cannot help feeling the paranoia of a novice: what screening do customs officers and law enforcement do to track unidentified substances that are being sent across their borders?
i ask for an material safety data sheet, standard paperwork that should accompany any chemical sample in the post. they do not have one—unsurprising, since the chemical is so rare. the unspoken truth hangs in the complicit silence between us: we both know this a modification of an illegal drug, and that it is designed for recreational, not medical purposes.
to get around this, the lab offers to send it hidden in a book: an unusual offer from a company claiming to make and distribute entirely legal substances. but i know that one of the most common ways that smugglers are detected is when a drug is packed inside an object too cheap or trivial to be posted internationally. who aside from a rare books dealer would spend $100 sending a book from china to london? instead, i tell the chemist to simply mark it as documents, to be delivered to a london postal that i have set up in the fictitious name.
the package of drugs the author designed
over the next few days i scan the site nervously watching the progress from shanghai and out of the country. paranoia affects drug designers and importers as much as users: after all, while they usually operate legally, their game happens at the fringes of the law, not the them as not for human example. but a few days later my package arrives in the uk, ready for collection.
a legal highs vendor would now offer the drug privately to a select number of influential posters, and ask them to review the drug online. building hype, creating a market, they would then start selling the compound, but the process of testing and legislating means the british government would be powerless to intervene for at least a few even up to a year. they could sell this drug for $130 a gram, or, to make more money, press it into tablets.
instead, i send it by registered mail to andrew westwell, a medicinal chemist at cardiff university, who will analyze its contents. | maɪ ˈʤərni, frəm maɪk paʊər tɪ ʤɑn ˈbəkli, frəm ˌɪnˈvɛstəˌgeɪtɪv ˈʤərnəlɪst tɪ drəg dɪˈzaɪnər, ˈstɑrtɪd sɪks wiks ˈərliər. tɪ ˌəndərˈstænd ɪgˈzæktli haʊ ˈækˌsɛs tɪ dɪˈzaɪnər drəgz həz si ɪgˈzæktli haʊ ˈizi ɪt ɪz tɪ kəˈmɪʃən, ˈpərʧəs ənd ˌɪmˈpɔrt ˈpaʊərfəl nu ˈkɑmpaʊndz ðət ər bɪɔnd ðə riʧ əv ðə ˌdɪˈsaɪdɪd tɪ gɪt wən meɪd ˌmaɪˈsɛlf. aɪ ʧoʊz tɪ ˈfoʊkɪs ɔn ðə beatles’*’ drəg,: ə nɑd tɪ ðə ˈkəlʧərəl sɪgˈnɪfɪkəns əv ənd ðɛr ˌɪˈləstriəs ˈjuzər beɪs. haʊ ˈizi wʊd ɪt bi tɪ gɪt ə ˈligəl ˈvərʒən meɪd? wət prəˈsiʤərz wʊd ɪt teɪk, wət ˈroʊdˌblɑks wʊd bi pʊt ɪn ðə weɪ? aɪ foʊnd ə ˈkɑnˌtækt wɪθ ˌɛkspərˈtiz ɪn ˈkɛmɪstri ənd æst ɪf hi kʊd θɪŋk əv ə ˈsɪmpəl məˈlɛkjələr twik ðət wʊd ˈproʊdus ə nu ˈvərʒən əv ðət wʊd bi ˈtoʊtəli ˈligəl. jɛs, hi sɛd. ðə ʧeɪnʤ wʊd bi ˈtrɪviəl. wət maɪt ɪts ˈifɛkts bi? fænˈtæstɪk ɪf ju wɔnt tɪ luz weɪt, ənd ən ˈifɛktɪv stimulant.”*.” ðə sərʧ bɪˈgæn fər ə ˈlæbrəˌtɔri ðət wʊd meɪk ə ˌwəˈnɔf ˈsæmpəl. aɪ ˌdɪˈsaɪdɪd ðət aɪ wʊd ˈprɛzənt ˌmaɪˈsɛlf ɛz ə ləˈʤɪtəmət ˈbroʊkər fər ə ˌfɑrməˈsutɪkəl fərm. ˈteɪkɪŋ ɔn maɪ nu aɪˈdɛntəˌti, aɪ ˈpoʊstɪd ə baɪɪŋ rɪkˈwɛst fər ðə drəg ɔn ˈvɛriəs ˈpəblɪk ˈwɛbˌsaɪts ðət ˈbroʊkər dilz bɪtˈwin ˌɪndəˈvɪʤəwəlz ənd smɔl ˌfɑrməˈsutɪkəl ˌmænjəˈfækʧərərz. ˈdəzənz əv iˈmeɪlz keɪm bæk. nɑt ɔl əv ðɛm wər ˈʤɛnjuˌaɪn. səm əv ðiz ˈərli rɪˈspɑndərz wər ˈbleɪtənt ˈskæmərz: ˈkæmərˌun ənd juˈkreɪn du hæv ˈkɛmɪkəl ˈɪndəstriz, bət ðoʊz hu wərk ɪn ðɛm tɛnd nɑt tɪ bi ˈeɪbəl tɪ ˈɔfər lɑrʤ əˈmaʊnts əv ˈtoʊtəli nu, ɪkˈstrimli rɛr drəgz ðə ˈvɛri nɛkst deɪ. maɪ sərʧ ˈhɛdɪd tɪ ˈɪndiə, wɛr θri fərmz ˈɔfərd tɪ ˈsɪnθəˌsaɪz ðə drəg fər mi. ɔn ˈkloʊzər ɪgˌzæməˈneɪʃən, ðoʊ, nən əv ðɛm simd əp tɪ ðə ðeɪ wər ɔl ˈæskɪŋ fər ˈvɛri lɑrʤ səmz əv ˈməni, wɛl bɪɔnd ðə ˈækʧəwəl ˈvælju ənd ˈdɪfɪˌkəlti əv ðə ˈkɑmpaʊndz wi wər rɪkˈwɛstɪŋ. wən praɪst ðə ʤɑb ɛz haɪ ɛz ˈæftər wiks əv ˈkɑnstənt ˈsərʧɪŋ fər ə ˈdisənt læb, wən əv maɪ ˈkɑnˌtækts sɛnt mi ðə əv ə saɪt ɪn ˈʃæŋˈhaɪ ðət, ɔn ðə ˈsərfəs əv θɪŋz, həz ˈnəθɪŋ tɪ du wɪθ ˈligəl haɪz, ˈænəˌlɔg drəgz, ər ˈɛni ækˈtɪvɪti. ðeɪ sɛl ɔrˈgænɪk ˈkɛmɪkəlz ɔn ˌɪnərˈnæʃənɑl ˈmɑrkɪts tɪ ˈpipəl ɪn ˈmɛni ˈɪndəstriz, ənd ˈɔfər ˌfɑrməˈsutɪkəl drəgz tɪ ləˈʤɪtəmət ˌɪmˈpɔrtərz. bət ˌɪnˈsaɪdərz ɪn ˈʧaɪnə hu prɪˈfər tɪ rɪˈmeɪn əˈnɑnəməs seɪ ðɛr ɪz ˈlɪtəl əˈkaʊntəˌbɪlɪti ər ˈoʊvərˌsaɪt əv ðə ˈkɛmɪkəl ˈɪndəstri ðɛr. wəns ðeɪ ər ˈlaɪsənst, ˈɔpərˌeɪtərz ər ˈsɛldəm ˈmɑnətərd, ə sɪˈnɛrioʊ ðət həz lɛd tɪ ˈdəzənz əv ˌhaɪˈproʊfaɪl ˈpəblɪk hɛlθ skɛrz, ˌɪnˈkludɪŋ ˈʧɪldrən ˈfɑlɪŋ sɪk ɛz ə rɪˈzəlt əv ˈmɛləˌmin biɪŋ ˈædɪd tɪ mɪlk, ənd ˈsoʊˈkɔld rape”*” drəgz əˈpɪrɪŋ ɪn ɔˈstreɪljən tɔɪz. aɪ meɪd ən əˈproʊʧ tɪ ðə læb ˈdʊrɪŋ ʧaɪˈniz ˈbɪznɪs aʊərz, ənd aɪ hərd bæk wɪˈθɪn ən aʊər. ““first*, kən aɪ noʊ ðə ˌæpləˈkeɪʃən əv ðɪs ˈkɑmpaʊnd jʊr klaɪənt use?”*?” æst ðə ˈpərsən ɔn ðə ˈəðər ɛnd. ʤɪst wɔnt tɪ meɪk ʃʊr ɪt ɪz ˈligəl ˌæpləˈkeɪʃən. wi kən du ˈkəstəm ˈsɪnθəsəs əv ðɪs ˈsɪmpəl ˈkɛmɪkəl ˈʃʊrli. bət ɪf ju kən gɪv ˈsɪnθəsəs rut, ɪt wɪl bi ˈvɛri gʊd fər ˈjuˈɛs ənd wi kən seɪv səm taɪm fər ðɪs project.”*.” aɪ rɪˈplaɪd, ər duɪŋ ˈbeɪsɪk ˈænəməl ˈrisərʧ ˈɪntu ðə ˈpjutətɪv ˌænəˈlʤisɪk ˈprɑpərtiz. beɪst əˈpɑn ɪts ɪkˈspɛktɪd ˈifɛkt ɔn monoamines*, wi bɪˈliv ɪt wɪl hæv ˈfɛrli ˈpoʊtənt ˌænəˈlʤisɪk ˈifɛkts, waɪlst ˈkɔzɪŋ ˈmɪnəməl ˌkɑrdioʊˈvæskjələr streɪn. ɑr ˌɪnˈtɛnʧən ɪz tɪ juz ɪt ɛz ə pruf əv ˈkɑnsɛpt fər ə nu taɪp əv ˌænəˈlʤisɪk fər dogs.”*.” maɪ ˈɔnˌlaɪn aɪˈdɛntəˌti fər ðɪs ˈkɛrɪktər ənd fər hɪz ˈkəmpəˌni ər bɛr boʊnz: ˈnəθɪŋ bət ə ˈæˌdrɛs. maɪ ˈkəvər ˌɛkspləˈneɪʃən ɪz ðət aɪ æm dɪˈzaɪnɪŋ ə, ðə klɪr proʊˈʤɛnɪtər əv ðɪs ˈrɛsəpi, ɪz nɑt noʊn tɪ hæv ˈɛni ˌænəˈlʤisɪk kˈwɑlətiz. tɪ ˈɛniˌwən hu kɛrz tɪ lʊk, maɪ ˈstɔri ɪz ˈbleɪtəntli fɔls. bət ðə læb dɪz nɑt sim tɪ kɛr. wi əˈgri ɔn ə praɪs ənd dɪˈskəs kˈwɑləti kənˈtroʊl ˈstændərdz. ðə læb ɪˈvɛnʧəwəli əˈgriz tɪ sɛnd ˈoʊvər ˈdætə ðət wɪl, ðeɪ seɪ, kənˈfərm ðeɪ hæv kriˈeɪtɪd ə drəg wɪθ ðə ˈmeɪˌkəp aɪ ˌrikˈwaɪər. ðə rɪˈpɔrt wɪl bi beɪst ɔn ˈlɪkwɪd kroʊməˈtɑgrəfi, wɪʧ ˈkɛmɪsts juz tɪ mæʧ ə ˈsæmpəl tɪ ˈlaɪbrɛˌri əv noʊn ˈkɑmpaʊndz, ənd ˈnukliər mægˈnɛtɪk ˈrɛzənəns, wɪʧ kən rɪˈvil ðə ˈstrəkʧər əv ə ˈmɑləˌkjul, rəˈgɑrdləs əv ˈwɛðər ɪt həz bɪn ˈstədid ˈpriviəsli. nɛkst wi əˈgri fju ˈhənərd ˈdɔlərz. ˈrəðər ðən ən ənˈtreɪsəbəl kæʃ ˈtrænsfər səʧ ɛz ˈwɛstərn ˈjunjən, ər ən əˈnɑnəməs ˈkrɪptoʊ ˈkərənsi səʧ ɛz bitcoin*, wi ɑpt fər ə ˈsɪmpəl bæŋk ˈtrænsfər. dɪˈlɪvəri ɪz əˈgrid baɪ ə ˈwɛlˈnoʊn ˈkəriər fərm. tu wiks ˈleɪtər aɪ rɪˈsiv əˈnəðər iˈmeɪl. ðə ˈkɑmpaʊnd ɪz ˈrɛdi, ðoʊ ɪt ɪz ˈkərəntli ə ˈlɪkwɪd. ˈpjʊrɪti stændz æt əraʊnd pərˈsɛnt; tɪ ˈpjʊrəˌfaɪ ɪt tɪ 98 pərˈsɛnt wɪl rɪˈdus jild. ˈhæpi tɪ əkˈsɛpt ðət lɔs, ɛz ɪt wɪl ˈnɛvər bi kənˈsumd. aɪ rɪkˈwɛst ðət ɪt bi ˈsɔltɪd ˈɪntu ə ˈsɑləd, ˈpaʊdər fɔrm ˈjuzɪŋ ˈæsəd. aɪ rɪˈsiv ðə kˈwɑləˌteɪtɪv ˈdætə frəm ðə fərm baɪ iˈmeɪl. ðə ˈridɪŋz ˈfiʧər ðə lɔŋ, ʤægd piks ðət səˈʤɛst ðə ɪgˈzɪstəns əv ðə drəg. naʊ ðət ɪt mits ðə ˈstrɪnʤənt ˈpjʊrɪti dɪˈmændz əv client,”*,” aɪ əˈgri: taɪm tɪ ʃɪp ɪt. bət haʊ? ˈtɛknɪkəli, wi ər duɪŋ ˈnəθɪŋ ˌɪˈligəl, soʊ wi sˈməgəl ɪt, ər ˈivɪn dɪsˈgaɪz ɪt. æt ðɪs steɪʤ, ðoʊ, aɪ hæv noʊ ˌgɛrənˈti bɪɔnd ðə wərd ðət ðeɪ hæv ˈkɛrid aʊt ðə wərk ɛz ˌɪnˈstrəktɪd; ðeɪ kʊd ˈizəli sɛnd mi ən ˌɪˈligəl drəg ˌɪnˈstɛd əv ðə wən aɪ hæv æst fər. ənd waɪl ðə pɔɪnt əv ðɪs ˈsəbstəns ɪz ðət ɪt ɪz ˈligəl tɪ brɪŋ ɪt ˈɪntu ðə uk*, ðɪs ɪz nɑt ə ˈmeɪnˌstrim ˌɪmˈpɔrtɪŋ ʤɑb. aɪ ˈkænɑt hɛlp ˈfilɪŋ ðə ˌpɛrəˈnɔɪə əv ə ˈnɑvəs: wət ˈskrinɪŋ du ˈkəstəmz ˈɔfɪsərz ənd lɔ ɛnˈfɔrsmənt du tɪ træk ˌənaɪˈdɛntəˌfaɪd ˈsəbstənsɪz ðət ər biɪŋ sɛnt əˈkrɔs ðɛr ˈbɔrdərz? aɪ æsk fər ən məˈtɪriəl ˈseɪfti ˈdætə ʃit, ˈstændərd ˈpeɪpərˌwərk ðət ʃʊd əˈkəmpəni ˈɛni ˈkɛmɪkəl ˈsæmpəl ɪn ðə poʊst. ðeɪ du nɑt hæv one—unsurprising*, sɪns ðə ˈkɛmɪkəl ɪz soʊ rɛr. ðə ənˈspoʊkən truθ hæŋz ɪn ðə kəmˈplɪsət ˈsaɪləns bɪtˈwin ˈjuˈɛs: wi boʊθ noʊ ðɪs ə ˌmɑdəfəˈkeɪʃən əv ən ˌɪˈligəl drəg, ənd ðət ɪt ɪz dɪˈzaɪnd fər ˌrɛkriˈeɪʃənəl, nɑt ˈmɛdɪkəl ˈpərpəsɪz. tɪ gɪt əraʊnd ðɪs, ðə læb ˈɔfərz tɪ sɛnd ɪt ˈhɪdən ɪn ə bʊk: ən ənˈjuˌʒuəl ˈɔfər frəm ə ˈkəmpəˌni ˈkleɪmɪŋ tɪ meɪk ənd dɪˈstrɪbjut ɪnˈtaɪərli ˈligəl ˈsəbstənsɪz. bət aɪ noʊ ðət wən əv ðə moʊst ˈkɑmən weɪz ðət sˈməgələrz ər dɪˈtɛktɪd ɪz wɪn ə drəg ɪz pækt ˌɪnˈsaɪd ən ˈɑbʤɛkt tu ʧip ər ˈtrɪviəl tɪ bi ˈpoʊstɪd ˌɪnərˈnæʃənɑli. hu əˈsaɪd frəm ə rɛr bʊks ˈdilər wʊd spɛnd 100 ˈsɛndɪŋ ə bʊk frəm ˈʧaɪnə tɪ ˈləndən? ˌɪnˈstɛd, aɪ tɛl ðə ˈkɛmɪst tɪ ˈsɪmpli mɑrk ɪt ɛz ˈdɑkjəmənts, tɪ bi dɪˈlɪvərd tɪ ə ˈləndən ˈpoʊstəl ðət aɪ hæv sɛt əp ɪn ðə fɪkˈtɪʃəs neɪm. ðə ˈpækɪʤ əv drəgz ðə ˈɔθər dɪˈzaɪnd ˈoʊvər ðə nɛkst fju deɪz aɪ skæn ðə saɪt ˈnərvəsli ˈwɑʧɪŋ ðə ˈprɑˌgrɛs frəm ˈʃæŋˈhaɪ ənd aʊt əv ðə ˈkəntri. ˌpɛrəˈnɔɪə əˈfɛkts drəg dɪˈzaɪnərz ənd ˌɪmˈpɔrtərz ɛz məʧ ɛz ˈjuzərz: ˈæftər ɔl, waɪl ðeɪ ˈjuʒəwəli ˈɔpərˌeɪt ˈligəli, ðɛr geɪm ˈhæpənz æt ðə ˈfrɪnʤɪz əv ðə lɔ, nɑt ðə ðɛm ɛz nɑt fər ˈjumən ɪgˈzæmpəl. bət ə fju deɪz ˈleɪtər maɪ ˈpækɪʤ əraɪvz ɪn ðə uk*, ˈrɛdi fər kəˈlɛkʃən. ə ˈligəl haɪz ˈvɛndər wʊd naʊ ˈɔfər ðə drəg ˈpraɪvətli tɪ ə səˈlɛkt ˈnəmbər əv ˌɪnfluˈɛnʃəl ˈpoʊstərz, ənd æsk ðɛm tɪ ˌrivˈju ðə drəg ˈɔnˌlaɪn. ˈbɪldɪŋ haɪp, kriˈeɪtɪŋ ə ˈmɑrkɪt, ðeɪ wʊd ðɛn stɑrt ˈsɛlɪŋ ðə ˈkɑmpaʊnd, bət ðə ˈprɔˌsɛs əv ˈtɛstɪŋ ənd ˈlɛʤɪsˌleɪtɪŋ minz ðə ˈbrɪtɪʃ ˈgəvərnmənt wʊd bi ˈpaʊərləs tɪ ˌɪntərˈvin fər æt list ə fju ˈivɪn əp tɪ ə jɪr. ðeɪ kʊd sɛl ðɪs drəg fər 130 ə græm, ər, tɪ meɪk mɔr ˈməni, prɛs ɪt ˈɪntu ˈtæbləts. ˌɪnˈstɛd, aɪ sɛnd ɪt baɪ ˈrɛʤɪstərd meɪl tɪ ˈændru westwell*, ə məˈdɪsənəl ˈkɛmɪst æt ˈkɑrdɪf ˌjunəˈvərsəti, hu wɪl ˈænəˌlaɪz ɪts ˈkɑntɛnts. |
the story of and the iron-blooded, hot-blooded, cold-blooded vampire: gets to that cold-blooded part ini: reiketsu-hen, opening in japanese theaters on january 6th. a round of ticket tales open november 6th, featuring its latest visual with hanekawa.
the second movie hits in japan on december 21st.
kizumonogatari by
seven-11
keychain
advanced ticket
amazon limited fabric poster
7-eleven mug
key visual
speaking of, the character designer akio watanabe has teamed up with naoki hisaya, the creator of sola and no method on new light novel ga
and no forgetful detective head to france in the author's latest novel.
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scott green is editor and reporter for and manga at geek entertainment site ain't it cool news. follow him on twitter at @aicnanime. | ðə ˈstɔri əv ənd ðə iron-blooded*, hot-blooded*, ˈkoʊldˈblədəd ˈvæmpaɪr: gɪts tɪ ðət ˈkoʊldˈblədəd pɑrt ɪn iii*: reiketsu-hen*, ˈoʊpənɪŋ ɪn ˌʤæpəˈniz ˈθiətərz ɔn ˈʤænjuˌɛri 6th*. ə raʊnd əv ˈtɪkɪt teɪlz ˈoʊpən noʊˈvɛmbər 6th*, ˈfiʧərɪŋ ɪts ˈleɪtəst ˈvɪʒəwəl wɪθ hanekawa*. ðə ˈsɛkənd ˈmuvi hɪts ɪn ʤəˈpæn ɔn dɪˈsɛmbər 21st*. baɪ ədˈvænst ˈtɪkɪt ˈæməˌzɑn ˈlɪmɪtɪd ˈfæbrɪk ˈpoʊstər məg ki ˈvɪʒəwəl ˈspikɪŋ əv, ðə ˈkɛrɪktər dɪˈzaɪnər ˈɑkioʊ ˌwɑtɑˈnɑbeɪ həz timd əp wɪθ neɪˈoʊki hisaya*, ðə kriˈeɪtər əv ˈsoʊlə ənd noʊ ˈmɛθəd ɔn nu laɪt ˈnɑvəl ˈʤɔrʤə ənd noʊ fərˈgɛtfəl dɪˈtɛktɪv hɛd tɪ fræns ɪn ðə ˈɔθərz ˈleɪtəst ˈnɑvəl. skɑt grin ɪz ˈɛdɪtər ənd rɪˈpɔrtər fər ənd ˈmæŋgə æt gik ˌɛnərˈteɪnmənt saɪt eɪnt ɪt kul nuz. ˈfɑloʊ ɪm ɔn tˈwɪtər æt @aicnanime*. |
brussels reacted furiously on friday to claims that british and us intelligence agencies spied on theropean commissioner in charge of sensitive antitrust cases, including one involving google.
joaquín, the competition commissioner, has access to highly confidential commercial information: he is charged with breaking up cartels, approving mergers and imposing fines on those who break the bloc's antitrust rules.
(read more: after 'cataclysmic' snowden affair, faces winds of change)
the claim that mr was on the surveillance list of and us spy agencies follows news earlier this year that angela merkel, german chancellor, had also had her private phone calls targeted.
mr was said byropean commission officials to be "upset" by the claims, with particular anger in brussels being aimed at britain, whose relationship with the executive has grown tense.
although he did not address the issue specifically at his press conference on friday, president barack obama acknowledged that the us "would have to provide more confidence to the international community" about its spying.
"just because we can do something doesn't mean we necessarily should," said mr obama.
(read more: advisory panel: more spying, more 'transparency' )
the news about mr is especially embarrassing, as the us has countries like china for economic espionage while insisting it does not itself spy for the commercial benefit of domestic companies.
an expert panel appointed by the white house to review us intelligence, which reported to mr obama this week, said programs should not be directed to "illicit or illegitimate ends, such as the theft of trade secrets or obtaining commercial gain for domestic industries".
mr was at the eye of therozone storm as monetary affairs commissioner before switching in 2010 to the competition brief, where he has presided over antitrust cases involving google and microsoft and cracked down on banks suspected of rigging global interest rate benchmarks.
in other prominent cases involving us companies, the spanish politician blocked the planned takeover of deutsche and bid for tnt. his scrutiny of state support for the's planned hinkley point nuclear plant has been a matter of keen interest to the british government.
(read more: world of spycraft: gamers' data)
a commission spokeswoman said: "this is not the type of behaviour that we expect from strategic partners, let alone from our own member states."
the claims come as part of a joint investigation by the guardian, der spiegel and the new york times based on revelations from documents dated from 2008 to 2011 and leaked by edward snowden, the former us national security agency contractor.
the guardian reported that british and us intelligence agencies had a list of surveillance targets including mr, german government buildings in berlin and overseas, and charities working africa.
it also cites one document from britain's eavesdropping centre, drafted in 2009, which makes clear that it was targeting an email address listed as belonging to "the israeli prime minister". ehud olmert was in was in office at the time.
more from the ft:
spy ruling sets up a fight and a dilemma for obama
edward snowden offers brazil help on spying in return for asylum
us judge rules against surveillance methods
the collaboration of with the in targeting germany will be embarrassing to david cameron, british prime minister, who has sought to foster a warm relationship with ms merkel.
but the targeting of theropean commission by british spies will be equally damaging; mr cameron will have been relieved that the latest leaked documents only emerged hours after he left an summit in brussels on friday.
hours earlier mr cameron was involved in a row with the commission after downing street announced he would challenge plans for an surveillance drone programme at a summit in brussels. a spokesperson for the commission said it had no plans to own or buy drones.
"they've been caught with their pants down," said one brussels official. "they're not exactly in a comfortable position." privately, many in the commission's building suspected they were the target of industrial espionage.
downing street declined to comment.
despite washington's protestations that it does not conduct commercial espionage, the us top-secret budget, also leaked by mr snowden, set aside money for spying to track other countries' adherence to trade agreements. | ˈbrəsəlz riˈæktɪd fˈjʊriəsli ɔn ˈfraɪˌdeɪ tɪ kleɪmz ðət ˈbrɪtɪʃ ənd ˈjuˈɛs ˌɪnˈtɛləʤəns ˈeɪʤənsiz spaɪd ɔn ðə ˌjʊrəˈpiən kəˈmɪʃənər ɪn ʧɑrʤ əv ˈsɛnsɪtɪv ˌæntaɪˈtrəst ˈkeɪsɪz, ˌɪnˈkludɪŋ wən ˌɪnˈvɑlvɪŋ ˈgugəl., ðə ˌkɑmpəˈtɪʃən kəˈmɪʃənər, həz ˈækˌsɛs tɪ ˈhaɪli ˌkɑnfəˈdɛnʃəl kəˈmərʃəl ˌɪnˌfɔrˈmeɪʃən: hi ɪz ʧɑrʤd wɪθ ˈbreɪkɪŋ əp kɑrˈtɛlz, əˈpruvɪŋ ˈmərʤərz ənd ˌɪmˈpoʊzɪŋ faɪnz ɔn ðoʊz hu breɪk ðə blɑks ˌæntaɪˈtrəst rulz. (rɛd mɔr: ˈæftər 'ˌkætəˈklɪzmɪk' sˈnoʊdən əˈfɛr, ˈfeɪsɪz wɪndz əv ʧeɪnʤ) ðə kleɪm ðət ˈmɪstər wɑz ɔn ðə sərˈveɪləns lɪst əv ənd ˈjuˈɛs spaɪ ˈeɪʤənsiz ˈfɑloʊz nuz ˈərliər ðɪs jɪr ðət ˈænʤələ ˈmərkəl, ˈʤərmən ˈʧænsələr, hæd ˈɔlsoʊ hæd hər ˈpraɪvət foʊn kɔlz ˈtɑrgətɪd. ˈmɪstər wɑz sɛd baɪ ˌjʊrəˈpiən kəˈmɪʃən əˈfɪʃəlz tɪ bi "ˈəpˌsɛt" baɪ ðə kleɪmz, wɪθ ˌpɑˈtɪkjələr ˈæŋgər ɪn ˈbrəsəlz biɪŋ eɪmd æt ˈbrɪtən, huz riˈleɪʃənˌʃɪp wɪθ ðə ɪgˈzɛkjətɪv həz groʊn tɛns. ˌɔlˈðoʊ hi dɪd nɑt ˈæˌdrɛs ðə ˈɪʃu spəˈsɪfɪkli æt hɪz prɛs ˈkɑnfərəns ɔn ˈfraɪˌdeɪ, ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə ækˈnɑlɪʤd ðət ðə ˈjuˈɛs "wʊd hæv tɪ prəˈvaɪd mɔr ˈkɑnfədɛns tɪ ðə ˌɪnərˈnæʃənɑl kəmˈjunɪti" əˈbaʊt ɪts spaɪɪŋ. "ʤɪst bɪˈkəz wi kən du ˈsəmθɪŋ ˈdəzənt min wi ˌnɛsəˈsɛrəli ʃʊd," sɛd ˈmɪstər ˌoʊˈbɑmə. (rɛd mɔr: ædˈvaɪzəri ˈpænəl: mɔr spaɪɪŋ, mɔr 'trænˈspɛrənsi' ðə nuz əˈbaʊt ˈmɪstər ɪz əˈspɛʃəli ɪmˈbɛrəsɪŋ, ɛz ðə ˈjuˈɛs həz ˈkəntriz laɪk ˈʧaɪnə fər ˌɛkəˈnɑmɪk ˈɛspiənɑʤ waɪl ˌɪnˈsɪstɪŋ ɪt dɪz nɑt ˌɪtˈsɛlf spaɪ fər ðə kəˈmərʃəl ˈbɛnəfɪt əv dəˈmɛstɪk ˈkəmpəˌniz. ən ˈɛkspərt ˈpænəl əˈpɔɪntɪd baɪ ðə waɪt haʊs tɪ ˌrivˈju ˈjuˈɛs ˌɪnˈtɛləʤəns, wɪʧ ˌriˈpɔrtəd tɪ ˈmɪstər ˌoʊˈbɑmə ðɪs wik, sɛd ˈproʊˌgræmz ʃʊd nɑt bi dɪˈrɛktɪd tɪ "ˌɪˈlɪsət ər ˌɪlɪˈʤɪtəmɪt ɛndz, səʧ ɛz ðə θɛft əv treɪd ˈsikrɪts ər əbˈteɪnɪŋ kəˈmərʃəl geɪn fər dəˈmɛstɪk ˈɪndəstriz". ˈmɪstər wɑz æt ðə aɪ əv ðə stɔrm ɛz ˈmɑnəˌtɛri əˈfɛrz kəˈmɪʃənər ˌbiˈfɔr sˈwɪʧɪŋ ɪn 2010 tɪ ðə ˌkɑmpəˈtɪʃən brif, wɛr hi həz prɪˈzaɪdɪd ˈoʊvər ˌæntaɪˈtrəst ˈkeɪsɪz ˌɪnˈvɑlvɪŋ ˈgugəl ənd ˈmaɪˌkroʊˈsɔft ənd krækt daʊn ɔn bæŋks səˈspɛktɪd əv ˈrɪgɪŋ ˈgloʊbəl ˈɪntəˌrɛst reɪt ˈbɛnʧˌmɑrks. ɪn ˈəðər ˈprɑmənənt ˈkeɪsɪz ˌɪnˈvɑlvɪŋ ˈjuˈɛs ˈkəmpəˌniz, ðə ˈspænɪʃ ˌpɑləˈtɪʃən blɑkt ðə plænd ˈteɪˌkoʊvər əv dɔɪʧ ənd bɪd fər tnt*. hɪz ˈskrutəni əv steɪt səˈpɔrt fər ðə plænd ˈhɪŋkli pɔɪnt ˈnukliər plænt həz bɪn ə ˈmætər əv kin ˈɪntəˌrɛst tɪ ðə ˈbrɪtɪʃ ˈgəvərnmənt. (rɛd mɔr: wərld əv spycraft*: ˈgeɪmərz' ˈdætə) ə kəˈmɪʃən ˈspoʊksˌwʊmən sɛd: "ðɪs ɪz nɑt ðə taɪp əv bɪˈheɪvjər ðət wi ɪkˈspɛkt frəm strəˈtiʤɪk ˈpɑrtnərz, lɛt əˈloʊn frəm ɑr oʊn ˈmɛmbər steɪts." ðə kleɪmz kəm ɛz pɑrt əv ə ʤɔɪnt ˌɪnˌvɛstəˈgeɪʃən baɪ ðə ˈgɑrdiən, dər ˈspigəl ənd ðə nu jɔrk taɪmz beɪst ɔn ˌrɛvəˈleɪʃənz frəm ˈdɑkjəmənts ˈdeɪtɪd frəm 2008 tɪ 2011 ənd likt baɪ ˈɛdwərd sˈnoʊdən, ðə ˈfɔrmər ˈjuˈɛs ˈnæʃənəl sɪˈkjʊrəti ˈeɪʤənsi ˈkɑnˌtræktər. ðə ˈgɑrdiən ˌriˈpɔrtəd ðət ˈbrɪtɪʃ ənd ˈjuˈɛs ˌɪnˈtɛləʤəns ˈeɪʤənsiz hæd ə lɪst əv sərˈveɪləns ˈtɑrgəts ˌɪnˈkludɪŋ ˈmɪstər, ˈʤərmən ˈgəvərnmənt ˈbɪldɪŋz ɪn bərˈlɪn ənd ˈoʊvərˈsiz, ənd ˈʧɛrɪtiz ˈwərkɪŋ ˈæfrɪkɑ. ɪt ˈɔlsoʊ saɪts wən ˈdɑkjəmɛnt frəm ˈbrɪtənz ˈivzˌdrɑpɪŋ ˈsɛntər, ˈdræftɪd ɪn 2009 wɪʧ meɪks klɪr ðət ɪt wɑz ˈtɑrgətɪŋ ən iˈmeɪl ˈæˌdrɛs ˈlɪstɪd ɛz bɪˈlɔŋɪŋ tɪ "ðə ˌɪzˈreɪli praɪm ˈmɪnɪstər". ɛˈhəd oʊlmərt wɑz ɪn wɑz ɪn ˈɔfəs æt ðə taɪm. mɔr frəm ðə ft*: spaɪ ˈrulɪŋ sɛts əp ə faɪt ənd ə dɪˈlɛmə fər ˌoʊˈbɑmə ˈɛdwərd sˈnoʊdən ˈɔfərz brəˈzɪl hɛlp ɔn spaɪɪŋ ɪn rɪˈtərn fər əˈsaɪləm ˈjuˈɛs ʤəʤ rulz əˈgɛnst sərˈveɪləns ˈmɛθədz ðə kəˌlæbərˈeɪʃən əv wɪθ ðə ɪn ˈtɑrgətɪŋ ˈʤərməni wɪl bi ɪmˈbɛrəsɪŋ tɪ ˈdeɪvɪd ˈkæmərən, ˈbrɪtɪʃ praɪm ˈmɪnɪstər, hu həz sɔt tɪ ˈfɑstər ə wɔrm riˈleɪʃənˌʃɪp wɪθ mɪz ˈmərkəl. bət ðə ˈtɑrgətɪŋ əv ðə ˌjʊrəˈpiən kəˈmɪʃən baɪ ˈbrɪtɪʃ spaɪz wɪl bi ˈikwəli ˈdæmɪʤɪŋ; ˈmɪstər ˈkæmərən wɪl hæv bɪn rɪˈlivd ðət ðə ˈleɪtəst likt ˈdɑkjəmənts ˈoʊnli ˈimərʤd aʊərz ˈæftər hi lɛft ən ˈsəmɪt ɪn ˈbrəsəlz ɔn ˈfraɪˌdeɪ. aʊərz ˈərliər ˈmɪstər ˈkæmərən wɑz ˌɪnˈvɑlvd ɪn ə roʊ wɪθ ðə kəˈmɪʃən ˈæftər ˈdaʊnɪŋ strit əˈnaʊnst hi wʊd ˈʧælənʤ plænz fər ən sərˈveɪləns droʊn ˈproʊˌgræm æt ə ˈsəmɪt ɪn ˈbrəsəlz. ə ˈspoʊkspərsən fər ðə kəˈmɪʃən sɛd ɪt hæd noʊ plænz tɪ oʊn ər baɪ droʊnz. "ðeɪv bɪn kɔt wɪθ ðɛr pænts daʊn," sɛd wən ˈbrəsəlz əˈfɪʃəl. "ðɛr nɑt ɪgˈzæktli ɪn ə ˈkəmfərtəbəl pəˈzɪʃən." ˈpraɪvətli, ˈmɛni ɪn ðə kəˈmɪʃənz ˈbɪldɪŋ səˈspɛktɪd ðeɪ wər ðə ˈtərgət əv ˌɪnˈdəstriəl ˈɛspiənɑʤ. ˈdaʊnɪŋ strit dɪˈklaɪnd tɪ ˈkɑmɛnt. dɪˈspaɪt ˈwɔʃɪŋtənz ˌproʊˌtɛˈsteɪʃənz ðət ɪt dɪz nɑt ˈkɑndəkt kəˈmərʃəl ˈɛspiənɑʤ, ðə ˈjuˈɛs ˈtɔpˌsikrɪt ˈbəʤɪt, ˈɔlsoʊ likt baɪ ˈmɪstər sˈnoʊdən, sɛt əˈsaɪd ˈməni fər spaɪɪŋ tɪ træk ˈəðər ˈkəntriz' əˈdhɪrəns tɪ treɪd əˈgrimənts. |
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the authors guild had the ground cut out from under them today in an important copyright lawsuit.
the second circuit of appeals released a ruling this morning which largely upheld judge harold october 2012 decision in the authors guild v, and went one step better. the court affirmed that the book scanning efforts were fair use, and they also ruled that the authors guild had no standing to sue in the first place.
the digital library is a consortium of universities and public libraries. firmed in 2008, this group had the goal of digitizing out of print and rare tomes in their collections in order to preserve the works and make them more widely available. a number of these organizations have also participated in the similar google books project, but unlike google has no plans to commercialize their efforts.
the authors guild, along author groups in canada, norway, australia, and sweden, sued the in 2011, alleging that the book scanning amounted to copyright infringement. in october 2012 judge baer ruled in favor of the, issuing a summary judgement which stated, in part, "although i recognize that the facts here may on some levels be without precedent, i am convinced that they fall safely within the protection of fair use".
the author groups of course appealed the ruling, and today they lost.
the appeals court ruled that "the doctrine of fair use allows to create a database of copyrighted works and to provide those works in formats accessible to those with disabilities", thus giving the a green light to continue their work.
in addition, the appeals court also sidestepped one of the issues, noting that the intention to let member organizations create a replacement copy of a scanned book was outside the scope of this trial. the appeals court pointed out that it's not clear "whether the plaintiffs own copyrights in any works that would be effectively irreplaceable at a fair price by the libraries and, thus, would be potentially subject to being copied by the libraries in case of the loss or destruction of an original".
and finally, the appeals court declined to rule on the university of michigan's related orphan works project, stating that "the infringement claims asserted in connection with the were not ripe for adjudication because the project has been abandoned and the record contained no information about whether the program will be revived and, if so, what it would look like or whom it would affect".
it's also worth noting that the appeals court also ruled that 3 of the author groups who were plaintiffs (the authors guild, australian society of authors limited, and writers' union of canada) did not have standing to sue under us law. as was pointed out by the appeals court, us, canadian, and australian copyright law "does not permit copyright holders to choose third parties to bring suits on their behalf". only 4 of author groups are ruled to have standing to proceed on this claim based on their respective national copyright laws.
it's a shame no one noticed that years ago when the google books lawsuit was originally filed; it would have years of litigation.
publishers lunch
ruling
image by (dennis) | pɪn ʃɛr 27 ʃɛrz ðə ˈɔθərz gɪld hæd ðə graʊnd kət aʊt frəm ˈəndər ðɛm təˈdeɪ ɪn ən ˌɪmˈpɔrtənt ˈkɑpiˌraɪt ˈlɔˌsut. ðə ˈsɛkənd ˈsərkət əv əˈpilz riˈlist ə ˈrulɪŋ ðɪs ˈmɔrnɪŋ wɪʧ ˈlɑrʤli əˈphɛld ʤəʤ ˈhɛrəld ɑkˈtoʊbər 2012 dɪˈsɪʒən ɪn ðə ˈɔθərz gɪld vi, ənd wɛnt wən stɛp ˈbɛtər. ðə kɔrt əˈfərmd ðət ðə bʊk ˈskænɪŋ ˈɛfərts wər fɛr juz, ənd ðeɪ ˈɔlsoʊ ruld ðət ðə ˈɔθərz gɪld hæd noʊ ˈstændɪŋ tɪ su ɪn ðə fərst pleɪs. ðə ˈdɪʤɪtəl ˈlaɪbrɛˌri ɪz ə kənˈsɔrʃjəm əv ˌjunəˈvərsətiz ənd ˈpəblɪk ˈlaɪbrɛˌriz. fərmd ɪn 2008 ðɪs grup hæd ðə goʊl əv ˈdɪʤəˌtaɪzɪŋ aʊt əv prɪnt ənd rɛr toʊmz ɪn ðɛr kəˈlɛkʃənz ɪn ˈɔrdər tɪ prɪˈzərv ðə wərks ənd meɪk ðɛm mɔr ˈwaɪdli əˈveɪləbəl. ə ˈnəmbər əv ðiz ˌɔrgənəˈzeɪʃənz hæv ˈɔlsoʊ pɑrˈtɪsəˌpeɪtɪd ɪn ðə ˈsɪmələr ˈgugəl bʊks ˈprɑʤɛkt, bət ənˈlaɪk ˈgugəl həz noʊ plænz tɪ kəˈmərʃəˌlaɪz ðɛr ˈɛfərts. ðə ˈɔθərz gɪld, əˈlɔŋ ˈɔθər grups ɪn ˈkænədə, ˈnɔrˌweɪ, ɔˈstreɪljə, ənd sˈwidən, sud ðə ɪn 2011 əˈlɛʤɪŋ ðət ðə bʊk ˈskænɪŋ əˈmaʊnɪd tɪ ˈkɑpiˌraɪt ˌɪnˈfrɪnʤmənt. ɪn ɑkˈtoʊbər 2012 ʤəʤ bɛr ruld ɪn ˈfeɪvər əv ðə, ˈɪʃuɪŋ ə ˈsəməri ˈʤəʤmənt wɪʧ ˈsteɪtɪd, ɪn pɑrt, "ˌɔlˈðoʊ aɪ ˈrɛkəgˌnaɪz ðət ðə fækts hir meɪ ɔn səm ˈlɛvəlz bi wɪˈθaʊt ˈprɛsɪdənt, aɪ æm kənˈvɪnst ðət ðeɪ fɔl ˈseɪfli wɪˈθɪn ðə prəˈtɛkʃən əv fɛr juz". ðə ˈɔθər grups əv kɔrs əˈpild ðə ˈrulɪŋ, ənd təˈdeɪ ðeɪ lɔst. ðə əˈpilz kɔrt ruld ðət "ðə ˈdɔktərɪn əv fɛr juz əˈlaʊz tɪ kriˈeɪt ə ˈdætəˌbeɪs əv ˈkɑpiˌraɪtɪd wərks ənd tɪ prəˈvaɪd ðoʊz wərks ɪn ˈfɔrˌmæts ækˈsɛsəbəl tɪ ðoʊz wɪθ dɪsəˈbɪlɪtiz", ðəs ˈgɪvɪŋ ðə ə grin laɪt tɪ kənˈtɪnju ðɛr wərk. ɪn əˈdɪʃən, ðə əˈpilz kɔrt ˈɔlsoʊ ˈsaɪdˌstɛpt wən əv ðə ˈɪʃuz, ˈnoʊtɪŋ ðət ðə ˌɪnˈtɛnʧən tɪ lɛt ˈmɛmbər ˌɔrgənəˈzeɪʃənz kriˈeɪt ə rɪˈpleɪsmənt ˈkɑpi əv ə skænd bʊk wɑz ˈaʊtˈsaɪd ðə skoʊp əv ðɪs traɪəl. ðə əˈpilz kɔrt ˈpɔɪntɪd aʊt ðət ɪts nɑt klɪr "ˈwɛðər ðə ˈpleɪnɪfs oʊn ˈkɑpiˌraɪts ɪn ˈɛni wərks ðət wʊd bi ˈifɛktɪvli ˌɪrəˈpleɪsəbəl æt ə fɛr praɪs baɪ ðə ˈlaɪbrɛˌriz ənd, ðəs, wʊd bi pəˈtɛnʃəli ˈsəbʤɪkt tɪ biɪŋ ˈkɑpid baɪ ðə ˈlaɪbrɛˌriz ɪn keɪs əv ðə lɔs ər dɪˈstrəkʃən əv ən ərˈɪʤənəl". ənd ˈfaɪnəli, ðə əˈpilz kɔrt dɪˈklaɪnd tɪ rul ɔn ðə ˌjunəˈvərsəti əv ˈmɪʃɪgənz rɪˈleɪtɪd ˈɔrfən wərks ˈprɑʤɛkt, ˈsteɪtɪŋ ðət "ðə ˌɪnˈfrɪnʤmənt kleɪmz əˈsərtəd ɪn kəˈnɛkʃən wɪθ ðə wər nɑt raɪp fər əˌʤudəˈkeɪʃən bɪˈkəz ðə ˈprɑʤɛkt həz bɪn əˈbændənd ənd ðə ˈrɛkərd kənˈteɪnd noʊ ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˈwɛðər ðə ˈproʊˌgræm wɪl bi rɪˈvaɪvd ənd, ɪf soʊ, wət ɪt wʊd lʊk laɪk ər hum ɪt wʊd əˈfɛkt". ɪts ˈɔlsoʊ wərθ ˈnoʊtɪŋ ðət ðə əˈpilz kɔrt ˈɔlsoʊ ruld ðət 3 əv ðə ˈɔθər grups hu wər ˈpleɪnɪfs (ðə ˈɔθərz gɪld, ɔˈstreɪljən soʊˈsaɪɪti əv ˈɔθərz ˈlɪmɪtɪd, ənd ˈraɪtərz' ˈjunjən əv ˈkænədə) dɪd nɑt hæv ˈstændɪŋ tɪ su ˈəndər ˈjuˈɛs lɔ. ɛz wɑz ˈpɔɪntɪd aʊt baɪ ðə əˈpilz kɔrt, ˈjuˈɛs, kəˈneɪdiən, ənd ɔˈstreɪljən ˈkɑpiˌraɪt lɔ "dɪz nɑt ˈpərˌmɪt ˈkɑpiˌraɪt ˈhoʊldərz tɪ ʧuz θərd ˈpɑrtiz tɪ brɪŋ suts ɔn ðɛr bɪˈhæf". ˈoʊnli 4 əv ˈɔθər grups ər ruld tɪ hæv ˈstændɪŋ tɪ pərˈsid ɔn ðɪs kleɪm beɪst ɔn ðɛr rɪˈspɛktɪv ˈnæʃənəl ˈkɑpiˌraɪt lɔz. ɪts ə ʃeɪm noʊ wən ˈnoʊtɪst ðət jɪrz əˈgoʊ wɪn ðə ˈgugəl bʊks ˈlɔˌsut wɑz ərˈɪʤənəli faɪld; ɪt wʊd hæv jɪrz əv ˌlɪtəˈgeɪʃən. ˈpəblɪʃərz lənʧ ˈrulɪŋ ˈɪmɪʤ baɪ (ˈdɛnɪs) |
"the unheralded scandal of the tobacco industry is the damage to land in developing nations" was the message of a presentation delivered at the fifth world conference on smoking and health in canada on july 12,) this discussion paper will adddress, in more detail, the links with tobacco and deforestation, pesticide use, land use, environmental degradation, fires, litter and pollution.
deforestation is considered one of the most severe environmental problems worldwide. modern cigarette manufacturing uses wood to cure the tobacco and to roll and package the cigarettes. in fact, a cigarette manufacturing machine uses four miles of paper per hour to roll and package cigarettes. it is estimated that one tree is consumed for every 300 cigarettes) in brazil, the third largest producer and number one exporter of tobacco in the), the country's farmers are estimated to need the wood of 60 million trees a)
this large scale deforestation damages the land and contributes to increased flooding, decreased food output and can affect the local climate. on a global scale, many scientists believe deforestation is changing the world's climate and contributing to global warming.
the industry claims to encourage reforestation programs. but these programs are problematic in that small farmers in the developing world prefer to use their small amount of land to grow food rather than replacement trees. eucalyptus trees grown for reforestation are used for building while native forests continue to be burned for curing. small farmers in the developing world cure tobacco on their own land with their own barn, each having to find their own wood. solar and central curing would save huge amounts of wood, but are not encouraged by the tobacco industry because they would cost the farmer more. diversifying to grow other cash products isn't always feasible as the economic incentives provided by the tobacco companies make tobacco an irresistibly profitable commodity, especially to poor farmers.
there is also a direct impact on the people living in developing countries. according to dr. judith mackay, director of the asian consultancy of tobacco control in hong kong, the use of peasant farmland for tobacco growth "denies million people food has to be imported because the rich farmland is being diverted to tobacco) women in some developing countries carry the heaviest burden since they must carry out tasks and collect wood for the barns as well as for domestic use. often times they must travel longer and longer distances to find the wood. when the land no longer sustains them communities may be required to move altogether.
tobacco growing often exploits of child labor at all stages of cultivation and curing thereby affecting school attendance. other crops make use of child labor, but tobacco's longer growing season and the curing process seem to place particular)
tobacco cultivation involves a great deal of pesticides which must be used in the all stages of tobacco growth. because tobacco depletes soil nutrients at a heavy rate, it requires regular inputs of chemical fertilizers. for example, during the three month period from making the to transplanting the seed in the field, up to 16 applications of pesticide may be recommended (applications depend on climate and local pest) not only do these fertilizers, herbicides and pesticides directly poison farmworkers and may cause chronic health problems, but they also seep into the soil and pollute waterways and ecological systems and poisoning livestock and food)
farmworkers, while harvesting wet tobacco in the fields have been documented as falling ill from a form of nicotine poisoning called "green tobacco sickness" or "green leaf fever". since 1973, dr. stephen of the university of massachusetts school of public health has documented this problem and is quoted on a 1993 "day one" segment as saying, "its hard to imagine that there is any other occupation where as many people get sick on the job in as short a period of time, where something isn't done about)
claims by the tobacco industry that there are no economically viable alternatives to growing tobacco are increasingly being disputed and investigated (especially when the price of tobacco in some developing countries falls dramatically, such as in malawi in 1993). "there are alternatives to tobacco. many crops can grow in land that is now under tobacco -- they include the majority of grain crops and vegetables. sugar cane, bananas, coconut pineapples and cotton could all be)
finally, in the u.s., cigarette butts account for almost half of the items collected in the annual california statewide cleanup. nationally, all the cigarette butts thrown away in 1993 weighed as much as large) these are washed into rivers, lakes and into the ocean from city streets, through storm drains. seabirds, animals and fish eat them by mistake. their bodies have no way to digest the filters and they can die. cigarette butts take an average of 25 years to)
cigarettes are the leading cause of fatal household fires, especially endangering children in the united states. in developing countries, fire is an even greater hazard because dwellings are often constructed of highly flammable materials. to date, the tobacco industry has refused to leave out additives to their cigarettes that would keep them burning while unattended, contributing to fatal fires and the most potent type of secondhand) this secondhand smoke is the main source of indoor air pollution and is responsible for the hospitalization of over children each year in the u.s. for respiratory)
footnotes
1. madeley, john, presentation to the world conference on smoking and health, canada, july 12, 1983.
2. muller, m, tobacco in the third world: epidenic?, london: war on want, 1976.
3. fao yearbook, production, volume 48, 1995
4. taylor, peter, "smoke ring: the politics of tobacco", panos briefing paper, september 1994, london
5. "tobacco field workers experience nicotine poisoning", corporate crime reporter,.
6. "no butts about it", colorado department of health and american cancer society.
7. stienstra, tom, san francisco examiner,.
8. environmental protection agency, "respiratory health effects
of passive smoke", 1994
9. panos briefing: "tobacco: the smoke blows south",
panos briefing paper, september 1994, london
amp section name: tobacco | "ðə ənˈhɛrəldɪd ˈskændəl əv ðə təˈbæˌkoʊ ˈɪndəstri ɪz ðə ˈdæmɪʤ tɪ lænd ɪn dɪˈvɛləpɪŋ ˈneɪʃənz" wɑz ðə ˈmɛsɪʤ əv ə ˌprɛzənˈteɪʃən dɪˈlɪvərd æt ðə fɪθ wərld ˈkɑnfərəns ɔn sˈmoʊkɪŋ ənd hɛlθ ɪn ˈkænədə ɔn ˌʤuˈlaɪ 12 ðɪs dɪˈskəʃən ˈpeɪpər wɪl adddress*, ɪn mɔr ˈditeɪl, ðə lɪŋks wɪθ təˈbæˌkoʊ ənd dɪˌfɔrɪˈsteɪʃən, ˈpɛstəˌsaɪd juz, lænd juz, ɪnˌvaɪrənˈmɛnəl ˌdɛgrəˈdeɪʃən, faɪərz, ˈlɪtər ənd pəˈluʃən. dɪˌfɔrɪˈsteɪʃən ɪz kənˈsɪdərd wən əv ðə moʊst səˈvɪr ɪnˌvaɪrənˈmɛnəl ˈprɑbləmz ˈwərldˈwaɪd. ˈmɑdərn ˌsɪgəˈrɛt ˌmænjəˈfækʧərɪŋ ˈjuzɪz wʊd tɪ kjʊr ðə təˈbæˌkoʊ ənd tɪ roʊl ənd ˈpækɪʤ ðə ˌsɪgəˈrɛts. ɪn fækt, ə ˌsɪgəˈrɛt ˌmænjəˈfækʧərɪŋ məˈʃin ˈjuzɪz fɔr maɪəlz əv ˈpeɪpər pər aʊər tɪ roʊl ənd ˈpækɪʤ ˌsɪgəˈrɛts. ɪt ɪz ˈɛstəˌmeɪtɪd ðət wən tri ɪz kənˈsumd fər ˈɛvəri 300 ˌsɪgəˈrɛts ɪn brəˈzɪl, ðə θərd ˈlɑrʤəst prəˈdusər ənd ˈnəmbər wən ɪkˈspɔrtər əv təˈbæˌkoʊ ɪn ðə ðə ˈkəntriz ˈfɑrmərz ər ˈɛstəˌmeɪtɪd tɪ nid ðə wʊd əv 60 ˈmɪljən triz ə ðɪs lɑrʤ skeɪl dɪˌfɔrɪˈsteɪʃən ˈdæmɪʤɪz ðə lænd ənd kənˈtrɪbjuts tɪ ˌɪnˈkrist ˈflədɪŋ, ˈdiˌkrist fud ˈaʊtˌpʊt ənd kən əˈfɛkt ðə ˈloʊkəl ˈklaɪmɪt. ɔn ə ˈgloʊbəl skeɪl, ˈmɛni ˈsaɪəntɪsts bɪˈliv dɪˌfɔrɪˈsteɪʃən ɪz ˈʧeɪnʤɪŋ ðə wərldz ˈklaɪmɪt ənd kənˈtrɪbjutɪŋ tɪ ˈgloʊbəl ˈwɔrmɪŋ. ðə ˈɪndəstri kleɪmz tɪ ɪnˈkərəʤ ˌrifɔrəˈsteɪʃən ˈproʊˌgræmz. bət ðiz ˈproʊˌgræmz ər ˌprɑbləˈmætɪk ɪn ðət smɔl ˈfɑrmərz ɪn ðə dɪˈvɛləpɪŋ wərld prɪˈfər tɪ juz ðɛr smɔl əˈmaʊnt əv lænd tɪ groʊ fud ˈrəðər ðən rɪˈpleɪsmənt triz. ˌjukəˈlɪptəs triz groʊn fər ˌrifɔrəˈsteɪʃən ər juzd fər ˈbɪldɪŋ waɪl ˈneɪtɪv ˈfɔrəsts kənˈtɪnju tɪ bi bərnd fər ˈkjʊrɪŋ. smɔl ˈfɑrmərz ɪn ðə dɪˈvɛləpɪŋ wərld kjʊr təˈbæˌkoʊ ɔn ðɛr oʊn lænd wɪθ ðɛr oʊn bɑrn, iʧ ˈhævɪŋ tɪ faɪnd ðɛr oʊn wʊd. ˈsoʊlər ənd ˈsɛntrəl ˈkjʊrɪŋ wʊd seɪv juʤ əˈmaʊnts əv wʊd, bət ər nɑt ɪnˈkərəʤd baɪ ðə təˈbæˌkoʊ ˈɪndəstri bɪˈkəz ðeɪ wʊd kɔst ðə ˈfɑrmər mɔr. dɪˈvərsəˌfaɪɪŋ tɪ groʊ ˈəðər kæʃ ˈprɑdəkts ˈɪzənt ˈɔlˌweɪz ˈfizəbəl ɛz ðə ˌɛkəˈnɑmɪk ˌɪnˈsɪnɪvz prəˈvaɪdɪd baɪ ðə təˈbæˌkoʊ ˈkəmpəˌniz meɪk təˈbæˌkoʊ ən ˌɪrɪˈzɪstəbli ˈprɑfətəbəl kəˈmɑdəti, əˈspɛʃəli tɪ pur ˈfɑrmərz. ðɛr ɪz ˈɔlsoʊ ə dɪˈrɛkt ˌɪmˈpækt ɔn ðə ˈpipəl ˈlɪvɪŋ ɪn dɪˈvɛləpɪŋ ˈkəntriz. əˈkɔrdɪŋ tɪ ˈdɑktər. ˈʤudɪθ məˈkeɪ, dɪˈrɛktər əv ðə ˈeɪʒən kənˈsəltənsi əv təˈbæˌkoʊ kənˈtroʊl ɪn hɔŋ kɔŋg, ðə juz əv ˈpɛzənt ˈfɑrmˌlænd fər təˈbæˌkoʊ groʊθ "dɪˈnaɪz ˈmɪljən ˈpipəl fud həz tɪ bi ˌɪmˈpɔrtɪd bɪˈkəz ðə rɪʧ ˈfɑrmˌlænd ɪz biɪŋ dɪˈvərtɪd tɪ təˈbæˌkoʊ ˈwɪmən ɪn səm dɪˈvɛləpɪŋ ˈkəntriz ˈkɛri ðə ˈhɛviəst ˈbərdən sɪns ðeɪ məst ˈkɛri aʊt tæsks ənd kəˈlɛkt wʊd fər ðə bɑrnz ɛz wɛl ɛz fər dəˈmɛstɪk juz. ˈɔfən taɪmz ðeɪ məst ˈtrævəl ˈlɔŋgər ənd ˈlɔŋgər ˈdɪstənsɪz tɪ faɪnd ðə wʊd. wɪn ðə lænd noʊ ˈlɔŋgər səˈsteɪnz ðɛm kəmˈjunɪtiz meɪ bi rikˈwaɪərd tɪ muv ˌɔltəˈgɛðər. təˈbæˌkoʊ groʊɪŋ ˈɔfən ˈɛkˌsplɔɪts əv ʧaɪld ˈleɪbər æt ɔl ˈsteɪʤɪz əv ˌkəltɪˈveɪʃən ənd ˈkjʊrɪŋ ˈðɛrˈbaɪ əˈfɛktɪŋ skul əˈtɛndəns. ˈəðər krɑps meɪk juz əv ʧaɪld ˈleɪbər, bət təˈbæˌkoʊz ˈlɔŋgər groʊɪŋ ˈsizən ənd ðə ˈkjʊrɪŋ ˈprɔˌsɛs sim tɪ pleɪs ˌpɑˈtɪkjələr təˈbæˌkoʊ ˌkəltɪˈveɪʃən ˌɪnˈvɑlvz ə greɪt dil əv ˈpɛstəˌsaɪdz wɪʧ məst bi juzd ɪn ðə ɔl ˈsteɪʤɪz əv təˈbæˌkoʊ groʊθ. bɪˈkəz təˈbæˌkoʊ dɪˈplits sɔɪl ˈnutriənts æt ə ˈhɛvi reɪt, ɪt rikˈwaɪərz ˈrɛgjələr ˈɪnˌpʊts əv ˈkɛmɪkəl ˈfərtəˌlaɪzərz. fər ɪgˈzæmpəl, ˈdʊrɪŋ ðə θri mənθ ˈpɪriəd frəm ˈmeɪkɪŋ ðə tɪ trænˈsplæntɪŋ ðə sid ɪn ðə fild, əp tɪ 16 ˌæpləˈkeɪʃənz əv ˈpɛstəˌsaɪd meɪ bi ˌrɛkəˈmɛndɪd (ˌæpləˈkeɪʃənz dɪˈpɛnd ɔn ˈklaɪmɪt ənd ˈloʊkəl pɛst nɑt ˈoʊnli du ðiz ˈfərtəˌlaɪzərz, ˈərbəˌsaɪdz ənd ˈpɛstəˌsaɪdz dɪˈrɛkli ˈpɔɪzən ˈfɑrmˌwərkərz ənd meɪ kɔz ˈkrɑnɪk hɛlθ ˈprɑbləmz, bət ðeɪ ˈɔlsoʊ sip ˈɪntu ðə sɔɪl ənd pəˈlut ˈwɔtərˌweɪz ənd ɛkəˈlɑʤɪkəl ˈsɪstəmz ənd ˈpɔɪzənɪŋ ˈlaɪvˌstɑk ənd fud ˈfɑrmˌwərkərz, waɪl ˈhɑrvəstɪŋ wɛt təˈbæˌkoʊ ɪn ðə fildz hæv bɪn ˈdɑkjəˌmɛnəd ɛz ˈfɑlɪŋ ɪl frəm ə fɔrm əv ˈnɪkəˌtin ˈpɔɪzənɪŋ kɔld "grin təˈbæˌkoʊ ˈsɪknəs" ər "grin lif ˈfivər". sɪns 1973 ˈdɑktər. ˈstivən əv ðə ˌjunəˈvərsəti əv ˌmæsəˈʧusəts skul əv ˈpəblɪk hɛlθ həz ˈdɑkjəˌmɛnəd ðɪs ˈprɑbləm ənd ɪz kˈwoʊtɪd ɔn ə 1993 "deɪ wən" ˌsɛgˈmɛnt ɛz seɪɪŋ, "ɪts hɑrd tɪ ˌɪˈmæʤən ðət ðɛr ɪz ˈɛni ˈəðər ˌɑkjəˈpeɪʃən wɛr ɛz ˈmɛni ˈpipəl gɪt sɪk ɔn ðə ʤɑb ɪn ɛz ʃɔrt ə ˈpɪriəd əv taɪm, wɛr ˈsəmθɪŋ ˈɪzənt dən əˈbaʊt kleɪmz baɪ ðə təˈbæˌkoʊ ˈɪndəstri ðət ðɛr ər noʊ ˌɛkəˈnɑmɪkli ˈvaɪəbəl ɔlˈtərnətɪvz tɪ groʊɪŋ təˈbæˌkoʊ ər ˌɪnˈkrisɪŋgli biɪŋ dɪˈspjutɪd ənd ˌɪnˈvɛstəˌgeɪtɪd (əˈspɛʃəli wɪn ðə praɪs əv təˈbæˌkoʊ ɪn səm dɪˈvɛləpɪŋ ˈkəntriz fɔlz drəˈmætɪkəli, səʧ ɛz ɪn məˈlɑwi ɪn 1993 "ðɛr ər ɔlˈtərnətɪvz tɪ təˈbæˌkoʊ. ˈmɛni krɑps kən groʊ ɪn lænd ðət ɪz naʊ ˈəndər təˈbæˌkoʊ ðeɪ ˌɪnˈklud ðə məˈʤɔrəti əv greɪn krɑps ənd ˈvɛʤtəbəlz. ˈʃʊgər keɪn, bəˈnænəz, ˈkoʊkəˌnət ˈpaɪˌnæpəlz ənd ˈkɔtən kʊd ɔl bi ˈfaɪnəli, ɪn ðə juz., ˌsɪgəˈrɛt bəts əˈkaʊnt fər ˈɔlˌmoʊst hæf əv ðə ˈaɪtəmz kəˈlɛktəd ɪn ðə ˈænjuəl ˌkæləˈfɔrnjə ˈsteɪtˌwaɪd ˈkliˌnəp. ˈnæʃənəli, ɔl ðə ˌsɪgəˈrɛt bəts θroʊn əˈweɪ ɪn 1993 weɪd ɛz məʧ ɛz lɑrʤ ðiz ər wɑʃt ˈɪntu ˈrɪvərz, leɪks ənd ˈɪntu ðə ˈoʊʃən frəm ˈsɪti strits, θru stɔrm dreɪnz. seabirds*, ˈænəməlz ənd fɪʃ it ðɛm baɪ mɪˈsteɪk. ðɛr ˈbɑdiz hæv noʊ weɪ tɪ ˈdaɪʤɛst ðə ˈfɪltərz ənd ðeɪ kən daɪ. ˌsɪgəˈrɛt bəts teɪk ən ˈævərɪʤ əv 25 jɪrz tɪ ˌsɪgəˈrɛts ər ðə ˈlidɪŋ kɔz əv ˈfeɪtəl ˈhaʊsˌhoʊld faɪərz, əˈspɛʃəli ɛnˈdeɪnʤərɪŋ ˈʧɪldrən ɪn ðə juˈnaɪtɪd steɪts. ɪn dɪˈvɛləpɪŋ ˈkəntriz, faɪər ɪz ən ˈivɪn ˈgreɪtər ˈhæzərd bɪˈkəz dˈwɛlɪŋz ər ˈɔfən kənˈstrəktɪd əv ˈhaɪli ˈflæməbəl məˈtɪriəlz. tɪ deɪt, ðə təˈbæˌkoʊ ˈɪndəstri həz rɪfˈjuzd tɪ liv aʊt ˈædɪtɪvz tɪ ðɛr ˌsɪgəˈrɛts ðət wʊd kip ðɛm ˈbərnɪŋ waɪl ənəˈtɛndɪd, kənˈtrɪbjutɪŋ tɪ ˈfeɪtəl faɪərz ənd ðə moʊst ˈpoʊtənt taɪp əv ˈsɛkənˌdhænd ðɪs ˈsɛkənˌdhænd smoʊk ɪz ðə meɪn sɔrs əv ˈɪnˌdɔr ɛr pəˈluʃən ənd ɪz riˈspɑnsəbəl fər ðə ˌhɑspɪtələˈzeɪʃən əv ˈoʊvər ˈʧɪldrən iʧ jɪr ɪn ðə juz. fər ˈrɛspərəˌtɔri ˈfʊtˌnoʊts 1 madeley*, ʤɑn, ˌprɛzənˈteɪʃən tɪ ðə wərld ˈkɑnfərəns ɔn sˈmoʊkɪŋ ənd hɛlθ, ˈkænədə, ˌʤuˈlaɪ 12 1983 2 ˈmələr, ɛm, təˈbæˌkoʊ ɪn ðə θərd wərld: epidenic*?, ˈləndən: wɔr ɔn wɔnt, 1976 3 faʊ ˈjɪrˌbʊk, pərˈdəkʃən, ˈvɑljum 48 1995 4 ˈteɪlər, ˈpitər, "smoʊk rɪŋ: ðə ˈpɑləˌtɪks əv təˈbæˌkoʊ", ˈpɑnoʊs ˈbrifɪŋ ˈpeɪpər, sɛpˈtɛmbər 1994 ˈləndən 5 "təˈbæˌkoʊ fild ˈwərkərz ɪkˈspɪriəns ˈnɪkəˌtin ˈpɔɪzənɪŋ", ˈkɔrpərət kraɪm rɪˈpɔrtər, 6 "noʊ bəts əˈbaʊt ɪt", ˌkɑlərˈɑdoʊ dɪˈpɑrtmənt əv hɛlθ ənd əˈmɛrɪkən ˈkænsər soʊˈsaɪɪti. 7 stienstra*, tɑm, sæn frænˈsɪskoʊ ɪgˈzæmənər, 8 ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən ˈeɪʤənsi, "ˈrɛspərəˌtɔri hɛlθ ˈifɛkts əv ˈpæsɪv smoʊk", 1994 9 ˈpɑnoʊs ˈbrifɪŋ: "təˈbæˌkoʊ: ðə smoʊk bloʊz saʊθ", ˈpɑnoʊs ˈbrifɪŋ ˈpeɪpər, sɛpˈtɛmbər 1994 ˈləndən æmp ˈsɛkʃən neɪm: təˈbæˌkoʊ |
robotic submersible probes depths of up to near antarctic peninsula to obtain unprecedented data on how mixing ocean waters affect climate change
a yellow submarine dubbed has obtained “unprecedented data” from its first voyage exploring one of the deepest and coldest ocean regions on earth, scientists have said.
the robotic submersible was given the name originally chosen for a new polar research ship by irreverent contestants in a public competition. embarrassed officials decided to ignore the popular vote and instead named the vessel the sir david attenborough in honour of the veteran broadcaster. a storm of protest led to a compromise that allowed the name to live on.
the submarine plunged to depths as far as metres to obtain information about temperature, water flow speed and turbulence from orkney passage, a region of the southern ocean about 500 miles from the antarctic peninsula.
the data will help scientists to understand the complex ways that mixing ocean waters affect climate change.
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prof alberto from the university of southampton said: “the orkney passage is a key to the flow of waters in which we expect the mechanism linking changing winds to water warming to operate.
“our goal is to learn enough about these convoluted processes to represent them in the models that scientists use to predict how our climate will evolve over the century and beyond.
“we have been able to collect massive amounts of data that we have never been able to capture before due to the way is able to move underwater. up until now we have only been able to take measurements from a fixed point, but now we are able to obtain a much more detailed picture of what is happening in this very important underwater landscape.”
the submersible was launched from the james clark ross as part of the expedition. it is a new type of autonomous underwater vehicle (auv) and can travel under ice and reach depths of metres, transmitting the data it collects to researchers via a radio link.
the universities and science minister, jo johnson, said: “fresh from its maiden voyage, is already delivering new insight into some of the coldest ocean waters on earth, giving scientists a greater understanding of changes in the antarctic region and shaping a global effort to tackle climate change.”
the name was first put forward by the former bbc radio presenter james hand in response to a public poll by the national environment research council to name their new arctic research vessel.
the research council was mobbed with more than ideas for names in the competition period, among them onion knight, i like big boats and i cannot lie, and birdseye get off my cod. | ˌroʊˈbɑtɪk səbˈmərsɪbəl proʊbz dɛpθs əv əp tɪ nɪr æˈnɑrtɪk pəˈnɪnsələ tɪ əbˈteɪn ənˈprɛsɪˌdɛntɪd ˈdætə ɔn haʊ ˈmɪksɪŋ ˈoʊʃən ˈwɔtərz əˈfɛkt ˈklaɪmɪt ʧeɪnʤ ə ˈjɛloʊ ˌsəbmərˈin dəbd həz əbˈteɪnd data”*” frəm ɪts fərst vɔɪəʤ ɪkˈsplɔrɪŋ wən əv ðə ˈdipəst ənd ˈkoʊldəst ˈoʊʃən ˈriʤənz ɔn ərθ, ˈsaɪəntɪsts hæv sɛd. ðə ˌroʊˈbɑtɪk səbˈmərsɪbəl wɑz ˈgɪvɪn ðə neɪm ərˈɪʤənəli ˈʧoʊzən fər ə nu ˈpoʊlər ˈrisərʧ ʃɪp baɪ ˌɪˈrɛvərənt kənˈtɛstənts ɪn ə ˈpəblɪk ˌkɑmpəˈtɪʃən. ɪmˈbɛrəst əˈfɪʃəlz ˌdɪˈsaɪdɪd tɪ ˌɪgˈnɔr ðə ˈpɑpjələr voʊt ənd ˌɪnˈstɛd neɪmd ðə ˈvɛsəl ðə sər ˈdeɪvɪd ˈæˌtənbəroʊ ɪn ˈɑnər əv ðə ˈvɛtərən ˈbrɔdˌkæstər. ə stɔrm əv ˈproʊˌtɛst lɛd tɪ ə ˈkɑmprəˌmaɪz ðət əˈlaʊd ðə neɪm tɪ lɪv ɔn. ðə ˌsəbmərˈin plənʤd tɪ dɛpθs ɛz fɑr ɛz ˈmitərz tɪ əbˈteɪn ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˈtɛmpərəʧər, ˈwɔtər floʊ spid ənd ˈtərbjələns frəm ˈɔrkni ˈpæsɪʤ, ə ˈriʤən əv ðə ˈsəðərn ˈoʊʃən əˈbaʊt 500 maɪəlz frəm ðə æˈnɑrtɪk pəˈnɪnsələ. ðə ˈdætə wɪl hɛlp ˈsaɪəntɪsts tɪ ˌəndərˈstænd ðə ˈkɑmplɛks weɪz ðət ˈmɪksɪŋ ˈoʊʃən ˈwɔtərz əˈfɛkt ˈklaɪmɪt ʧeɪnʤ.: ˈtaɪrənts hæv krəʃt ðə wɪl stɔrt ˈhɛrɪtɪʤ rɛd mɔr ælˈbərtoʊ frəm ðə ˌjunəˈvərsəti əv ˌsaʊθˈhæmptən sɛd: ˈɔrkni ˈpæsɪʤ ɪz ə ki tɪ ðə floʊ əv ˈwɔtərz ɪn wɪʧ wi ɪkˈspɛkt ðə ˈmɛkəˌnɪzəm ˈlɪŋkɪŋ ˈʧeɪnʤɪŋ wɪndz tɪ ˈwɔtər ˈwɔrmɪŋ tɪ ˈɔpərˌeɪt. goʊl ɪz tɪ lərn ɪˈnəf əˈbaʊt ðiz ˈkɑnvəˌlutəd ˈprɑsɛsəz tɪ ˌrɛprɪˈzɛnt ðɛm ɪn ðə ˈmɑdəlz ðət ˈsaɪəntɪsts juz tɪ prɪˈdɪkt haʊ ɑr ˈklaɪmɪt wɪl ɪˈvɑlv ˈoʊvər ðə ˈsɛnʧəri ənd bɪɔnd. hæv bɪn ˈeɪbəl tɪ kəˈlɛkt ˈmæsɪv əˈmaʊnts əv ˈdætə ðət wi hæv ˈnɛvər bɪn ˈeɪbəl tɪ ˈkæpʧər ˌbiˈfɔr du tɪ ðə weɪ ɪz ˈeɪbəl tɪ muv ˈəndərˌwɔtər. əp ənˈtɪl naʊ wi hæv ˈoʊnli bɪn ˈeɪbəl tɪ teɪk ˈmɛʒərmənts frəm ə fɪkst pɔɪnt, bət naʊ wi ər ˈeɪbəl tɪ əbˈteɪn ə məʧ mɔr dɪˈteɪld ˈpɪkʧər əv wət ɪz ˈhæpənɪŋ ɪn ðɪs ˈvɛri ˌɪmˈpɔrtənt ˈəndərˌwɔtər landscape.”*.” ðə səbˈmərsɪbəl wɑz lɔnʧt frəm ðə ʤeɪmz klɑrk rɔs ɛz pɑrt əv ðə ˌɛkspəˈdɪʃən. ɪt ɪz ə nu taɪp əv ɔˈtɑnəməs ˈəndərˌwɔtər ˈviɪkəl (auv*) ənd kən ˈtrævəl ˈəndər aɪs ənd riʧ dɛpθs əv ˈmitərz, trænsˈmɪtɪŋ ðə ˈdætə ɪt kəˈlɛkts tɪ ˈrisərʧərz ˈviə ə ˈreɪdiˌoʊ lɪŋk. ðə ˌjunəˈvərsətiz ənd saɪəns ˈmɪnɪstər, ʤoʊ ˈʤɑnsən, sɛd: frəm ɪts ˈmeɪdən vɔɪəʤ, ɪz ɔˈrɛdi dɪˈlɪvərɪŋ nu ˈɪnˌsaɪt ˈɪntu səm əv ðə ˈkoʊldəst ˈoʊʃən ˈwɔtərz ɔn ərθ, ˈgɪvɪŋ ˈsaɪəntɪsts ə ˈgreɪtər ˌəndərˈstændɪŋ əv ˈʧeɪnʤɪz ɪn ðə æˈnɑrtɪk ˈriʤən ənd ˈʃeɪpɪŋ ə ˈgloʊbəl ˈɛfərt tɪ ˈtækəl ˈklaɪmɪt change.”*.” ðə neɪm wɑz fərst pʊt ˈfɔrwərd baɪ ðə ˈfɔrmər ˌbibiˈsi ˈreɪdiˌoʊ ˈprɛzəntər ʤeɪmz hænd ɪn rɪˈspɑns tɪ ə ˈpəblɪk poʊl baɪ ðə ˈnæʃənəl ɪnˈvaɪrənmənt ˈrisərʧ ˈkaʊnsəl tɪ neɪm ðɛr nu ˈɑrtɪk ˈrisərʧ ˈvɛsəl. ðə ˈrisərʧ ˈkaʊnsəl wɑz mɑbd wɪθ mɔr ðən aɪˈdiəz fər neɪmz ɪn ðə ˌkɑmpəˈtɪʃən ˈpɪriəd, əˈməŋ ðɛm ˈənjən naɪt, aɪ laɪk bɪg boʊts ənd aɪ ˈkænɑt laɪ, ənd ˈbərdzaɪ gɪt ɔf maɪ ˈsiˈoʊˈdi. |
katedra (cathedral in english) is a lithuanian heavy metal band, founded in 1986. from the outset, it was significantly influenced by the style ofon]
members [ edit ]
current members [ edit ]
former members [ edit ]
povilas vocals also trombone),
romas guitar,
marius drums,
naglis keyboard,
algimantas bass guitar,
domas - drums,
gediminas - bass guitar.
history [ edit ]
beginning [ edit ]
in its first incarnation, was composed of the three musicians: on guitar, on bass, and marius on drums. later, former guitarist romas and even vocalist joined the band. december 1986 was the official start of.
mors ultima ratio and break up [ edit ]
in 1989 band finished recording their first lp called ultima ratio" (latin: "death is the final accounting"). although, it was released a year after recording,'s first vinyl album gained extreme popularity in lithuania. ultima ratio" was also noticed by edgar from "metal hammer" magazine. he described as: "that is pure thrash metal act, strong both musically and technically. in fact the formation is superior in comparison with 90 percent of similar western acts. so it is evident how far the music in lithuania made headway. are the only in lithuania and maybe stand among the hottest european thrash metal] gained popularity, opened doors to concerts abroad. in 1991 played at "baltic sea music festival" in sweden. unfortunately, it was the last gig for and romas with the band. soon after the festival they left.
downturn [ edit ]
the band was now seeking another shift: took over the vocalist position. the band's output at this time included the album in mortis"; their music became more severe; and's vocal entry of the sounds from the standard needed] the trio played many concerts and their albums were played on lithuanian radio stations.
later, and for some time, concert activity was stopped. although the trio continued to build and perform together, the group's name was almost forgotten. it was a new generation, and new names appeared on the metal stage. in february 2001, the band was invited to play an acoustic concert on lithuanian national television. the group relied on its own played live.
revival [ edit ]
from 2003 the band helped.[clarification needed] the musicians tried to experiment more. in the autumn of 2003, longtime band member marius left. he was replaced by a new drummer, domas (who has played in bands such as inquest, undertaker, dahmer, and herosgamos).
after a successful appearance at lithuania's largest rock festival "the nights of rock 2004" in plateliai, managers found and booked the band for a few concert programs, which have been shown with success in lithuanian club music scenes, and also in several foreign festivals.
in the 2005 summer festival "the nights of rock 2005", presented a retrospective of its old and new songs with the string duo (cello) and kristina baltrušaitytė (viola).
in august 2004, the band announced its third album (and first album on cd format) "iii". it was presented in 2006 "the nights of rock".
2006 band bassist was replaced by (previously, he had played in the band "hersh tu"?
at the end of 2007, domas was replaced by žeimys (ex "ossuary", "spellbound", "green bridge band" and others), who also performs with bands "skylė", "atalyja" and "exlibris".
in september 2008, the group signed a contract with atra musica for a fourth album, "ugnikalnis" (lithuanian: volcano)
on november 1, 2008, the band's fourth album, "ugnikalnis", saw the light of day.
in the end of 2010 left the band. bass players place was taken by budriūnas.
significant events [ edit ]
lituanica (vilnius)
„rock panorama“ (moskow)
„rock summer“ „rock winter“ (estonia)
„liepajas (latvia)
„sopot“ (poland)
„ilosaari pop“ (finland)
„baltic sea music fest '91“ (sweden)
lietuvos '94 (germany) (lithuanian cultural days in leipzig)
„death (vilnius)
„ferrum frost“ 2003 2004 (vilnius)
„roko, '05, '06, '07, '08“ (lithuania)
„riga bike show (latvia)
russia biker show „baltijskij šturm (kaliningrad).
discography [ edit ]
mors ultima ratio (1989) in mortis (1992) (2006) (volcano) (2008) | katedra* (kəˈθidrəl ɪn ˈɪŋlɪʃ) ɪz ə ˌlɪθəˈweɪniən ˈhɛvi ˈmɛtəl bænd, ˈfaʊndɪd ɪn 1986 frəm ðə ˈaʊtˌsɛt, ɪt wɑz sɪgˈnɪfɪkəntli ˈɪnfluənst baɪ ðə staɪl əv aɪərn ˈmɛmbərz ˈɛdət ˈkɑrənt ˈmɛmbərz ˈɛdət ˈfɔrmər ˈmɛmbərz ˈɛdət ˈvoʊkəlz ˈɔlsoʊ trɑmˈboʊn), ˈroʊməz gɪˈtɑr, ˈmɑriəs drəmz, ˈkiˌbɔrd, bæs gɪˈtɑr, ˈdoʊməs drəmz, bæs gɪˈtɑr. ˈhɪstəri ˈɛdət bɪˈgɪnɪŋ ˈɛdət ɪn ɪts fərst ˌɪnˈkɑrˈneɪʃən, wɑz kəmˈpoʊzd əv ðə θri mjuˈzɪʃənz: ɔn gɪˈtɑr, ɔn bæs, ənd ˈmɑriəs ɔn drəmz. ˈleɪtər, ˈfɔrmər ˌgɪˈtɑrɪst ˈroʊməz ənd ˈivɪn ˈvoʊkəlɪst ʤɔɪnd ðə bænd. dɪˈsɛmbər 1986 wɑz ðə əˈfɪʃəl stɑrt əv. ˈəltɪmə ˈreɪʃiˌoʊ ənd breɪk əp ˈɛdət ɪn 1989 bænd ˈfɪnɪʃt rɪˈkɔrdɪŋ ðɛr fərst ˈɛlˈpi kɔld ˈəltɪmə ˈreɪʃiˌoʊ" (ˈlætən: "dɛθ ɪz ðə ˈfaɪnəl əˈkaʊnɪŋ"). ˌɔlˈðoʊ, ɪt wɑz riˈlist ə jɪr ˈæftər rɪˈkɔrdɪŋ, fərst ˈvaɪnəl ˈælbəm geɪnd ɪkˈstrim ˌpɑpjəˈlɛrəti ɪn ˌlɪθəˈweɪniə. ˈəltɪmə ˈreɪʃiˌoʊ" wɑz ˈɔlsoʊ ˈnoʊtɪst baɪ ˈɛdgər frəm "ˈmɛtəl ˈhæmər" ˈmægəˌzin. hi dɪˈskraɪbd ɛz: "ðət ɪz pjʊr θræʃ ˈmɛtəl ækt, strɔŋ boʊθ mˈjuzɪkli ənd ˈtɛknɪkəli. ɪn fækt ðə fɔrˈmeɪʃən ɪz suˈpɪriər ɪn kəmˈpɛrəsən wɪθ 90 pərˈsɛnt əv ˈsɪmələr ˈwɛstərn ækts. soʊ ɪt ɪz ˈɛvədənt haʊ fɑr ðə mˈjuzɪk ɪn ˌlɪθəˈweɪniə meɪd ˈhɛdˌweɪ. ər ðə ˈoʊnli ɪn ˌlɪθəˈweɪniə ənd ˈmeɪbi stænd əˈməŋ ðə ˈhɑtəst ˌjʊrəˈpiən θræʃ ˈmɛtəl geɪnd ˌpɑpjəˈlɛrəti, ˈoʊpənd dɔrz tɪ ˈkɑnsərts əˈbrɔd. ɪn 1991 pleɪd æt "ˈbɔltɪk si mˈjuzɪk ˈfɛstɪvəl" ɪn sˈwidən. ənˈfɔrʧənətli, ɪt wɑz ðə læst gɪg fər ənd ˈroʊməz wɪθ ðə bænd. sun ˈæftər ðə ˈfɛstɪvəl ðeɪ lɛft. ˈdaʊnˌtərn ˈɛdət ðə bænd wɑz naʊ ˈsikɪŋ əˈnəðər ʃɪft: tʊk ˈoʊvər ðə ˈvoʊkəlɪst pəˈzɪʃən. ðə bændz ˈaʊtˌpʊt æt ðɪs taɪm ˌɪnˈkludɪd ðə ˈælbəm ɪn ˈmɔrtɪs"; ðɛr mˈjuzɪk bɪˈkeɪm mɔr səˈvɪr; ənd ˈvoʊkəl ˈɛntri əv ðə saʊnz frəm ðə ˈstændərd ˈnidɪd] ðə ˈtriˌoʊ pleɪd ˈmɛni ˈkɑnsərts ənd ðɛr ˈælbəmz wər pleɪd ɔn ˌlɪθəˈweɪniən ˈreɪdiˌoʊ ˈsteɪʃənz. ˈleɪtər, ənd fər səm taɪm, ˈkɑnsərt ækˈtɪvɪti wɑz stɑpt. ˌɔlˈðoʊ ðə ˈtriˌoʊ kənˈtɪnjud tɪ bɪld ənd pərˈfɔrm təˈgɛðər, ðə grups neɪm wɑz ˈɔlˌmoʊst fərˈgɑtən. ɪt wɑz ə nu ˌʤɛnərˈeɪʃən, ənd nu neɪmz əˈpɪrd ɔn ðə ˈmɛtəl steɪʤ. ɪn ˈfɛbruˌɛri 2001 ðə bænd wɑz ˌɪnˈvaɪtɪd tɪ pleɪ ən əˈkustɪk ˈkɑnsərt ɔn ˌlɪθəˈweɪniən ˈnæʃənəl ˈtɛləˌvɪʒən. ðə grup rɪˈlaɪd ɔn ɪts oʊn pleɪd lɪv. rɪˈvaɪvəl ˈɛdət frəm 2003 ðə bænd hɛlpt ˈnidɪd] ðə mjuˈzɪʃənz traɪd tɪ ɪkˈspɛrəmənt mɔr. ɪn ðə ˈɔtəm əv 2003 ˈlɔŋˌtaɪm bænd ˈmɛmbər ˈmɑriəs lɛft. hi wɑz ˌriˈpleɪst baɪ ə nu ˈdrəmər, ˈdoʊməs (hu həz pleɪd ɪn bændz səʧ ɛz ˈɪnkˌwɛst, ˈəndərˌteɪkər, ˈdɑmər, ənd herosgamos*). ˈæftər ə səkˈsɛsfəl əˈpɪrəns æt ˌlɪθəˈweɪniəz ˈlɑrʤəst rɑk ˈfɛstɪvəl "ðə naɪts əv rɑk 2004 ɪn plateliai*, ˈmænɪʤərz faʊnd ənd bʊkt ðə bænd fər ə fju ˈkɑnsərt ˈproʊˌgræmz, wɪʧ hæv bɪn ʃoʊn wɪθ səkˈsɛs ɪn ˌlɪθəˈweɪniən kləb mˈjuzɪk sinz, ənd ˈɔlsoʊ ɪn ˈsɛvərəl ˈfɔrən ˈfɛstɪvəlz. ɪn ðə 2005 ˈsəmər ˈfɛstɪvəl "ðə naɪts əv rɑk 2005 pərˈzɛnəd ə ˌrɛtrəˈspɛktɪv əv ɪts oʊld ənd nu sɔŋz wɪθ ðə strɪŋ ˈduoʊ (ˈʧɛloʊ) ənd krɪˈstinə baltrušaitytė*ė (viˈoʊlə). ɪn ˈɔgəst 2004 ðə bænd əˈnaʊnst ɪts θərd ˈælbəm (ənd fərst ˈælbəm ɔn ˈsiˈdi ˈfɔrˌmæt) "iii*". ɪt wɑz pərˈzɛnəd ɪn 2006 "ðə naɪts əv rɑk". 2006 bænd ˈbeɪsɪst wɑz ˌriˈpleɪst baɪ (ˈpriviəsli, hi hæd pleɪd ɪn ðə bænd "hərʃ tu"? æt ðə ɛnd əv 2007 ˈdoʊməs wɑz ˌriˈpleɪst baɪ (ɛks "ossuary*", "ˈspɛlˌbaʊnd", "grin brɪʤ bænd" ənd ˈəðərz), hu ˈɔlsoʊ pərˈfɔrmz wɪθ bændz "skylė*ė", "atalyja*" ənd "exlibris*". ɪn sɛpˈtɛmbər 2008 ðə grup saɪnd ə ˈkɑnˌtrækt wɪθ ˈeɪtrə mˈjuzɪkə fər ə fɔrθ ˈælbəm, "ugnikalnis*" (ˌlɪθəˈweɪniən: vɑlˈkeɪnoʊ) ɔn noʊˈvɛmbər 1 2008 ðə bændz fɔrθ ˈælbəm, "ugnikalnis*", sɔ ðə laɪt əv deɪ. ɪn ðə ɛnd əv 2010 lɛft ðə bænd. bæs pleɪərz pleɪs wɑz ˈteɪkən baɪ budriūnas*. sɪgˈnɪfɪkənt ɪˈvɛnts ˈɛdət (ˈvɪlniəs) panorama“*“ (ˈmɑskoʊ) summer“*“ winter“*“ (ɛˈstoʊniə) (ˈlætviə) „„sopot“*“ (ˈpoʊlənd) pop“*“ (ˈfɪnˌlænd) si mˈjuzɪk fɛst (sˈwidən) 94 (ˈʤərməni) (ˌlɪθəˈweɪniən ˈkəlʧərəl deɪz ɪn ˈlaɪpsɪg) (ˈvɪlniəs) frost“*“ 2003 2004 (ˈvɪlniəs) 05 06 07 (ˌlɪθəˈweɪniə) baɪk ʃoʊ (ˈlætviə) ˈrəʃə ˈbaɪkər ʃoʊ (kəˈlɪnɪŋˌgræd). dɪˈskɔgrəfi ˈɛdət ˈəltɪmə ˈreɪʃiˌoʊ 1989 ɪn ˈmɔrtɪs 1992 2006 (vɑlˈkeɪnoʊ) 2008 |
the chaplin fan club in has more than 200 members (photos: ghosh)
a small town in the western indian state of gujarat is an unlikely haven for charlie chaplin impersonators. the bbc's travelled to the town of to find out why. in the rising heat of a flaming indian summer, more than 100 people have gathered in a small town in gujarat to celebrate charlie chaplin's birthday. there are girls and boys, men and women. they are young and old, fit and feeble. they have all trooped out into the streets of dressed up like the legendary actor's tramp - toothbrush moustache, bowler hat, scruffy black suit, cane. what binds them is a love of chaplin's cinema - most are members of the charlie circle, a local fan club which has been celebrating the actor's birthday every april since 1973. i thought, is chaplin an actor or a magician? i fell off my seat laughing in the darkness
club founder ashok
in pictures: india's out on the streets, a party fuses chaplin worship with indian song and dance. scores of impersonators imitate the dance walk and waddle with mixed results. then they begin jumping up and down to bollywood songs sung by a portly local singer and pumped out from crackling speakers strung on top of a rickety mobile music cart. worship in the middle, girls out in local costumes swirl around doing the garba, a popular local dance. a couple of carts bring up the rear. one is packed with toddler chaplin impersonators. in the other, a small statue and a big poster of the actor are "worshipped", complete with a chanting hindu priest and burning joss sticks. the chaplin fan club opened in 1973
"the tramp is dead, long live the tramp," cries kishore, a bus conductor and fan club member who has composed a paean to his favourite actor. mr says his life changed after watching the gold rush, the 1925 comic gem featuring chaplin chasing fortunes in the icy wilderness of alaska. "chaplin absorbs grief and makes you laugh. he said, 'i walk in the rain to hide my tears.' he was a poet," mr shouts above the din. the gathering roars in approval, as the procession snakes through the town while bystanders gape and traffic comes to a halt. as dusk settles over the town, festivities move to a crummy hall where locals perform mimes, skits and watch a chaplin film on the big screen. "it's a day we wait for every year. it's our biggest festival in many senses," says, a morgan freeman lookalike and retired bus driver. unusual place mr saw his first chaplin silent short as a in karachi, pakistan, where he was born. now he is one of the oldest members of charlie circle. "i have been walking in the chaplin procession for the last eight years," he says with a hint of pride. ashok launched the club after watching chaplin films
adipur, in arid, sprawling kutch region, is an unlikely place for chaplin adulation to grow deep roots. not very long ago, it was a sleepy town of refugees from in pakistan, better known for a urea factory and a thriving port in its neighbourhood. two cinemas - one quaintly named oslo after a norwegian who visited the town - showed mainly bollywood films. but one man's serendipitous discovery of chaplin led to the town's obsession with the actor. back in the summer of 1966, the gold rush, thanks to a quirk of cinema distribution, arrived at oslo and changed the life of ashok, the son of a local pharmacist. a drama and cinema buff - early pictures show him as a rakish young man, dressed sharply with an - mr was cycling to his work as a typist when he saw a poster for the film. he screeched to a halt. "i was wonderstruck. i found his dress and look fascinating. how does the man bend his legs like that?" he reminisces, bleary-eyed. he says he got off his bike and at the poster for 10 minutes. then he forgot about his job, left his cycle outside the hall, bought a ticket and went in. "a whole new world of cinema opened up for me. the music, technique, photography was so different! and i thought, is chaplin an actor or a magician? i fell off my seat laughing in the darkness," says mr. 'obsession' that day, mr watched all four showings of the gold rush. he was also fired. the procession is a major festival in the town
"i lost my job, but i gained chaplin. i became obsessed with him, i became interested in acting and wanted desperately to become an actor," he remembers. the young man, his life changed by chaplin's cinema, dropped out of college and applied for an actor's course in india's most famous cinema school in the western city of pune. he passed the admission test, joined the school but was thrown out after six months when he failed his tests. returning to, mr opened the charlie circle club in 1973. he became a practitioner of indigenous medicine, giving away free chaplin cds with his potions. chaplin's spirit over a quarter of a century, the chaplin fan club has grown (more than 200 members and rising). it has inspired a documentary by australian filmmaker kathryn millard, a website and tv offers to participate in reality shows. "when i set out to research a documentary about chaplin imitators around the world, i had no idea that i would meet a very special community - perhaps chaplin's most devoted followers - in a small town in india," says ms millard. she says whenever she shows the film, people ask her whether there is a way they could join the charlie circle: "i hope they may start accepting associate members from other countries!" chaplin impersonators are to be found all over the world, but it appears his spirit is truly alive and well in. "the celebrations will never cease," says mr, as the party winds down and he shakes off his tramp suit. "our children and grandchildren are already hooked to chaplin's films, so our homage to the actor will never end."
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stumbleupon what are these? e-mail this to a friend printable version | ðə ˈʧæplɪn fæn kləb ɪn həz mɔr ðən 200 ˈmɛmbərz (ˈfoʊˌtoʊz: gɑʃ) ə smɔl taʊn ɪn ðə ˈwɛstərn ˈɪndiən steɪt əv ˌgjuʤərˈæt ɪz ən ənˈlaɪkli ˈheɪvən fər ˈʧɑrli ˈʧæplɪn ˌɪmˈpərsəˌneɪtərz. ðə ˌbibiˈsis ˈtrævəld tɪ ðə taʊn əv tɪ faɪnd aʊt waɪ. ɪn ðə ˈraɪzɪŋ hit əv ə ˈfleɪmɪŋ ˈɪndiən ˈsəmər, mɔr ðən 100 ˈpipəl hæv ˈgæðərd ɪn ə smɔl taʊn ɪn ˌgjuʤərˈæt tɪ ˈsɛləˌbreɪt ˈʧɑrli ˈʧæplɪnz ˈbərθˌdeɪ. ðɛr ər gərlz ənd bɔɪz, mɛn ənd ˈwɪmən. ðeɪ ər jəŋ ənd oʊld, fɪt ənd ˈfibəl. ðeɪ hæv ɔl trupt aʊt ˈɪntu ðə strits əv drɛst əp laɪk ðə ˈlɛʤənˌdɛri ˈæktərz træmp ˈtuθbrəʃ ˈməˌstæʃ, ˈboʊlər hæt, ˈskrəfi blæk sut, keɪn. wət baɪndz ðɛm ɪz ə ləv əv ˈʧæplɪnz ˈsɪnəmə moʊst ər ˈmɛmbərz əv ðə ˈʧɑrli ˈsərkəl, ə ˈloʊkəl fæn kləb wɪʧ həz bɪn ˈsɛləˌbreɪtɪŋ ðə ˈæktərz ˈbərθˌdeɪ ˈɛvəri ˈeɪprəl sɪns 1973 aɪ θɔt, ɪz ˈʧæplɪn ən ˈæktər ər ə məˈʤɪʃən? aɪ fɛl ɔf maɪ sit ˈlæfɪŋ ɪn ðə ˈdɑrknəs kləb ˈfaʊndər ˈæʃɑk ɪn ˈpɪkʧərz: ˈɪndiəz aʊt ɔn ðə strits, ə ˈpɑrti fˈjuzɪz ˈʧæplɪn ˈwərʃɪp wɪθ ˈɪndiən sɔŋ ənd dæns. skɔrz əv ˌɪmˈpərsəˌneɪtərz ˈɪməˌteɪt ðə dæns wɔk ənd ˈwɑdəl wɪθ mɪkst rɪˈzəlts. ðɛn ðeɪ bɪˈgɪn ˈʤəmpɪŋ əp ənd daʊn tɪ ˈbɔlɪˌwʊd sɔŋz səŋ baɪ ə ˈpɔrtli ˈloʊkəl ˈsɪŋər ənd pəmpt aʊt frəm ˈkræklɪŋ ˈspikərz strəŋ ɔn tɔp əv ə ˈrɪkəti ˈmoʊbəl mˈjuzɪk kɑrt. ˈwərʃɪp ɪn ðə ˈmɪdəl, gərlz aʊt ɪn ˈloʊkəl ˈkɑstumz swərl əraʊnd duɪŋ ðə garba*, ə ˈpɑpjələr ˈloʊkəl dæns. ə ˈkəpəl əv kɑrts brɪŋ əp ðə rɪr. wən ɪz pækt wɪθ ˈtɑdlər ˈʧæplɪn ˌɪmˈpərsəˌneɪtərz. ɪn ðə ˈəðər, ə smɔl ˈstæˌʧu ənd ə bɪg ˈpoʊstər əv ðə ˈæktər ər "ˈwərʃəpt", kəmˈplit wɪθ ə ˈʧæntɪŋ ˈhɪnˌdu prist ənd ˈbərnɪŋ ʤɔs stɪks. ðə ˈʧæplɪn fæn kləb ˈoʊpənd ɪn 1973 "ðə træmp ɪz dɛd, lɔŋ lɪv ðə træmp," kraɪz ˈkiˌʃɔr, ə bəs kənˈdəktər ənd fæn kləb ˈmɛmbər hu həz kəmˈpoʊzd ə ˈpiən tɪ hɪz ˈfeɪvərɪt ˈæktər. ˈmɪstər sɪz hɪz laɪf ʧeɪnʤd ˈæftər ˈwɑʧɪŋ ðə goʊld rəʃ, ðə 1925 ˈkɑmɪk ʤɛm ˈfiʧərɪŋ ˈʧæplɪn ˈʧeɪsɪŋ ˈfɔrʧənz ɪn ðə ˈaɪsi ˈwɪldərnəs əv əˈlæskə. "ˈʧæplɪn əbˈzɔrbz grif ənd meɪks ju læf. hi sɛd, 'aɪ wɔk ɪn ðə reɪn tɪ haɪd maɪ tɪrz.' hi wɑz ə poʊət," ˈmɪstər ʃaʊts əˈbəv ðə dɪn. ðə ˈgæðərɪŋ rɔrz ɪn əˈpruvəl, ɛz ðə prəˈsɛʃən sneɪks θru ðə taʊn waɪl ˈbaɪˌstændərz geɪp ənd ˈtræfɪk kəmz tɪ ə hɔlt. ɛz dəsk ˈsɛtəlz ˈoʊvər ðə taʊn, fɛˈstɪvətiz muv tɪ ə ˈkrəmi hɔl wɛr ˈloʊkəlz pərˈfɔrm mimes*, skɪts ənd wɔʧ ə ˈʧæplɪn fɪlm ɔn ðə bɪg skrin. "ɪts ə deɪ wi weɪt fər ˈɛvəri jɪr. ɪts ɑr ˈbɪgəst ˈfɛstɪvəl ɪn ˈmɛni ˈsɛnsɪz," sɪz, ə ˈmɔrgən ˈfrimən ˈlʊkəˌlaɪk ənd rɪˈtaɪrd bəs ˈdraɪvər. ənˈjuˌʒuəl pleɪs ˈmɪstər sɔ hɪz fərst ˈʧæplɪn ˈsaɪlənt ʃɔrt ɛz ə ɪn kɑˈrɑʧi, ˈpækɪˌstæn, wɛr hi wɑz bɔrn. naʊ hi ɪz wən əv ðə ˈoʊldəst ˈmɛmbərz əv ˈʧɑrli ˈsərkəl. "aɪ hæv bɪn ˈwɔkɪŋ ɪn ðə ˈʧæplɪn prəˈsɛʃən fər ðə læst eɪt jɪrz," hi sɪz wɪθ ə hɪnt əv praɪd. ˈæʃɑk lɔnʧt ðə kləb ˈæftər ˈwɑʧɪŋ ˈʧæplɪn fɪlmz, ɪn ˈɛrəd, ˈsprɔlɪŋ kəʧ ˈriʤən, ɪz ən ənˈlaɪkli pleɪs fər ˈʧæplɪn ˌæʤəˈleɪʃən tɪ groʊ dip ruts. nɑt ˈvɛri lɔŋ əˈgoʊ, ɪt wɑz ə sˈlipi taʊn əv ˈrɛfˌjuʤiz frəm ɪn ˈpækɪˌstæn, ˈbɛtər noʊn fər ə jərˈiə ˈfæktəri ənd ə θˈraɪvɪŋ pɔrt ɪn ɪts ˈneɪbərˌhʊd. tu ˈsɪnəməz wən kˈweɪntli neɪmd ˈɑzloʊ ˈæftər ə ˌnɔrˈwiʤən hu ˈvɪzɪtɪd ðə taʊn ʃoʊd ˈmeɪnli ˈbɔlɪˌwʊd fɪlmz. bət wən mænz ˌsɛrənˈdɪpɪtəs ˌdɪˈskəvri əv ˈʧæplɪn lɛd tɪ ðə taʊnz əbˈsɛʃən wɪθ ðə ˈæktər. bæk ɪn ðə ˈsəmər əv 1966 ðə goʊld rəʃ, θæŋks tɪ ə kwərk əv ˈsɪnəmə ˌdɪstrəˈbjuʃən, əraɪvd æt ˈɑzloʊ ənd ʧeɪnʤd ðə laɪf əv ˈæʃɑk, ðə sən əv ə ˈloʊkəl ˈfɑrməsɪst. ə ˈdrɑmə ənd ˈsɪnəmə bəf ˈərli ˈpɪkʧərz ʃoʊ ɪm ɛz ə ˈreɪkɪʃ jəŋ mæn, drɛst ˈʃɑrpli wɪθ ən ˈmɪstər wɑz ˈsaɪkəlɪŋ tɪ hɪz wərk ɛz ə ˈtaɪpɪst wɪn hi sɔ ə ˈpoʊstər fər ðə fɪlm. hi skriʧt tɪ ə hɔlt. "aɪ wɑz wonderstruck*. aɪ faʊnd hɪz drɛs ənd lʊk ˈfæsəˌneɪtɪŋ. haʊ dɪz ðə mæn bɛnd hɪz lɛgz laɪk ðət?" hi ˌrɛməˈnɪsɪz, bleary-eyed*. hi sɪz hi gɑt ɔf hɪz baɪk ənd æt ðə ˈpoʊstər fər 10 ˈmɪnəts. ðɛn hi fərˈgɑt əˈbaʊt hɪz ʤɑb, lɛft hɪz ˈsaɪkəl ˈaʊtˈsaɪd ðə hɔl, bɔt ə ˈtɪkɪt ənd wɛnt ɪn. "ə hoʊl nu wərld əv ˈsɪnəmə ˈoʊpənd əp fər mi. ðə mˈjuzɪk, tɛkˈnik, fəˈtɑgrəfi wɑz soʊ ˈdɪfərənt! ənd aɪ θɔt, ɪz ˈʧæplɪn ən ˈæktər ər ə məˈʤɪʃən? aɪ fɛl ɔf maɪ sit ˈlæfɪŋ ɪn ðə ˈdɑrknəs," sɪz ˈmɪstər. 'əbˈsɛʃən' ðət deɪ, ˈmɪstər wɔʧt ɔl fɔr ʃoʊɪŋz əv ðə goʊld rəʃ. hi wɑz ˈɔlsoʊ faɪərd. ðə prəˈsɛʃən ɪz ə ˈmeɪʤər ˈfɛstɪvəl ɪn ðə taʊn "aɪ lɔst maɪ ʤɑb, bət aɪ geɪnd ˈʧæplɪn. aɪ bɪˈkeɪm əbˈsɛst wɪθ ɪm, aɪ bɪˈkeɪm ˈɪntəˌrɛstɪd ɪn ˈæktɪŋ ənd ˈwɔntɪd ˈdɛspərətli tɪ bɪˈkəm ən ˈæktər," hi rɪˈmɛmbərz. ðə jəŋ mæn, hɪz laɪf ʧeɪnʤd baɪ ˈʧæplɪnz ˈsɪnəmə, drɑpt aʊt əv ˈkɑlɪʤ ənd əˈplaɪd fər ən ˈæktərz kɔrs ɪn ˈɪndiəz moʊst ˈfeɪməs ˈsɪnəmə skul ɪn ðə ˈwɛstərn ˈsɪti əv pune*. hi pæst ðə ədˈmɪʃən tɛst, ʤɔɪnd ðə skul bət wɑz θroʊn aʊt ˈæftər sɪks mənθs wɪn hi feɪld hɪz tɛsts. rɪˈtərnɪŋ tɪ, ˈmɪstər ˈoʊpənd ðə ˈʧɑrli ˈsərkəl kləb ɪn 1973 hi bɪˈkeɪm ə prækˈtɪʃənər əv ˌɪnˈdɪʤənəs ˈmɛdəsən, ˈgɪvɪŋ əˈweɪ fri ˈʧæplɪn ˈsiˈdiz wɪθ hɪz ˈpoʊʃənz. ˈʧæplɪnz ˈspɪrɪt ˈoʊvər ə kˈwɔrtər əv ə ˈsɛnʧəri, ðə ˈʧæplɪn fæn kləb həz groʊn (mɔr ðən 200 ˈmɛmbərz ənd ˈraɪzɪŋ). ɪt həz ˌɪnˈspaɪərd ə ˌdɑkjəˈmɛnəri baɪ ɔˈstreɪljən ˈfɪlˌmeɪkər ˈkæθrɪn ˈmɪlərd, ə ˈwɛbˌsaɪt ənd ˌtɛləˈvɪʒən ˈɔfərz tɪ pɑrˈtɪsəˌpeɪt ɪn ˌriˈæləˌti ʃoʊz. "wɪn aɪ sɛt aʊt tɪ ˈrisərʧ ə ˌdɑkjəˈmɛnəri əˈbaʊt ˈʧæplɪn ˈɪmɪˌteɪtərz əraʊnd ðə wərld, aɪ hæd noʊ aɪˈdiə ðət aɪ wʊd mit ə ˈvɛri ˈspɛʃəl kəmˈjunɪti pərˈhæps ˈʧæplɪnz moʊst dɪˈvoʊtɪd ˈfɑloʊərz ɪn ə smɔl taʊn ɪn ˈɪndiə," sɪz mɪz ˈmɪlərd. ʃi sɪz wɛˈnɛvər ʃi ʃoʊz ðə fɪlm, ˈpipəl æsk hər ˈwɛðər ðɛr ɪz ə weɪ ðeɪ kʊd ʤɔɪn ðə ˈʧɑrli ˈsərkəl: "aɪ hoʊp ðeɪ meɪ stɑrt əkˈsɛptɪŋ əˈsoʊʃiˌeɪt ˈmɛmbərz frəm ˈəðər ˈkəntriz!" ˈʧæplɪn ˌɪmˈpərsəˌneɪtərz ər tɪ bi faʊnd ɔl ˈoʊvər ðə wərld, bət ɪt əˈpɪrz hɪz ˈspɪrɪt ɪz ˈtruli əˈlaɪv ənd wɛl ɪn. "ðə ˌsɛləˈbreɪʃənz wɪl ˈnɛvər sis," sɪz ˈmɪstər, ɛz ðə ˈpɑrti wɪndz daʊn ənd hi ʃeɪks ɔf hɪz træmp sut. "ɑr ˈʧɪldrən ənd ˈgrænˌʧɪldrən ər ɔˈrɛdi hʊkt tɪ ˈʧæplɪnz fɪlmz, soʊ ɑr ˈɑməʤ tɪ ðə ˈæktər wɪl ˈnɛvər ɛnd." ˈbʊkmɑrk wɪθ: dɪˈlɪʃəs ˈfeɪsˌbʊk wət ər ðiz? ˈiˌmeɪl ðɪs tɪ ə frɛnd ˈprɪntəbəl ˈvərʒən |
royal mail in britain issued a postage stamp of khan, world war heroine of indian origin, on 25 march 2014. she fought fascism and died in the dachau concentration camp.
the stamp issued was a part of a set of 10 stamps in the remarkable lives series which honoured on her centenary year. royal mail commemorated with a stamp to ensure that her sacrifice and bravery will not be forgotten. other honoured in the set include actor sir alec guinness, poet dylan thomas, kenneth moore, joe mercer, barbara ward and joan littlewood.
about khan
• was born in moscow to an indian father, khan and an american mother, ora ray baker in january 1914. was brought up in paris and family immigrated to london when paris was occupied by germany during the world war in 1940.
• joined the auxiliary air force and was later recruited for the special operations executive, a secret organisation started by prime minister winston churchill.
• she was the first woman radio operator to be flown undercover to paris under the code name madeleine.
•, 30, was betrayed, arrested and finally executed in the dachau concentration camp in germany.
• britain awarded george cross, the highest honour to. croix de guerre award was awarded by the france. | rɔɪəl meɪl ɪn ˈbrɪtən ˈɪʃud ə ˈpoʊstɪʤ stæmp əv kɑn, wərld wɔr ˈhɛroʊən əv ˈɪndiən ˈɔrəʤən, ɔn 25 mɑrʧ 2014 ʃi fɔt ˈfæˌʃɪzəm ənd daɪd ɪn ðə ˈdækaʊ ˌkɑnsənˈtreɪʃən kæmp. ðə stæmp ˈɪʃud wɑz ə pɑrt əv ə sɛt əv 10 stæmps ɪn ðə rɪˈmɑrkəbəl lɪvz ˈsɪriz wɪʧ ˈɑnərd ɔn hər ˈsɛntəˌnɛri jɪr. rɔɪəl meɪl kəˈmɛmərˌeɪtɪd wɪθ ə stæmp tɪ ɪnˈʃʊr ðət hər ˈsækrəˌfaɪs ənd ˈbreɪvəri wɪl nɑt bi fərˈgɑtən. ˈəðər ˈɑnərd ɪn ðə sɛt ˌɪnˈklud ˈæktər sər ˈælɪk ˈgɪnəs, poʊət ˈdɪlən ˈtɑməs, ˈkɛnɪθ mʊr, ʤoʊ ˈmərsər, ˈbɑrbərə wɔrd ənd ʤoʊn ˈlɪtəlˌwʊd. əˈbaʊt kɑn wɑz bɔrn ɪn ˈmɔˌskaʊ tɪ ən ˈɪndiən ˈfɑðər, kɑn ənd ən əˈmɛrɪkən ˈməðər, ˈɔrə reɪ ˈbeɪkər ɪn ˈʤænjuˌɛri 1914 wɑz brɔt əp ɪn ˈpɛrɪs ənd ˈfæməli ˈɪməˌgreɪtɪd tɪ ˈləndən wɪn ˈpɛrɪs wɑz ˈɑkjəˌpaɪd baɪ ˈʤərməni ˈdʊrɪŋ ðə wərld wɔr ɪn 1940 ʤɔɪnd ðə ɑgˈzɪljəri ɛr fɔrs ənd wɑz ˈleɪtər rɪˈkrutɪd fər ðə ˈspɛʃəl ˌɑpərˈeɪʃənz ɪgˈzɛkjətɪv, ə ˈsikrɪt ˌɔrgənɪˈzeɪʃən ˈstɑrtɪd baɪ praɪm ˈmɪnɪstər ˈwɪnstən ˈʧərʧɪl. ʃi wɑz ðə fərst ˈwʊmən ˈreɪdiˌoʊ ˈɑpərˌeɪtər tɪ bi floʊn ˌəndərˈkəvər tɪ ˈpɛrɪs ˈəndər ðə koʊd neɪm ˌmædəˈlɛn., 30 wɑz bɪˈtreɪd, ərˈɛstɪd ənd ˈfaɪnəli ˈɛksəˌkjutɪd ɪn ðə ˈdækaʊ ˌkɑnsənˈtreɪʃən kæmp ɪn ˈʤərməni. ˈbrɪtən əˈwɔrdɪd ʤɔrʤ krɔs, ðə haɪəst ˈɑnər tɪ. krɔɪ də gɛr əˈwɔrd wɑz əˈwɔrdɪd baɪ ðə fræns. |
abstract evidence suggests that the parietal lobe has an important role in memory retrieval, yet is largely silent on this topic. recently, we reported that unilateral parietal lobe damage impairs various forms of visual working memory when tested bynition. here, we investigate whether parietal lobe working memory deficits are linked to problems at retrieval. we tested two patients with bilateral parietal lobe damage in a series of visual working memory tasks that probed recall andnition. stimuli were presented sequentially and several stimulus categories were tested. the results of these experiments show that parietal lobe damage disproportionately impairsnition as compared to cued recall across stimulus categories. the observed performance dissociation suggests that the posterior parietal lobe plays a particularly vital role in working memory retrieval.
general methods participants patients with bilateral parietal lobe damage are extremely rare. the survival rate after suffering the type of event that produces bilateral parietal lobe damage is low. we were able to identify to patients with bilateral parietal lobe damage in our database. these patients have been discussed previously (berryhill, phuong, picasso, cabeza, & olson, 2007); we summarize their profiles here. patient is a former teacher with 16 years of education. between april and june 2004, she suffered three in the watershed between the posterior and middle cerebral arteries.’s revealed symmetrical lesions in lateral aspects of the inferior parietal lobe, extending from superior aspects of the occipital lobe through the angular areas (ba) 39) in and around inferior and middle portions of the (ips). damage did not encroach into the midline (e.g.).’s lesions are depicted in . open in a separate window’s physical and perceptual symptoms are currently stable. primary deficit is as defined by her inability to apprehend the contents of a visual scene, her abnormal performance on line cancellation tasks, in which sheosses off items only at the center, and her tendency towards local bias, as illustrated by her report of the local but not global elements in letters. language comprehension and speech fluency are unimpaired as assessed by her conversational skills, and performance on the auditory tests of the western aphasia battery (kertesz, 1982), which were uniformly at ceiling. reading and writing are impaired due to her and spatial disorientation. her visual acuity is normal. was tested years post insult. patient is a former preschool teacher with 15 years of education. she suffered bilateral damage due to cerebral in march 2006.’s revealed signs of previous subacute posterior cerebral artery infarctions. the primary lesions are in bilateral parietal regions; see . the left parietal lesion extends into (ba 39) and (ba 7). there are two right lesion sites: the inferior lesion is in superior aspects of the occipital lobe (ba 18 and 19), and the superior lesion is in the superior parietal lobe (ba 7). in both hemispheres, the lesions extend slightly into (ba 19) regions and parietal white matter.’s cortical damage is now considered stable.’s primary deficit is, similar to that described for patient. language comprehension and speech fluency are unimpaired as assessed by her conversational skills, ability to follow instructions and comply with requests, and performance on the western aphasia exam (kertesz, 1982). reading and writing are somewhat impaired due to her and spatial disorientation (she loses her place on a page). her eyesight is corrected-to-normal. was tested 6 12 months post insult. standardized test performance the of the wechsler memory scale (wms-iii, wechsler, 1997b) that do not require comparing complex visual elements were conducted and index scores calculated for the following measures: auditory immediate, auditory delayed, auditorynition delayed and working memory (see for standardized test performance). patient performed at least one standard deviation below the mean across all measures.’s performance was more than one standard deviation below the mean on the auditory immediate and working memory indices but normal on the auditory delayed and auditorynition delayed tests. these findings provide an initial indication that posterior parietal lobe damage may slightly impair memory performance. table 2 test immediate 86 80 delayed 77 97 wm 83 79 delayed 55 110 forward span 6 8 backward 4 4 span immediate free recall, trial 5 short delay free recall long delay free recall 0 long delay hits total .5 intrusions 100% 100% open in a separate window the california verbal learning (delis, kramer, kaplan, & ober, 2000) is a measure of an ability to learn and remember verbal material, such as word lists. the data provides additional insight into verbal short-term and long-term memory. performance on the indicates that she has impaired verbal memory at both short and long delays. she is most impaired on measures of delayednition. in contrast, performance on the indicates that she has spared immediate free recall for verbal information, but moderately impaired verbal free recall memory at short delays. at long delays, her free recall andnition memory is normal. in both patients, forward and backward digit span was normal. it should be noted that digit span measure is known to be in diverse lesion populations, including (black, 1986). control participants twelve normal control subjects participated in each experiment (experiment: mean (m) age =, m years of education (edu) =, 4 males; experiment: m age =, m edu =, 6 males; experiment: m age =, m edu =, 6 males; experiment: m age =, m edu =, 7 males; experiment 3: m age =, m edu =, 7 males). stimuli three stimulus categories were used in experiment–2b: colors, abstract shapes and common objects. the color category consisted of 20 circular color patches selected from the full color spectrum. the shape category consisted of 36 black, bilaterally symmetrical abstract shapes generated by a computer algorithm that has been previously employed in studies of visual wm (jiang et al., 2000). the common objects or ‘tool’ category consisted of 36 photographs and was limited to the subordinate category of tools in order to be consistent with the other stimulus categories. stimuli measured approximately 6 by 6 and were presented on a white background. in experiment 3, colorized line drawings of common objects were used & pourtois, 2004). to accommodate the in both patients and the fact parietal damage slows visual processing (peers et al., 2005), all stimuli in all experiments were presented sequentially at the center of the monitor at the rate of 1000 ms/item. perceptual control tasks to insure that andcould accurately perceive the stimuli that were used in the wm tasks, two perceptual control tasks were administered. (1) perception of tools. photographs of household tools were presented on a white background using software (psychology software tools). the task was to verbally label each tool under free viewing conditions. the experimenter recorded the responses. was able to identify 89% of the tools. identified 72% of the tools. errors for both subjects were for items: clamps, a leather punch, a wood plane, an eggbeater, and a whisk. (2) perception of colors and abstract shapes. multicolored geometric shapes were printed on cards. there were eight different shapes and eight different colorseating a set of 24 cards. the task was to match a particular card based on color, shape, or color-shape. both subjects were accurate when asked to match colors (100%), shapes (100%) or conjunctions (100%). analysis in the recall experiments, experiments and, the dependent measure is raw accuracy. in experiment, chance performance was .25. in experiment, chance performance was nearly 0. in thenition experiments, experiments, and 3, the dependent measure is correctednition (cr). is equal to the hit rate (responding “yes” on a match trial) minus the false alarm rate (responding “yes” on a trial). chance performance corresponds to a value of 0. trials were excluded if no response was registered within two standard deviations of the mean reaction time (excluded trials: controls%, patients%). data was analyzed with permutation analyses approximating independent sample (experiment, 3) and a repeated measures analysis of variance (experimentsb,). permutation tests are an alternative to parametric tests for cases of small numbers of participants and can be accurately used for sample sizes larger than one. for the tests, a permutation test was used in which we first computed the f statistic under the standard mixed model. then the observed values were randomly across the patient and control subjects. the f statistics were for the data set and a count over 1000 replicates was used to compute the significance values (legendre, oden, sokal, vaudor, & kim, 1990; manly, 1997). for the version, no is calculated. in the first stage of analysis, the null hypothesis (that there is no difference between the patient and control groups) is tested using a (experiment 3). during the second stage, two groups were randomly defined and subjected to the same comparison. this continues until 1000 random samples are taken. the reported refer to the proportion of scores below the observed experimental value (good, 1994). statistical analyses were conducted using (the mathworks, natick, ma). (spss, chicago, il) was used to perform paireds ands for the comparison of recall andnition task performance.
experiment: order recall in our first study, subjects were required to remember item order. this task was chosen because there is evidence that the parietal lobe is involved in order wm. and colleagues found order wm related activity in bilateral superior parietal regions areas 7 and 40), which they hypothesize is involved in tracking the temporal spacing between items in order wm tasks (marshuetz, 2005;, smith, jonides, degutis, & chenevert, 2000; see also majerus et al., 2007; majerus et al., 2006). one recent study found that bilateral parietal lobe damage impairs order wm (malcolm & barton, 2007). to assess whether parietal lobe damage affects order recall, subjects encoded four sequentially presented items and after a brief delay, were required to recall the temporal position of a particular item.
methods task prior to the onset of the actual experiment, all subjects performed several practice trials to become familiar with the trial design. each trial began with a central fixationoss (1000 ms), followed by the sequential presentation, in the center of the screen, of four randomly selected stimuli (1000 ms/item) from one stimulus category (color, shape, tool) at the center of the monitor. items appeared with no interval. after a 1000 ms masked delay interval, a probe stimulus was presented at central fixation until a response was made, (see ). the task was to report the temporal position the probe item had occupied during the memory sequence (position 1, 2, 3, or 4). responses were in this and all subsequent experiments. each position was equally likely to be probed, making chance performance equal to 25% correct. after the response was entered, the next trial was initiated by pressing the space bar. there were 20 trials per stimulus category. open in a separate window note that although it is common to use concurrent verbal memory loads to minimize the possibility that visual items are remembered by verbal labels (luck & vogel, 1997; olson & jiang, 2002) this type of task is difficult to implement in older and patient populations and introduces additional variables that may confound the effects of interest. each stimulus category varied in the degree to which verbal encoding could reasonably be used, from a high level in the tool category, an intermediate level in the color category, and none in the shape category.
results and discussion because this experiment employed a recall task in which false alarms were not possible, the dependent measure was raw accuracy. the accuracy values for each group (control, patient) and temporal position (1, 2, 3, 4) were subjected to permutation analyses (see ), collapsing across stimulus category. the groups did not differ (f 1, 12 =, p = .10, m patients = .64, m controls = .69). the main effect of temporal position was significant (f 3, 36 =, p = .002) although no comparisons reached significance, performance was best when the probe item appeared at the temporal position (p = .07). the interaction of group and temporal position reached significance (f 3, 36 =, p = .05) as the patient group showed a stronger primacy effect than did the control subjects. to determine if there were accuracy differences for different stimulus types, the data were collapsed across temporal position and a permutation analysis examined group (control, patient) and stimulus category (color, shape, tool). again, the groups did not differ (f 1, 12 =, p = .86). there was a main effect of stimulus category (f 2, 24 =, p = .001), such that performance on the tool category was better than performance with shape stimuli (p = .04). the interaction of group and stimulus category failed to reach significance however (f 2, 24 =, p = .23), see . open in a separate window finally, the errors were examined in order to evaluate differences between the patient and control groups. both groups erroneously chose temporal neighbors of the correct answer (i.e. responded ‘3rd’ when the answer was actually ‘2nd’) more often than temporally distant (m neighbor errors: patients: .61; controls: .64). the patients showed particularly strong and primacy effects as demonstrated by the lower proportion of errors when the correct answer was in the first or last position (m patients: .29; m controls: .45) than when it was embedded at the second and third positions. these results suggest that the patients’ performance was unimpaired in a visual order wm task when recall was probed.
experiment: ordernition in experiment, patients demonstrated normal order recall performance. to assess whether ordernition performance is similarly spared by parietal lobe damage, we conducted anition version of the order task.
methods task the stimuli and task design were identical to that of experiment with the following exceptions: after the delay period, the four previously viewed items were repeated in either the same or a different order. the task was to make an response as to whether the two order sequences were the same or different by pressing one key for ‘same’, another key for ‘different’. the second order could differ from the first order by 0 (same order), 2, 3, or 4 changes in position. after a response was made, a key press initiated the next trial. ten trials per stimulus category were conducted.
results and discussion the correctednition scores for each group were subjected to permutation analyses (see ). unlike the findings of experiment, the patients were impaired relative to controls (f 1, 12 =, p = .03; m patients = .34, m controls = .75). the main effect of stimulus category also reached significance (f 2, 24 =, p = .03), this was due to overall better performance on the tool stimuli than shapes (p = .04). the interaction of group stimulus category did not reach significance (f 2, 24 =, p = .40). when performance was assessed as a function of the number of changes in the presented order (either 0, 2, 3, or 4), it was found that patients were worse at detecting changes (f 1, 12 =, p < .001) and that their performance did not steadily improve as the number of changes increased (m 0 changes = .75, m 2 changes = .54, m 3 changes = .42, m 4 changes = .65). in contrast, more changes improved control subjects’ performance (m 0 = .85, m 2 = .77, m 3 = .96, m 4 = .92). the interaction of group and number of changes did not reach significance (f 3, 36 =, p = .15). these results show that the patients’ performance was impaired in an ordernition task. this finding provides preliminary evidence that lesions may affect recall as compared tonition.
experiment: object recall one possibleiticism of the ordernition task is that poor performance was due to the higher memory load imposed by maintaining one order while observing a second order. in fact, some researchers might consider experiment a long-term memory task, given the large number of items presented. in experiments, and 3, we probed the dissociation further using paradigms designed to extend our findings and allay methodological concerns. experiment examined wm for objects using a recall task that imposed no temporal ordering demands. following a brief delay, subjects were required to verbally report the identities of four items.
methods task four tool images were presented sequentially (1000 ms/image) and followed by a masked delay (1000 ms). after the mask, a cue appeared and prompted the subject to name aloud the four previously viewed images. the experimenter recorded responses. correct answers consisted of accurately named items from the encoding phase, regardless of order. intrusions were also tallied. only tool stimuli were used because the items in this category are easily named. after the responses had been made and recorded, a key press initiated the next trial. a total of 10 trials were performed.
results and discussion the raw accuracy scores for each group (control, patient) were subjected to permutation analyses (see ). the results showed that patients and controls had similar levels of accuracy (p = .23, m patients = .69, m controls = .78). an examination of the erroneous responses indicated that the patients reported fewer intrusive responses than the controls (m patients =, m controls =). this difference was marginally significant (p = .06)1. these results confirm the findings from experiment, suggesting that the patients’ performance is unimpaired in recall tasks of visual wm. open in a separate window
experiment: objectnition in experiment object memory was assessed in annition paradigm. the task and stimuli are identical to that used in experiment 2 of berryhill and olson (in press).
methods task trials were similar to those used in experiment except for the probe task. on one half of all trials, the probe image was a new item that had not been in the memory set; in the other half of trials the probe image was an old item. thus, chance performance was 50%. the task was to report whether the probe image was old or new. trials were organized into three blocks. to make this experiment directly comparable to experiment, three blocks of color and abstract shapenition trials were also tested. subjects performed several practice trials to become familiar with the trial design.
results and discussion the correctednition scores for each group (control, patient) and stimulus category (color, shape, tool) were subjected to permutation analyses (see ). the patient group was significantly impaired relative to the control group (f 1, 12 =, p = .01, m patients = .40, m controls = .65). there was also a main effect of stimulus category (f 2, 24 =, p < .001) such that performance on the tool stimuli was better than color (p = .003) and shape (p = .001) performance. it should be noted that for the color stimuli, but not for the tool or shape stimuli, performance drove the group effect (see ). there was no interaction of group stimulus category (f 2, 24 < 1, n.s.). this was confirmed by evaluation of the difference scores between the control and patient groups, which differed by a constant value across stimulus categories. in order to make this experiment directly comparable to experiment, only the performance in the tool category are shown in . a permutation analysis of only the tool data revealed a significant effect of group (p = .02, m patients = .59, m controls = .84). the pattern of performance was identical across stimulus types. table 3 exp.. ordernition exp.. objectnition exp. 3. objectnition color shape tools color shape tools common objects .86, .33 .67, .50, .43 .96, .74 .97, .74, .38 .79, .22 .83, .75, .44 .56, 0 .54, 07 .75, .50 .71, .15 .73, .04 controls .80, .05 .80, .16 .92, .07 .80, .22 .74, .20 .90, .05 .92, .03 open in a separate window these results show that the patients’ performance was impaired at visual wm tasks testingnition across three very different stimulus categories - colors, abstract shapes, and tools. overall performance was highest in the tool condition and lowest in the novel shape condition. however, deficits were observed to a similar degree for all three stimulus types, suggesting that the wm deficit exists when a verbal strategy could be employed for items, such as tools, and even when such a strategy would be challenging, such as with the novel shape stimuli.
experiments–2b: combined analyses to directly compare performance on the recall andnition tasks, their performance was converted into ands were performed (see ). this showed that only thenition scores differed from that of the controls (t 3 =, p = .003). when the scores on the recall (order recall, object recall) andnition (ordernition, objectnition) tasks were directly compared, significantly worse performance was found in thenition tasks compared to the recall tasks (t 3 =, p = .05). open in a separate window
experiment 3: objectnition wm in experiments–2b only a limited number of stimuli were used, giving rise to repeated exposures across trials. one explanation for the poor patient performance on thenition tasks is that parietal lobe damage causes source memory impairments such that patients confuse the probe item on trial n with target items previously viewed on other trials. if true, patients should perform normally onnition tasks that use unique stimuli in each trial. this was tested in experiment 3.
methods task the trial design was identical to that used in experiment. the only difference was the stimuli which were colorized line drawings of animals, objects, and buildings & pourtois, 2004), shown without repetition. there was a single block of 56 trials. two controls were excluded due to a failure to understand and comply with instructions.
results and discussion the correctednition scores were subjected to permutation analysis comparing the two groups (see ). this analysis found that the patients were significantly impaired (p = .03, m patients = .63, m controls = .89). open in a separate window these results confirm that the patients were generally impaired innition wm tasks. this cannot be attributed to increased intrusions from one trial to the next because patients exhibitednition impairments even when there were no stimulus repetitions.
acknowledgments we thank kim and yee for help with permutation analyses and youssef ezzyat, page widick and for help withcro. we thank lisa phuong for testing control subjects. we thank marianna stark and branch coslett for their advice and assistance, and and for their time. this research was supported by to i. olson.
footnotesoth patients exhibited normal levels of intrusions on the cvlt. | ˈæbˌstrækt ˈɛvədəns səˈʤɛsts ðət ðə pərˈaɪətəl loʊb həz ən ˌɪmˈpɔrtənt roʊl ɪn ˈmɛməri rɪˈtrivəl, jɛt ɪz ˈlɑrʤli ˈsaɪlənt ɔn ðɪs ˈtɑpɪk. ˈrisəntli, wi ˌriˈpɔrtəd ðət ˌjunəˈlætərəl pərˈaɪətəl loʊb ˈdæmɪʤ ˌɪmˈpɛrz ˈvɛriəs fɔrmz əv ˈvɪʒəwəl ˈwərkɪŋ ˈmɛməri wɪn ˈtɛstɪd baɪ ˌrɛkɪgˈnɪʃən. hir, wi ˌɪnˈvɛstəˌgeɪt ˈwɛðər pərˈaɪətəl loʊb ˈwərkɪŋ ˈmɛməri ˈdɛfɪsɪts ər lɪŋkt tɪ ˈprɑbləmz æt rɪˈtrivəl. wi ˈtɛstɪd tu ˈpeɪʃənz wɪθ baɪˈlætərəl pərˈaɪətəl loʊb ˈdæmɪʤ ɪn ə ˈsɪriz əv ˈvɪʒəwəl ˈwərkɪŋ ˈmɛməri tæsks ðət proʊbd ˈriˌkɔl ənd ˌrɛkɪgˈnɪʃən. ˈstɪmjəˌlaɪ wər pərˈzɛnəd səkˈwɛnʃəli ənd ˈsɛvərəl ˈstɪmjələs ˈkætəˌgɔriz wər ˈtɛstɪd. ðə rɪˈzəlts əv ðiz ɪkˈspɛrəmənts ʃoʊ ðət pərˈaɪətəl loʊb ˈdæmɪʤ ˌdɪsprəˈpɔrʃənətli ˌɪmˈpɛrz ˌrɛkɪgˈnɪʃən ɛz kəmˈpɛrd tɪ kjud ˈriˌkɔl əˈkrɔs ˈstɪmjələs ˈkætəˌgɔriz. ðə əbˈzərvd pərˈfɔrməns dɪˌsoʊsiˈeɪʃən səˈʤɛsts ðət ðə ˌpɔˈstɪrjər pərˈaɪətəl loʊb pleɪz ə ˌpɑrˈtɪkjələrli ˈvaɪtəl roʊl ɪn ˈwərkɪŋ ˈmɛməri rɪˈtrivəl. ˈʤɛnərəl ˈmɛθədz pɑrˈtɪsəpənts ˈpeɪʃənz wɪθ baɪˈlætərəl pərˈaɪətəl loʊb ˈdæmɪʤ ər ɪkˈstrimli rɛr. ðə sərˈvaɪvəl reɪt ˈæftər ˈsəfərɪŋ ðə taɪp əv ɪˈvɛnt ðət prəˈdusɪz baɪˈlætərəl pərˈaɪətəl loʊb ˈdæmɪʤ ɪz loʊ. wi wər ˈeɪbəl tɪ aɪˈdɛntəˌfaɪ tɪ ˈpeɪʃənz wɪθ baɪˈlætərəl pərˈaɪətəl loʊb ˈdæmɪʤ ɪn ɑr ˈdætəˌbeɪs. ðiz ˈpeɪʃənz hæv bɪn dɪˈskəst ˈpriviəsli (ˈbɛriˌhɪl, fuɔŋ, pɪˈkɑsoʊ, cabeza*, ˈoʊlsən, 2007 wi ˈsəmərˌaɪz ðɛr ˈproʊˌfaɪlz hir. ˈpeɪʃənt ɪz ə ˈfɔrmər ˈtiʧər wɪθ 16 jɪrz əv ˌɛʤəˈkeɪʃən. bɪtˈwin ˈeɪprəl ənd ʤun 2004 ʃi ˈsəfərd θri ɪn ðə ˈwɔtərˌʃɛd bɪtˈwin ðə ˌpɔˈstɪrjər ənd ˈmɪdəl ˈsɛrəbrəl ˈɑrtəriz. rɪˈvild səˈmɛtrɪkəl ˈliʒənz ɪn ˈlætərəl ˈæˌspɛkts əv ðə ˌɪnˈfɪriər pərˈaɪətəl loʊb, ɪkˈstɛndɪŋ frəm suˈpɪriər ˈæˌspɛkts əv ðə ɑkˈsɪpətəl loʊb θru ðə ˈæŋgjələr ˈɛriəz (ˌbiˈeɪ) 39 ɪn ənd əraʊnd ˌɪnˈfɪriər ənd ˈmɪdəl ˈpɔrʃənz əv ðə (ips*). ˈdæmɪʤ dɪd nɑt ɪnˈkroʊʧ ˈɪntu ðə ˈmɪˌdlaɪn (e.g*.). ˈliʒənz ər dɪˈpɪktɪd ɪn ˈoʊpən ɪn ə ˈsɛpərˌeɪt ˈwɪndoʊ ˈfɪzɪkəl ənd pərˈsɛpʧəwəl ˈsɪmptəmz ər ˈkərəntli ˈsteɪbəl. ˈpeɪʃənt ˈpraɪˌmɛri ˈdɛfəsət ɪz ɛz dɪˈfaɪnd baɪ hər ˌɪnəˈbɪlɪti tɪ ˌæprɪˈhɛnd ðə ˈkɑntɛnts əv ə ˈvɪʒəwəl sin, hər æbˈnɔrməl pərˈfɔrməns ɔn laɪn ˌkænsəˈleɪʃən tæsks, ɪn wɪʧ ʃi ˈkrɔsɪz ɔf ˈaɪtəmz ˈoʊnli æt ðə ˈsɛnər, ənd hər ˈtɛndənsi təˈwɔrdz ˈloʊkəl baɪəs, ɛz ˈɪləˌstreɪtɪd baɪ hər rɪˈpɔrt əv ðə ˈloʊkəl bət nɑt ˈgloʊbəl ˈɛləmənts ɪn ˈlɛtərz. ˈlæŋgwɪʤ ˌkɑmpriˈhɛnʃən ənd spiʧ ˈfluənsi ər ˌənɪmˈpɛrd ɛz əˈsɛst baɪ hər ˌkɑnvərˈseɪʃənəl skɪlz, ənd pərˈfɔrməns ɔn ðə ˈɔdɪˌtɔri tɛsts əv ðə ˈwɛstərn əˈfeɪʒə ˈbætəri (ˈkərtɪʃ, 1982 wɪʧ wər ˈjunəˌfɔrmli æt ˈsilɪŋ. ˈrɛdɪŋ ənd ˈraɪtɪŋ ər ˌɪmˈpɛrd du tɪ hər ənd ˈspeɪʃəl dɪˌsɔriənˈteɪʃən. hər ˈvɪʒəwəl əˈkjuəti ɪz ˈnɔrməl. wɑz ˈtɛstɪd jɪrz poʊst ˌɪnˈsəlt. ˈpeɪʃənt ɪz ə ˈfɔrmər ˈpriˌskul ˈtiʧər wɪθ 15 jɪrz əv ˌɛʤəˈkeɪʃən. ʃi ˈsəfərd baɪˈlætərəl ˈdæmɪʤ du tɪ ˈsɛrəbrəl ɪn mɑrʧ 2006 rɪˈvild saɪnz əv ˈpriviəs ˈsəbəˈkjut ˌpɔˈstɪrjər ˈsɛrəbrəl ˈɑrtəri infarctions*. ðə ˈpraɪˌmɛri ˈliʒənz ər ɪn baɪˈlætərəl pərˈaɪətəl ˈriʤənz; si ðə lɛft pərˈaɪətəl ˈliʒən ɪkˈstɛndz ˈɪntu (ˌbiˈeɪ 39 ənd (ˌbiˈeɪ 7 ðɛr ər tu raɪt ˈliʒən saɪts: ðə ˌɪnˈfɪriər ˈliʒən ɪz ɪn suˈpɪriər ˈæˌspɛkts əv ðə ɑkˈsɪpətəl loʊb (ˌbiˈeɪ 18 ənd 19 ənd ðə suˈpɪriər ˈliʒən ɪz ɪn ðə suˈpɪriər pərˈaɪətəl loʊb (ˌbiˈeɪ 7 ɪn boʊθ hemispheres*, ðə ˈliʒənz ɪkˈstɛnd sˈlaɪtli ˈɪntu (ˌbiˈeɪ 19 ˈriʤənz ənd pərˈaɪətəl waɪt ˈmætər. ˈkɔrtəkəl ˈdæmɪʤ ɪz naʊ kənˈsɪdərd ˈsteɪbəl. ˈpraɪˌmɛri ˈdɛfəsət ɪz, ˈsɪmələr tɪ ðət dɪˈskraɪbd fər ˈpeɪʃənt ˈlæŋgwɪʤ ˌkɑmpriˈhɛnʃən ənd spiʧ ˈfluənsi ər ˌənɪmˈpɛrd ɛz əˈsɛst baɪ hər ˌkɑnvərˈseɪʃənəl skɪlz, əˈbɪləˌti tɪ ˈfɑloʊ ˌɪnˈstrəkʃənz ənd kəmˈplaɪ wɪθ rɪkˈwɛsts, ənd pərˈfɔrməns ɔn ðə ˈwɛstərn əˈfeɪʒə ɪgˈzæm (ˈkərtɪʃ, 1982 ˈrɛdɪŋ ənd ˈraɪtɪŋ ər ˈsəmˈwət ˌɪmˈpɛrd du tɪ hər ənd ˈspeɪʃəl dɪˌsɔriənˈteɪʃən (ʃi ˈluzɪz hər pleɪs ɔn ə peɪʤ). hər ˈaɪˌsaɪt ɪz corrected-to-normal*. wɑz ˈtɛstɪd 6 12 mənθs poʊst ˌɪnˈsəlt. ˈstændərˌdaɪzd tɛst pərˈfɔrməns ðə əv ðə ˈwɛʃlər ˈmɛməri skeɪl (wms-iii*, ˈwɛʃlər, 1997b*) ðət du nɑt ˌrikˈwaɪər kəmˈpɛrɪŋ ˈkɑmplɛks ˈvɪʒəwəl ˈɛləmənts wər kənˈdəktəd ənd ˈɪndɛks skɔrz ˈkælkjəˌleɪtɪd fər ðə ˈfɑloʊɪŋ ˈmɛʒərz: ˈɔdɪˌtɔri ˌɪˈmiˌdiət, ˈɔdɪˌtɔri dɪˈleɪd, ˈɔdɪˌtɔri ˌrɛkɪgˈnɪʃən dɪˈleɪd ənd ˈwərkɪŋ ˈmɛməri (si fər ˈstændərˌdaɪzd tɛst pərˈfɔrməns). ˈpeɪʃənt pərˈfɔrmd æt list wən ˈstændərd ˌdiviˈeɪʃən bɪˈloʊ ðə min əˈkrɔs ɔl ˈmɛʒərz. pərˈfɔrməns wɑz mɔr ðən wən ˈstændərd ˌdiviˈeɪʃən bɪˈloʊ ðə min ɔn ðə ˈɔdɪˌtɔri ˌɪˈmiˌdiət ənd ˈwərkɪŋ ˈmɛməri ˈɪndɪˌsiz bət ˈnɔrməl ɔn ðə ˈɔdɪˌtɔri dɪˈleɪd ənd ˈɔdɪˌtɔri ˌrɛkɪgˈnɪʃən dɪˈleɪd tɛsts. ðiz ˈfaɪndɪŋz prəˈvaɪd ən ˌɪˈnɪʃəl ˌɪndəˈkeɪʃən ðət ˌpɔˈstɪrjər pərˈaɪətəl loʊb ˈdæmɪʤ meɪ sˈlaɪtli ˌɪmˈpɛr ˈmɛməri pərˈfɔrməns. ˈteɪbəl 2 tɛst ˌɪˈmiˌdiət 86 80 dɪˈleɪd 77 97 ˈwɪljəm 83 79 dɪˈleɪd 55 110 ˈfɔrwərd spæn 6 8 ˈbækwərd 4 4 spæn ˌɪˈmiˌdiət fri ˈriˌkɔl, traɪəl 5 ʃɔrt dɪˈleɪ fri ˈriˌkɔl lɔŋ dɪˈleɪ fri ˈriˌkɔl 0 lɔŋ dɪˈleɪ hɪts ˈtoʊtəl 5 ˌɪnˈtruʒənz 100 100 ˈoʊpən ɪn ə ˈsɛpərˌeɪt ˈwɪndoʊ ðə ˌkæləˈfɔrnjə ˈvərbəl ˈlərnɪŋ (delis*, ˈkreɪmər, ˈkæplən, ˈoʊbər, 2000 ɪz ə ˈmɛʒər əv ən əˈbɪləˌti tɪ lərn ənd rɪˈmɛmbər ˈvərbəl məˈtɪriəl, səʧ ɛz wərd lɪsts. ðə ˈdætə prəˈvaɪdz əˈdɪʃənəl ˈɪnˌsaɪt ˈɪntu ˈvərbəl ˌʃɔrtˈtərm ənd ˈlɔŋˈtərm ˈmɛməri. ˈpeɪʃənt pərˈfɔrməns ɔn ðə ˈɪndɪˌkeɪts ðət ʃi həz ˌɪmˈpɛrd ˈvərbəl ˈmɛməri æt boʊθ ʃɔrt ənd lɔŋ dɪˈleɪz. ʃi ɪz moʊst ˌɪmˈpɛrd ɔn ˈmɛʒərz əv dɪˈleɪd ˌrɛkɪgˈnɪʃən. ɪn ˈkɑntræst, ˈpeɪʃənt pərˈfɔrməns ɔn ðə ˈɪndɪˌkeɪts ðət ʃi həz spɛrd ˌɪˈmiˌdiət fri ˈriˌkɔl fər ˈvərbəl ˌɪnˌfɔrˈmeɪʃən, bət ˈmɑdərətli ˌɪmˈpɛrd ˈvərbəl fri ˈriˌkɔl ˈmɛməri æt ʃɔrt dɪˈleɪz. æt lɔŋ dɪˈleɪz, hər fri ˈriˌkɔl ənd ˌrɛkɪgˈnɪʃən ˈmɛməri ɪz ˈnɔrməl. ɪn boʊθ ˈpeɪʃənz, ˈfɔrwərd ənd ˈbækwərd ˈdɪʤɪt spæn wɑz ˈnɔrməl. ɪt ʃʊd bi ˈnoʊtɪd ðət ˈdɪʤɪt spæn ˈmɛʒər ɪz noʊn tɪ bi ɪn dɪˈvərs ˈliʒən ˌpɑpjəˈleɪʃənz, ˌɪnˈkludɪŋ (blæk, 1986 kənˈtroʊl pɑrˈtɪsəpənts twɛlv ˈnɔrməl kənˈtroʊl ˈsəbʤɪkts pɑrˈtɪsəˌpeɪtɪd ɪn iʧ ɪkˈspɛrəmənt (ɪkˈspɛrəmənt: min (ɛm) eɪʤ ɛm jɪrz əv ˌɛʤəˈkeɪʃən (ˈɛdju) 4 meɪlz; ɪkˈspɛrəmənt: ɛm eɪʤ ɛm ˈɛdju 6 meɪlz; ɪkˈspɛrəmənt: ɛm eɪʤ ɛm ˈɛdju 6 meɪlz; ɪkˈspɛrəmənt: ɛm eɪʤ ɛm ˈɛdju 7 meɪlz; ɪkˈspɛrəmənt 3 ɛm eɪʤ ɛm ˈɛdju 7 meɪlz). ˈstɪmjəˌlaɪ θri ˈstɪmjələs ˈkætəˌgɔriz wər juzd ɪn ɪkˈspɛrəmənt: ˈkələrz, ˈæbˌstrækt ʃeɪps ənd ˈkɑmən ˈɑbʤɛkts. ðə ˈkələr ˈkætəˌgɔri kənˈsɪstɪd əv 20 ˈsərkjələr ˈkələr ˈpæʧɪz səˈlɛktɪd frəm ðə fʊl ˈkələr ˈspɛktrəm. ðə ʃeɪp ˈkætəˌgɔri kənˈsɪstɪd əv 36 blæk, baɪˈlætərəli səˈmɛtrɪkəl ˈæbˌstrækt ʃeɪps ˈʤɛnərˌeɪtɪd baɪ ə kəmˈpjutər ˈælgərˌɪðəm ðət həz bɪn ˈpriviəsli ɪmˈplɔɪd ɪn ˈstədiz əv ˈvɪʒəwəl ˈwɪljəm (ʤɑŋ ɛt æl., 2000 ðə ˈkɑmən ˈɑbʤɛkts ər ‘‘tool’*’ ˈkætəˌgɔri kənˈsɪstɪd əv 36 ˈfoʊtəˌgræfs ənd wɑz ˈlɪmɪtɪd tɪ ðə səˈbɔrdəˌneɪt ˈkætəˌgɔri əv tulz ɪn ˈɔrdər tɪ bi kənˈsɪstənt wɪθ ðə ˈəðər ˈstɪmjələs ˈkætəˌgɔriz. ˈstɪmjəˌlaɪ ˈmɛʒərd əˈprɑksəmətli 6 baɪ 6 ənd wər pərˈzɛnəd ɔn ə waɪt ˈbækˌgraʊnd. ɪn ɪkˈspɛrəmənt 3 ˈkələrˌaɪzd laɪn drɔɪŋz əv ˈkɑmən ˈɑbʤɛkts wər juzd pourtois*, 2004 tɪ əˈkɑməˌdeɪt ðə ɪn boʊθ ˈpeɪʃənz ənd ðə fækt pərˈaɪətəl ˈdæmɪʤ sloʊz ˈvɪʒəwəl ˈprɑsɛsɪŋ (pɪrz ɛt æl., 2005 ɔl ˈstɪmjəˌlaɪ ɪn ɔl ɪkˈspɛrəmənts wər pərˈzɛnəd səkˈwɛnʃəli æt ðə ˈsɛnər əv ðə ˈmɑnətər æt ðə reɪt əv 1000 ms/item*. pərˈsɛpʧəwəl kənˈtroʊl tæsks tɪ ˌɪnˈʃʊr ðət ənd ˈækjərətli pərˈsiv ðə ˈstɪmjəˌlaɪ ðət wər juzd ɪn ðə ˈwɪljəm tæsks, tu pərˈsɛpʧəwəl kənˈtroʊl tæsks wər ədˈmɪnɪstərd. 1 pərˈsɛpʃən əv tulz. ˈfoʊtəˌgræfs əv ˈhaʊsˌhoʊld tulz wər pərˈzɛnəd ɔn ə waɪt ˈbækˌgraʊnd ˈjuzɪŋ ˈsɔfˌwɛr (saɪˈkɑləʤi ˈsɔfˌwɛr tulz). ðə tæsk wɑz tɪ vərˈbæli ˈleɪbəl iʧ tul ˈəndər fri vjuɪŋ kənˈdɪʃənz. ðə ɪkˈspɛrəˌmɛntər rɪˈkɔrdɪd ðə rɪˈspɑnsɪz. wɑz ˈeɪbəl tɪ aɪˈdɛntəˌfaɪ 89 əv ðə tulz. aɪˈdɛntəˌfaɪd 72 əv ðə tulz. ˈɛrərz fər boʊθ ˈsəbʤɪkts wər fər ˈaɪtəmz: klæmps, ə ˈlɛðər pənʧ, ə wʊd pleɪn, ən eggbeater*, ənd ə wɪsk. 2 pərˈsɛpʃən əv ˈkələrz ənd ˈæbˌstrækt ʃeɪps. ˌməltiˈkələrd ˌʤiəˈmɛtrɪk ʃeɪps wər ˈprɪnɪd ɔn kɑrdz. ðɛr wər eɪt ˈdɪfərənt ʃeɪps ənd eɪt ˈdɪfərənt ˈkələrz kriˈeɪtɪŋ ə sɛt əv 24 kɑrdz. ðə tæsk wɑz tɪ mæʧ ə ˌpɑˈtɪkjələr kɑrd beɪst ɔn ˈkələr, ʃeɪp, ər color-shape*. boʊθ ˈsəbʤɪkts wər ˈækjərət wɪn æst tɪ mæʧ ˈkələrz 100 ʃeɪps 100 ər kənˈʤəŋkʃənz 100 æˈnælɪsɪs ɪn ðə ˈriˌkɔl ɪkˈspɛrəmənts, ɪkˈspɛrəmənts ənd, ðə dɪˈpɛndənt ˈmɛʒər ɪz rɑ ˈækjərəsi. ɪn ɪkˈspɛrəmənt, ʧæns pərˈfɔrməns wɑz 25 ɪn ɪkˈspɛrəmənt, ʧæns pərˈfɔrməns wɑz ˈnɪrli 0 ɪn ðə ˌrɛkɪgˈnɪʃən ɪkˈspɛrəmənts, ɪkˈspɛrəmənts, ənd 3 ðə dɪˈpɛndənt ˈmɛʒər ɪz kərˈɛktɪd ˌrɛkɪgˈnɪʃən (cr*). ɪz ˈikwəl tɪ ðə hɪt reɪt (rɪˈspɑndɪŋ ““yes”*” ɔn ə mæʧ traɪəl) ˈmaɪnəs ðə fɔls əˈlɑrm reɪt (rɪˈspɑndɪŋ ““yes”*” ɔn ə traɪəl). ʧæns pərˈfɔrməns ˌkɔrəˈspɑndz tɪ ə ˈvælju əv 0 traɪəlz wər ɪkˈskludɪd ɪf noʊ rɪˈspɑns wɑz ˈrɛʤɪstərd wɪˈθɪn tu ˈstændərd diviˈeɪʃənz əv ðə min riˈækʃən taɪm (ɪkˈskludɪd traɪəlz: kənˈtroʊlz ˈpeɪʃənz ˈdætə wɑz ˈænəˌlaɪzd wɪθ ˌpərmjuˈteɪʃən æˈnælɪˌsiz əˈprɑksɪˌmeɪtɪŋ ˌɪndɪˈpɛndənt ˈsæmpəl (ɪkˈspɛrəmənt, 3 ənd ə rɪˈpitɪd ˈmɛʒərz æˈnælɪsɪs əv ˈvɛriəns (ɪkˈspɛrəmənts 1ab*,). ˌpərmjuˈteɪʃən tɛsts ər ən ɔlˈtərnətɪv tɪ ˌpɛrəˈmɛtrɪk tɛsts fər ˈkeɪsɪz əv smɔl ˈnəmbərz əv pɑrˈtɪsəpənts ənd kən bi ˈækjərətli juzd fər ˈsæmpəl ˈsaɪzɪz ˈlɑrʤər ðən wən. fər ðə tɛsts, ə ˌpərmjuˈteɪʃən tɛst wɑz juzd ɪn wɪʧ wi fərst kəmˈpjutɪd ðə ɛf stəˈtɪstɪk ˈəndər ðə ˈstændərd mɪkst ˈmɑdəl. ðɛn ðə əbˈzərvd ˈvæljuz wər ˈrændəmli əˈkrɔs ðə ˈpeɪʃənt ənd kənˈtroʊl ˈsəbʤɪkts. ðə ɛf stəˈtɪstɪks wər fər ðə ˈdætə sɛt ənd ə kaʊnt ˈoʊvər 1000 ˈrɛplɪˌkeɪts wɑz juzd tɪ kəmˈpjut ðə sɪgˈnɪfɪkəns ˈvæljuz (ˈlɛgɪndreɪ, ˈoʊdən, sokal*, vaudor*, kɪm, 1990 ˈmænli, 1997 fər ðə ˈvərʒən, noʊ ɪz ˈkælkjəˌleɪtɪd. ɪn ðə fərst steɪʤ əv æˈnælɪsɪs, ðə nəl haɪˈpɑθəsəs (ðət ðɛr ɪz noʊ ˈdɪfərəns bɪtˈwin ðə ˈpeɪʃənt ənd kənˈtroʊl grups) ɪz ˈtɛstɪd ˈjuzɪŋ ə (ɪkˈspɛrəmənt 3 ˈdʊrɪŋ ðə ˈsɛkənd steɪʤ, tu grups wər ˈrændəmli dɪˈfaɪnd ənd səˈbʤɛktɪd tɪ ðə seɪm kəmˈpɛrəsən. ðɪs kənˈtɪnjuz ənˈtɪl 1000 ˈrændəm ˈsæmpəlz ər ˈteɪkən. ðə ˌriˈpɔrtəd rɪˈfər tɪ ðə prəˈpɔrʃən əv skɔrz bɪˈloʊ ðə əbˈzərvd ɪkˌspɛrɪˈmɛntəl ˈvælju (gʊd, 1994 stəˈtɪstɪkəl æˈnælɪˌsiz wər kənˈdəktəd ˈjuzɪŋ (ðə mathworks*, ˈneɪtɪk, mɑ). (spss*, ʃəˈkɑˌgoʊ, ɪl) wɑz juzd tɪ pərˈfɔrm pɛrd ənd fər ðə kəmˈpɛrəsən əv ˈriˌkɔl ənd ˌrɛkɪgˈnɪʃən tæsk pərˈfɔrməns. ɪkˈspɛrəmənt: ˈɔrdər ˈriˌkɔl ɪn ɑr fərst ˈstədi, ˈsəbʤɪkts wər rikˈwaɪərd tɪ rɪˈmɛmbər ˈaɪtəm ˈɔrdər. ðɪs tæsk wɑz ˈʧoʊzən bɪˈkəz ðɛr ɪz ˈɛvədəns ðət ðə pərˈaɪətəl loʊb ɪz ˌɪnˈvɑlvd ɪn ˈɔrdər ˈwɪljəm. ənd ˈkɑligz faʊnd ˈɔrdər ˈwɪljəm rɪˈleɪtɪd ækˈtɪvɪti ɪn baɪˈlætərəl suˈpɪriər pərˈaɪətəl ˈriʤənz ˈɛriəz 7 ənd 40 wɪʧ ðeɪ haɪˈpɑθəˌsaɪz ɪz ˌɪnˈvɑlvd ɪn ˈtrækɪŋ ðə ˈtɛmpərəl ˈspeɪsɪŋ bɪtˈwin ˈaɪtəmz ɪn ˈɔrdər ˈwɪljəm tæsks (marshuetz*, 2005, smɪθ, jonides*, degutis*, ˈʧɛnɪvərt, 2000 si ˈɔlsoʊ ˈmæʤərɪs ɛt æl., 2007 ˈmæʤərɪs ɛt æl., 2006 wən ˈrisənt ˈstədi faʊnd ðət baɪˈlætərəl pərˈaɪətəl loʊb ˈdæmɪʤ ˌɪmˈpɛrz ˈɔrdər ˈwɪljəm (ˈmælkəm ˈbɑrtən, 2007 tɪ əˈsɛs ˈwɛðər pərˈaɪətəl loʊb ˈdæmɪʤ əˈfɛkts ˈɔrdər ˈriˌkɔl, ˈsəbʤɪkts ɛnˈkoʊdɪd fɔr səkˈwɛnʃəli pərˈzɛnəd ˈaɪtəmz ənd ˈæftər ə brif dɪˈleɪ, wər rikˈwaɪərd tɪ ˈriˌkɔl ðə ˈtɛmpərəl pəˈzɪʃən əv ə ˌpɑˈtɪkjələr ˈaɪtəm. ˈmɛθədz tæsk praɪər tɪ ðə ˈɔnˌsɛt əv ðə ˈækʧəwəl ɪkˈspɛrəmənt, ɔl ˈsəbʤɪkts pərˈfɔrmd ˈsɛvərəl ˈpræktɪs traɪəlz tɪ bɪˈkəm fəˈmɪljər wɪθ ðə traɪəl dɪˈzaɪn. iʧ traɪəl bɪˈgæn wɪθ ə ˈsɛntrəl fɪkˈseɪʃən krɔs 1000 mɪz), ˈfɑloʊd baɪ ðə səkˈwɛnʃəl ˌprɛzənˈteɪʃən, ɪn ðə ˈsɛnər əv ðə skrin, əv fɔr ˈrændəmli səˈlɛktɪd ˈstɪmjəˌlaɪ 1000 ms/item*) frəm wən ˈstɪmjələs ˈkætəˌgɔri (ˈkələr, ʃeɪp, tul) æt ðə ˈsɛnər əv ðə ˈmɑnətər. ˈaɪtəmz əˈpɪrd wɪθ noʊ ˈɪntərvəl. ˈæftər ə 1000 mɪz mæskt dɪˈleɪ ˈɪntərvəl, ə proʊb ˈstɪmjələs wɑz pərˈzɛnəd æt ˈsɛntrəl fɪkˈseɪʃən ənˈtɪl ə rɪˈspɑns wɑz meɪd, (si ðə tæsk wɑz tɪ rɪˈpɔrt ðə ˈtɛmpərəl pəˈzɪʃən ðə proʊb ˈaɪtəm hæd ˈɑkjəˌpaɪd ˈdʊrɪŋ ðə ˈmɛməri ˈsikwəns (pəˈzɪʃən 1 2 3 ər 4 rɪˈspɑnsɪz wər ɪn ðɪs ənd ɔl ˈsəbsəkwənt ɪkˈspɛrəmənts. iʧ pəˈzɪʃən wɑz ˈikwəli ˈlaɪkli tɪ bi proʊbd, ˈmeɪkɪŋ ʧæns pərˈfɔrməns ˈikwəl tɪ 25 kərˈɛkt. ˈæftər ðə rɪˈspɑns wɑz ˈɛnərd, ðə nɛkst traɪəl wɑz ˌɪˈnɪʃiˌeɪtɪd baɪ ˈprɛsɪŋ ðə speɪs bɑr. ðɛr wər 20 traɪəlz pər ˈstɪmjələs ˈkætəˌgɔri. ˈoʊpən ɪn ə ˈsɛpərˌeɪt ˈwɪndoʊ noʊt ðət ˌɔlˈðoʊ ɪt ɪz ˈkɑmən tɪ juz kənˈkərənt ˈvərbəl ˈmɛməri loʊdz tɪ ˈmɪnəˌmaɪz ðə ˌpɑsəˈbɪləˌti ðət ˈvɪʒəwəl ˈaɪtəmz ər rɪˈmɛmbərd baɪ ˈvərbəl ˈleɪbəlz (lək ˈvoʊgəl, 1997 ˈoʊlsən ʤɑŋ, 2002 ðɪs taɪp əv tæsk ɪz ˈdɪfəkəlt tɪ ˈɪmpləmənt ɪn ˈoʊldər ənd ˈpeɪʃənt ˌpɑpjəˈleɪʃənz ənd ˌɪntrəˈdusɪz əˈdɪʃənəl ˈvɛriəbəlz ðət meɪ ˈkɑnˌfaʊnd ðə ˈifɛkts əv ˈɪntəˌrɛst. iʧ ˈstɪmjələs ˈkætəˌgɔri ˈvɛrid ɪn ðə dɪˈgri tɪ wɪʧ ˈvərbəl ɛnˈkoʊdɪŋ kʊd ˈrizənəbli bi juzd, frəm ə haɪ ˈlɛvəl ɪn ðə tul ˈkætəˌgɔri, ən ˌɪnərˈmidiɪt ˈlɛvəl ɪn ðə ˈkələr ˈkætəˌgɔri, ənd nən ɪn ðə ʃeɪp ˈkætəˌgɔri. rɪˈzəlts ənd dɪˈskəʃən bɪˈkəz ðɪs ɪkˈspɛrəmənt ɪmˈplɔɪd ə ˈriˌkɔl tæsk ɪn wɪʧ fɔls əˈlɑrmz wər nɑt ˈpɑsəbəl, ðə dɪˈpɛndənt ˈmɛʒər wɑz rɑ ˈækjərəsi. ðə ˈækjərəsi ˈvæljuz fər iʧ grup (kənˈtroʊl, ˈpeɪʃənt) ənd ˈtɛmpərəl pəˈzɪʃən 1 2 3 4 wər səˈbʤɛktɪd tɪ ˌpərmjuˈteɪʃən æˈnælɪˌsiz (si kəˈlæpsɪŋ əˈkrɔs ˈstɪmjələs ˈkætəˌgɔri. ðə grups dɪd nɑt ˈdɪfər (ɛf 1 12 pi 10 ɛm ˈpeɪʃənz 64 ɛm kənˈtroʊlz 69 ðə meɪn ˈifɛkt əv ˈtɛmpərəl pəˈzɪʃən wɑz sɪgˈnɪfɪkənt (ɛf 3 36 pi 002 ˌɔlˈðoʊ noʊ kəmˈpɛrəsənz riʧt sɪgˈnɪfɪkəns, pərˈfɔrməns wɑz bɛst wɪn ðə proʊb ˈaɪtəm əˈpɪrd æt ðə ˈtɛmpərəl pəˈzɪʃən (pi 07 ðə ˌɪnərˈækʃən əv grup ənd ˈtɛmpərəl pəˈzɪʃən riʧt sɪgˈnɪfɪkəns (ɛf 3 36 pi 05 ɛz ðə ˈpeɪʃənt grup ʃoʊd ə ˈstrɔŋgər ˈpraɪməsi ˈifɛkt ðən dɪd ðə kənˈtroʊl ˈsəbʤɪkts. tɪ dɪˈtərmən ɪf ðɛr wər ˈækjərəsi ˈdɪfərənsɪz fər ˈdɪfərənt ˈstɪmjələs taɪps, ðə ˈdætə wər kəˈlæpst əˈkrɔs ˈtɛmpərəl pəˈzɪʃən ənd ə ˌpərmjuˈteɪʃən æˈnælɪsɪs ɪgˈzæmənd grup (kənˈtroʊl, ˈpeɪʃənt) ənd ˈstɪmjələs ˈkætəˌgɔri (ˈkələr, ʃeɪp, tul). əˈgɛn, ðə grups dɪd nɑt ˈdɪfər (ɛf 1 12 pi 86 ðɛr wɑz ə meɪn ˈifɛkt əv ˈstɪmjələs ˈkætəˌgɔri (ɛf 2 24 pi 001 səʧ ðət pərˈfɔrməns ɔn ðə tul ˈkætəˌgɔri wɑz ˈbɛtər ðən pərˈfɔrməns wɪθ ʃeɪp ˈstɪmjəˌlaɪ (pi 04 ðə ˌɪnərˈækʃən əv grup ənd ˈstɪmjələs ˈkætəˌgɔri feɪld tɪ riʧ sɪgˈnɪfɪkəns ˌhaʊˈɛvər (ɛf 2 24 pi 23 si ˈoʊpən ɪn ə ˈsɛpərˌeɪt ˈwɪndoʊ ˈfaɪnəli, ðə ˈɛrərz wər ɪgˈzæmənd ɪn ˈɔrdər tɪ ɪˈvæljuˌeɪt ˈdɪfərənsɪz bɪtˈwin ðə ˈpeɪʃənt ənd kənˈtroʊl grups. boʊθ grups ɛˈroʊniəsli ʧoʊz ˈtɛmpərəl ˈneɪbərz əv ðə kərˈɛkt ˈænsər (i.e*. rɪˈspɑndɪd ‘3rd’*’ wɪn ðə ˈænsər wɑz ˈæˌkʧuəli ‘2nd’*’) mɔr ˈɔfən ðən ˈtɛmpərəli ˈdɪstənt (ɛm ˈneɪbər ˈɛrərz: ˈpeɪʃənz: 61 kənˈtroʊlz: 64 ðə ˈpeɪʃənz ʃoʊd ˌpɑrˈtɪkjələrli strɔŋ ənd ˈpraɪməsi ˈifɛkts ɛz ˈdɛmənˌstreɪtɪd baɪ ðə loʊər prəˈpɔrʃən əv ˈɛrərz wɪn ðə kərˈɛkt ˈænsər wɑz ɪn ðə fərst ər læst pəˈzɪʃən (ɛm ˈpeɪʃənz: 29 ɛm kənˈtroʊlz: 45 ðən wɪn ɪt wɑz ɛmˈbɛdɪd æt ðə ˈsɛkənd ənd θərd pəˈzɪʃənz. ðiz rɪˈzəlts səˈʤɛst ðət ðə patients’*’ pərˈfɔrməns wɑz ˌənɪmˈpɛrd ɪn ə ˈvɪʒəwəl ˈɔrdər ˈwɪljəm tæsk wɪn ˈriˌkɔl wɑz proʊbd. ɪkˈspɛrəmənt: ˈɔrdər ˌrɛkɪgˈnɪʃən ɪn ɪkˈspɛrəmənt, ˈpeɪʃənz ˈdɛmənˌstreɪtɪd ˈnɔrməl ˈɔrdər ˈriˌkɔl pərˈfɔrməns. tɪ əˈsɛs ˈwɛðər ˈɔrdər ˌrɛkɪgˈnɪʃən pərˈfɔrməns ɪz ˈsɪmələrli spɛrd baɪ pərˈaɪətəl loʊb ˈdæmɪʤ, wi kənˈdəktəd ə ˌrɛkɪgˈnɪʃən ˈvərʒən əv ðə ˈɔrdər tæsk. ˈmɛθədz tæsk ðə ˈstɪmjəˌlaɪ ənd tæsk dɪˈzaɪn wər aɪˈdɛntɪkəl tɪ ðət əv ɪkˈspɛrəmənt wɪθ ðə ˈfɑloʊɪŋ ɪkˈsɛpʃənz: ˈæftər ðə dɪˈleɪ ˈpɪriəd, ðə fɔr ˈpriviəsli vjud ˈaɪtəmz wər rɪˈpitɪd ɪn ˈiðər ðə seɪm ər ə ˈdɪfərənt ˈɔrdər. ðə tæsk wɑz tɪ meɪk ən rɪˈspɑns ɛz tɪ ˈwɛðər ðə tu ˈɔrdər ˈsikwənsɪz wər ðə seɪm ər ˈdɪfərənt baɪ ˈprɛsɪŋ wən ki fər ‘‘same’*’, əˈnəðər ki fər ‘‘different’*’. ðə ˈsɛkənd ˈɔrdər kʊd ˈdɪfər frəm ðə fərst ˈɔrdər baɪ 0 (seɪm ˈɔrdər), 2 3 ər 4 ˈʧeɪnʤɪz ɪn pəˈzɪʃən. ˈæftər ə rɪˈspɑns wɑz meɪd, ə ki prɛs ˌɪˈnɪʃiˌeɪtɪd ðə nɛkst traɪəl. tɛn traɪəlz pər ˈstɪmjələs ˈkætəˌgɔri wər kənˈdəktəd. rɪˈzəlts ənd dɪˈskəʃən ðə kərˈɛktɪd ˌrɛkɪgˈnɪʃən skɔrz fər iʧ grup wər səˈbʤɛktɪd tɪ ˌpərmjuˈteɪʃən æˈnælɪˌsiz (si ənˈlaɪk ðə ˈfaɪndɪŋz əv ɪkˈspɛrəmənt, ðə ˈpeɪʃənz wər ˌɪmˈpɛrd ˈrɛlətɪv tɪ kənˈtroʊlz (ɛf 1 12 pi 03 ɛm ˈpeɪʃənz 34 ɛm kənˈtroʊlz 75 ðə meɪn ˈifɛkt əv ˈstɪmjələs ˈkætəˌgɔri ˈɔlsoʊ riʧt sɪgˈnɪfɪkəns (ɛf 2 24 pi 03 ðɪs wɑz du tɪ ˈoʊvərˌɔl ˈbɛtər pərˈfɔrməns ɔn ðə tul ˈstɪmjəˌlaɪ ðən ʃeɪps (pi 04 ðə ˌɪnərˈækʃən əv grup ˈstɪmjələs ˈkætəˌgɔri dɪd nɑt riʧ sɪgˈnɪfɪkəns (ɛf 2 24 pi 40 wɪn pərˈfɔrməns wɑz əˈsɛst ɛz ə ˈfəŋkʃən əv ðə ˈnəmbər əv ˈʧeɪnʤɪz ɪn ðə pərˈzɛnəd ˈɔrdər (ˈiðər 0 2 3 ər 4 ɪt wɑz faʊnd ðət ˈpeɪʃənz wər wərs æt dɪˈtɛktɪŋ ˈʧeɪnʤɪz (ɛf 1 12 pi 001 ənd ðət ðɛr pərˈfɔrməns dɪd nɑt ˈstɛdəli ˌɪmˈpruv ɛz ðə ˈnəmbər əv ˈʧeɪnʤɪz ˌɪnˈkrist (ɛm 0 ˈʧeɪnʤɪz 75 ɛm 2 ˈʧeɪnʤɪz 54 ɛm 3 ˈʧeɪnʤɪz 42 ɛm 4 ˈʧeɪnʤɪz 65 ɪn ˈkɑntræst, mɔr ˈʧeɪnʤɪz ˌɪmˈpruvd kənˈtroʊl subjects’*’ pərˈfɔrməns (ɛm 0 85 ɛm 2 77 ɛm 3 96 ɛm 4 92 ðə ˌɪnərˈækʃən əv grup ənd ˈnəmbər əv ˈʧeɪnʤɪz dɪd nɑt riʧ sɪgˈnɪfɪkəns (ɛf 3 36 pi 15 ðiz rɪˈzəlts ʃoʊ ðət ðə patients’*’ pərˈfɔrməns wɑz ˌɪmˈpɛrd ɪn ən ˈɔrdər ˌrɛkɪgˈnɪʃən tæsk. ðɪs ˈfaɪndɪŋ prəˈvaɪdz prɪˈlɪməˌnɛri ˈɛvədəns ðət ˈliʒənz meɪ əˈfɛkt ˈriˌkɔl ɛz kəmˈpɛrd tɪ ˌrɛkɪgˈnɪʃən. ɪkˈspɛrəmənt: ˈɑbʤɛkt ˈriˌkɔl wən ˈpɑsəbəl ˈkrɪtɪˌsɪzəm əv ðə ˈɔrdər ˌrɛkɪgˈnɪʃən tæsk ɪz ðət pur pərˈfɔrməns wɑz du tɪ ðə haɪər ˈmɛməri loʊd ˌɪmˈpoʊzd baɪ meɪnˈteɪnɪŋ wən ˈɔrdər waɪl əbˈzərvɪŋ ə ˈsɛkənd ˈɔrdər. ɪn fækt, səm ˈrisərʧərz maɪt kənˈsɪdər ɪkˈspɛrəmənt ə ˈlɔŋˈtərm ˈmɛməri tæsk, ˈgɪvɪn ðə lɑrʤ ˈnəmbər əv ˈaɪtəmz pərˈzɛnəd. ɪn ɪkˈspɛrəmənts, ənd 3 wi proʊbd ðə dɪˌsoʊsiˈeɪʃən ˈfərðər ˈjuzɪŋ ˈpɛrəˌdaɪmz dɪˈzaɪnd tɪ ɪkˈstɛnd ɑr ˈfaɪndɪŋz ənd əˈleɪ ˌmɛθədəˈlɑʤɪkəl kənˈsərnz. ɪkˈspɛrəmənt ɪgˈzæmənd ˈwɪljəm fər ˈɑbʤɛkts ˈjuzɪŋ ə ˈriˌkɔl tæsk ðət ˌɪmˈpoʊzd noʊ ˈtɛmpərəl ˈɔrdərɪŋ dɪˈmændz. ˈfɑloʊɪŋ ə brif dɪˈleɪ, ˈsəbʤɪkts wər rikˈwaɪərd tɪ vərˈbæli rɪˈpɔrt ðə aɪˈdɛntɪˌtiz əv fɔr ˈaɪtəmz. ˈmɛθədz tæsk fɔr tul ˈɪmɪʤɪz wər pərˈzɛnəd səkˈwɛnʃəli 1000 ms/image*) ənd ˈfɑloʊd baɪ ə mæskt dɪˈleɪ 1000 mɪz). ˈæftər ðə mæsk, ə kju əˈpɪrd ənd ˈprɑmptɪd ðə ˈsəbʤɪkt tɪ neɪm əˈlaʊd ðə fɔr ˈpriviəsli vjud ˈɪmɪʤɪz. ðə ɪkˈspɛrəˌmɛntər rɪˈkɔrdɪd rɪˈspɑnsɪz. kərˈɛkt ˈænsərz kənˈsɪstɪd əv ˈækjərətli neɪmd ˈaɪtəmz frəm ðə ɛnˈkoʊdɪŋ feɪz, rəˈgɑrdləs əv ˈɔrdər. ˌɪnˈtruʒənz wər ˈɔlsoʊ ˈtælid. ˈoʊnli tul ˈstɪmjəˌlaɪ wər juzd bɪˈkəz ðə ˈaɪtəmz ɪn ðɪs ˈkætəˌgɔri ər ˈizəli neɪmd. ˈæftər ðə rɪˈspɑnsɪz hæd bɪn meɪd ənd rɪˈkɔrdɪd, ə ki prɛs ˌɪˈnɪʃiˌeɪtɪd ðə nɛkst traɪəl. ə ˈtoʊtəl əv 10 traɪəlz wər pərˈfɔrmd. rɪˈzəlts ənd dɪˈskəʃən ðə rɑ ˈækjərəsi skɔrz fər iʧ grup (kənˈtroʊl, ˈpeɪʃənt) wər səˈbʤɛktɪd tɪ ˌpərmjuˈteɪʃən æˈnælɪˌsiz (si ðə rɪˈzəlts ʃoʊd ðət ˈpeɪʃənz ənd kənˈtroʊlz hæd ˈsɪmələr ˈlɛvəlz əv ˈækjərəsi (pi 23 ɛm ˈpeɪʃənz 69 ɛm kənˈtroʊlz 78 ən ɪgˌzæməˈneɪʃən əv ðə ɛˈroʊniəs rɪˈspɑnsɪz ˈɪndəˌkeɪtɪd ðət ðə ˈpeɪʃənz ˌriˈpɔrtəd fjuər ˌɪnˈtrusɪv rɪˈspɑnsɪz ðən ðə kənˈtroʊlz (ɛm ˈpeɪʃənz ɛm kənˈtroʊlz ðɪs ˈdɪfərəns wɑz ˈmɑrʤənəli sɪgˈnɪfɪkənt (pi ðiz rɪˈzəlts kənˈfərm ðə ˈfaɪndɪŋz frəm ɪkˈspɛrəmənt, səˈʤɛstɪŋ ðət ðə patients’*’ pərˈfɔrməns ɪz ˌənɪmˈpɛrd ɪn ˈriˌkɔl tæsks əv ˈvɪʒəwəl ˈwɪljəm. ˈoʊpən ɪn ə ˈsɛpərˌeɪt ˈwɪndoʊ ɪkˈspɛrəmənt: ˈɑbʤɛkt ˌrɛkɪgˈnɪʃən ɪn ɪkˈspɛrəmənt ˈɑbʤɛkt ˈmɛməri wɑz əˈsɛst ɪn ən ˌrɛkɪgˈnɪʃən ˈpɛrəˌdaɪm. ðə tæsk ənd ˈstɪmjəˌlaɪ ər aɪˈdɛntɪkəl tɪ ðət juzd ɪn ɪkˈspɛrəmənt 2 əv ˈbɛriˌhɪl ənd ˈoʊlsən (ɪn prɛs). ˈmɛθədz tæsk traɪəlz wər ˈsɪmələr tɪ ðoʊz juzd ɪn ɪkˈspɛrəmənt ɪkˈsɛpt fər ðə proʊb tæsk. ɔn wən hæf əv ɔl traɪəlz, ðə proʊb ˈɪmɪʤ wɑz ə nu ˈaɪtəm ðət hæd nɑt bɪn ɪn ðə ˈmɛməri sɛt; ɪn ðə ˈəðər hæf əv traɪəlz ðə proʊb ˈɪmɪʤ wɑz ən oʊld ˈaɪtəm. ðəs, ʧæns pərˈfɔrməns wɑz 50 ðə tæsk wɑz tɪ rɪˈpɔrt ˈwɛðər ðə proʊb ˈɪmɪʤ wɑz oʊld ər nu. traɪəlz wər ˈɔrgəˌnaɪzd ˈɪntu θri blɑks. tɪ meɪk ðɪs ɪkˈspɛrəmənt dɪˈrɛkli ˈkɑmprəbəl tɪ ɪkˈspɛrəmənt, θri blɑks əv ˈkələr ənd ˈæbˌstrækt ʃeɪp ˌrɛkɪgˈnɪʃən traɪəlz wər ˈɔlsoʊ ˈtɛstɪd. ˈsəbʤɪkts pərˈfɔrmd ˈsɛvərəl ˈpræktɪs traɪəlz tɪ bɪˈkəm fəˈmɪljər wɪθ ðə traɪəl dɪˈzaɪn. rɪˈzəlts ənd dɪˈskəʃən ðə kərˈɛktɪd ˌrɛkɪgˈnɪʃən skɔrz fər iʧ grup (kənˈtroʊl, ˈpeɪʃənt) ənd ˈstɪmjələs ˈkætəˌgɔri (ˈkələr, ʃeɪp, tul) wər səˈbʤɛktɪd tɪ ˌpərmjuˈteɪʃən æˈnælɪˌsiz (si ðə ˈpeɪʃənt grup wɑz sɪgˈnɪfɪkəntli ˌɪmˈpɛrd ˈrɛlətɪv tɪ ðə kənˈtroʊl grup (ɛf 1 12 pi 01 ɛm ˈpeɪʃənz 40 ɛm kənˈtroʊlz 65 ðɛr wɑz ˈɔlsoʊ ə meɪn ˈifɛkt əv ˈstɪmjələs ˈkætəˌgɔri (ɛf 2 24 pi 001 səʧ ðət pərˈfɔrməns ɔn ðə tul ˈstɪmjəˌlaɪ wɑz ˈbɛtər ðən ˈkələr (pi 003 ənd ʃeɪp (pi 001 pərˈfɔrməns. ɪt ʃʊd bi ˈnoʊtɪd ðət fər ðə ˈkələr ˈstɪmjəˌlaɪ, bət nɑt fər ðə tul ər ʃeɪp ˈstɪmjəˌlaɪ, ˈpeɪʃənt pərˈfɔrməns droʊv ðə grup ˈifɛkt (si ðɛr wɑz noʊ ˌɪnərˈækʃən əv grup ˈstɪmjələs ˈkætəˌgɔri (ɛf 2 24 1 ɛnz.). ðɪs wɑz kənˈfərmd baɪ ɪˌvæljuˈeɪʃən əv ðə ˈdɪfərəns skɔrz bɪtˈwin ðə kənˈtroʊl ənd ˈpeɪʃənt grups, wɪʧ ˈdɪfərd baɪ ə ˈkɑnstənt ˈvælju əˈkrɔs ˈstɪmjələs ˈkætəˌgɔriz. ɪn ˈɔrdər tɪ meɪk ðɪs ɪkˈspɛrəmənt dɪˈrɛkli ˈkɑmprəbəl tɪ ɪkˈspɛrəmənt, ˈoʊnli ðə pərˈfɔrməns ɪn ðə tul ˈkætəˌgɔri ər ʃoʊn ɪn ə ˌpərmjuˈteɪʃən æˈnælɪsɪs əv ˈoʊnli ðə tul ˈdætə rɪˈvild ə sɪgˈnɪfɪkənt ˈifɛkt əv grup (pi 02 ɛm ˈpeɪʃənz 59 ɛm kənˈtroʊlz 84 ðə ˈpætərn əv pərˈfɔrməns wɑz aɪˈdɛntɪkəl əˈkrɔs ˈstɪmjələs taɪps. ˈteɪbəl 3 exp*.. ˈɔrdər ˌrɛkɪgˈnɪʃən exp*.. ˈɑbʤɛkt ˌrɛkɪgˈnɪʃən exp*. 3 ˈɑbʤɛkt ˌrɛkɪgˈnɪʃən ˈkələr ʃeɪp tulz ˈkələr ʃeɪp tulz ˈkɑmən ˈɑbʤɛkts 86 33 67 50 43 96 74 97 74 38 79 22 83 75 44 56 0 54 07 75 50 71 15 73 04 kənˈtroʊlz 80 05 80 16 92 07 80 22 74 20 90 05 92 03 ˈoʊpən ɪn ə ˈsɛpərˌeɪt ˈwɪndoʊ ðiz rɪˈzəlts ʃoʊ ðət ðə patients’*’ pərˈfɔrməns wɑz ˌɪmˈpɛrd æt ˈvɪʒəwəl ˈwɪljəm tæsks ˈtɛstɪŋ ˌrɛkɪgˈnɪʃən əˈkrɔs θri ˈvɛri ˈdɪfərənt ˈstɪmjələs ˈkætəˌgɔriz ˈkələrz, ˈæbˌstrækt ʃeɪps, ənd tulz. ˈoʊvərˌɔl pərˈfɔrməns wɑz haɪəst ɪn ðə tul kənˈdɪʃən ənd loʊəst ɪn ðə ˈnɑvəl ʃeɪp kənˈdɪʃən. ˌhaʊˈɛvər, ˈdɛfɪsɪts wər əbˈzərvd tɪ ə ˈsɪmələr dɪˈgri fər ɔl θri ˈstɪmjələs taɪps, səˈʤɛstɪŋ ðət ðə ˈwɪljəm ˈdɛfəsət ɪgˈzɪsts wɪn ə ˈvərbəl ˈstrætəʤi kʊd bi ɪmˈplɔɪd fər ˈaɪtəmz, səʧ ɛz tulz, ənd ˈivɪn wɪn səʧ ə ˈstrætəʤi wʊd bi ˈʧælənʤɪŋ, səʧ ɛz wɪθ ðə ˈnɑvəl ʃeɪp ˈstɪmjəˌlaɪ. ɪkˈspɛrəmənts: kəmˈbaɪnd æˈnælɪˌsiz tɪ dɪˈrɛkli kəmˈpɛr pərˈfɔrməns ɔn ðə ˈriˌkɔl ənd ˌrɛkɪgˈnɪʃən tæsks, ðɛr pərˈfɔrməns wɑz kənˈvərtɪd ˈɪntu ənd wər pərˈfɔrmd (si ðɪs ʃoʊd ðət ˈoʊnli ðə ˌrɛkɪgˈnɪʃən skɔrz ˈdɪfərd frəm ðət əv ðə kənˈtroʊlz (ti 3 pi 003 wɪn ðə skɔrz ɔn ðə ˈriˌkɔl (ˈɔrdər ˈriˌkɔl, ˈɑbʤɛkt ˈriˌkɔl) ənd ˌrɛkɪgˈnɪʃən (ˈɔrdər ˌrɛkɪgˈnɪʃən, ˈɑbʤɛkt ˌrɛkɪgˈnɪʃən) tæsks wər dɪˈrɛkli kəmˈpɛrd, sɪgˈnɪfɪkəntli wərs pərˈfɔrməns wɑz faʊnd ɪn ðə ˌrɛkɪgˈnɪʃən tæsks kəmˈpɛrd tɪ ðə ˈriˌkɔl tæsks (ti 3 pi 05 ˈoʊpən ɪn ə ˈsɛpərˌeɪt ˈwɪndoʊ ɪkˈspɛrəmənt 3 ˈɑbʤɛkt ˌrɛkɪgˈnɪʃən ˈwɪljəm ɪn ɪkˈspɛrəmənts ˈoʊnli ə ˈlɪmɪtɪd ˈnəmbər əv ˈstɪmjəˌlaɪ wər juzd, ˈgɪvɪŋ raɪz tɪ rɪˈpitɪd ɪkˈspoʊʒərz əˈkrɔs traɪəlz. wən ˌɛkspləˈneɪʃən fər ðə pur ˈpeɪʃənt pərˈfɔrməns ɔn ðə ˌrɛkɪgˈnɪʃən tæsks ɪz ðət pərˈaɪətəl loʊb ˈdæmɪʤ ˈkɔzɪz sɔrs ˈmɛməri ˌɪmˈpɛrmənts səʧ ðət ˈpeɪʃənz kənfˈjuz ðə proʊb ˈaɪtəm ɔn traɪəl ɛn wɪθ ˈtərgət ˈaɪtəmz ˈpriviəsli vjud ɔn ˈəðər traɪəlz. ɪf tru, ˈpeɪʃənz ʃʊd pərˈfɔrm ˈnɔrməli ɔn ˌrɛkɪgˈnɪʃən tæsks ðət juz juˈnik ˈstɪmjəˌlaɪ ɪn iʧ traɪəl. ðɪs wɑz ˈtɛstɪd ɪn ɪkˈspɛrəmənt 3 ˈmɛθədz tæsk ðə traɪəl dɪˈzaɪn wɑz aɪˈdɛntɪkəl tɪ ðət juzd ɪn ɪkˈspɛrəmənt. ðə ˈoʊnli ˈdɪfərəns wɑz ðə ˈstɪmjəˌlaɪ wɪʧ wər ˈkələrˌaɪzd laɪn drɔɪŋz əv ˈænəməlz, ˈɑbʤɛkts, ənd ˈbɪldɪŋz pourtois*, 2004 ʃoʊn wɪˈθaʊt ˌrɛpəˈtɪʃən. ðɛr wɑz ə ˈsɪŋgəl blɑk əv 56 traɪəlz. tu kənˈtroʊlz wər ɪkˈskludɪd du tɪ ə ˈfeɪljər tɪ ˌəndərˈstænd ənd kəmˈplaɪ wɪθ ˌɪnˈstrəkʃənz. rɪˈzəlts ənd dɪˈskəʃən ðə kərˈɛktɪd ˌrɛkɪgˈnɪʃən skɔrz wər səˈbʤɛktɪd tɪ ˌpərmjuˈteɪʃən æˈnælɪsɪs kəmˈpɛrɪŋ ðə tu grups (si ðɪs æˈnælɪsɪs faʊnd ðət ðə ˈpeɪʃənz wər sɪgˈnɪfɪkəntli ˌɪmˈpɛrd (pi 03 ɛm ˈpeɪʃənz 63 ɛm kənˈtroʊlz 89 ˈoʊpən ɪn ə ˈsɛpərˌeɪt ˈwɪndoʊ ðiz rɪˈzəlts kənˈfərm ðət ðə ˈpeɪʃənz wər ˈʤɛnərəli ˌɪmˈpɛrd ɪn ˌrɛkɪgˈnɪʃən ˈwɪljəm tæsks. ðɪs ˈkænɑt bi əˈtrɪbjətəd tɪ ˌɪnˈkrist ˌɪnˈtruʒənz frəm wən traɪəl tɪ ðə nɛkst bɪˈkəz ˈpeɪʃənz ɪgˈzɪbətəd ˌrɛkɪgˈnɪʃən ˌɪmˈpɛrmənts ˈivɪn wɪn ðɛr wər noʊ ˈstɪmjələs ˌrɛpəˈtɪʃənz. wi θæŋk kɪm ənd ji fər hɛlp wɪθ ˌpərmjuˈteɪʃən æˈnælɪˌsiz ənd ˈjusɛf ezzyat*, peɪʤ ˈwɪdɪk ənd fər hɛlp wɪθ mricro*. wi θæŋk ˈlisə fuɔŋ fər ˈtɛstɪŋ kənˈtroʊl ˈsəbʤɪkts. wi θæŋk mɑriˈɑnə stɑrk ənd brænʧ ˈkɑslɪt fər ðɛr ədˈvaɪs ənd əˈsɪstəns, ənd ənd fər ðɛr taɪm. ðɪs ˈrisərʧ wɑz səˈpɔrtɪd baɪ tɪ aɪ. ˈoʊlsən. ˈfʊtˌnoʊts ˈpeɪʃənz ɪgˈzɪbətəd ˈnɔrməl ˈlɛvəlz əv ˌɪnˈtruʒənz ɔn ðə cvlt*. |
peter images when australian research professor paul checked off the box on a list of ailments for which homeopathy had no effect, he let out a sigh of relief.
homeopathic remedies are sold in thousands of health stores as tinctures, tonics, pills, and pastes. the origin can be traced to an german physician named samuel, who theorized that taking extremely diluted doses of the thing that is causing an ailment can cure it.
glasziou looked at nearly 200 scientific studies about the effectiveness of the regimen for 68 conditions, ranging from arthritis to hiv. overall, the treatment had "no discernible effect" on any of those conditions, which led to conclude that homeopathy was "a therapeutic dead-end."
that was two years ago.
since then, britain's government health system (nhs) had continued to pay for thousands of patients to receive homeopathic treatment. but on july 21, the included homeopathy in a lengthy report on items that primary care doctors should not prescribe. that effectively bans patients from using government funds for homeopathic treatment.
the currently spends upwards of (more than $120,400) on homeopathy prescriptions each year, according to the report. but the authors cited a "lack of robust evidence of clinical effectiveness" for the treatment and suggested physicians should stop prescribing it to patients.
simon stevens, chief executive of the, said in a statement announcing the decision that homeopathy is "at best a placebo." he called the previous decision to cover the remedy "a misuse of scarce funds which could better be devoted to treatments that work."
the us government doesn't support the treatment either last year, the federal trade commission released guidelines requiring producers of homeopathic treatments to add a disclaimer to their packaging saying "there is no scientific evidence that the product works."
across the globe, however, homeopathy remains a booming industry.
"i can well understand why samuel the founder of homeopathy was dissatisfied with the state of century medicine's practices, such as and purging, and tried to find a better alternative," wrote in a blog post for the medical journal the after publishing his research. "but i would guess he would be disappointed by the collective failure of homeopathy to carry on his innovative investigations, but instead continue to pursue a therapeutic dead-end." | ˈpitər ˈɪmɪʤɪz wɪn ɔˈstreɪljən ˈrisərʧ prəˈfɛsər pɔl ʧɛkt ɔf ðə bɑks ɔn ə lɪst əv ˈeɪlmənts fər wɪʧ ˌhoʊmioʊˈpæθi hæd noʊ ˈifɛkt, hi lɛt aʊt ə saɪ əv rɪˈlif. ˌhoʊmioʊˈpæθək ˈrɛmədiz ər soʊld ɪn ˈθaʊzənz əv hɛlθ stɔrz ɛz ˈtɪŋkʧərz, ˈtɑnɪks, pɪlz, ənd peɪsts. ðə ˈɔrəʤən kən bi treɪst tɪ ən ˈʤərmən fəˈzɪʃən neɪmd ˈsæmjul, hu θiəraɪzd ðət ˈteɪkɪŋ ɪkˈstrimli dɪˈlutəd ˈdoʊsɪz əv ðə θɪŋ ðət ɪz ˈkɔzɪŋ ən ˈeɪlmənt kən kjʊr ɪt. lʊkt æt ˈnɪrli 200 ˌsaɪənˈtɪfɪk ˈstədiz əˈbaʊt ðə ˈifɛktɪvnəs əv ðə ˈrɛʤəmən fər 68 kənˈdɪʃənz, ˈreɪnʤɪŋ frəm ɑrθˈraɪtɪs tɪ hiv*. ˈoʊvərˌɔl, ðə ˈtritmənt hæd "noʊ dɪˈsərnəbəl ˈifɛkt" ɔn ˈɛni əv ðoʊz kənˈdɪʃənz, wɪʧ lɛd tɪ kənˈklud ðət ˌhoʊmioʊˈpæθi wɑz "ə ˌθɛrəˈpjutɪk ˌdɛˈdɛnd." ðət wɑz tu jɪrz əˈgoʊ. sɪns ðɛn, ˈbrɪtənz ˈgəvərnmənt hɛlθ ˈsɪstəm (nhs*) hæd kənˈtɪnjud tɪ peɪ fər ˈθaʊzənz əv ˈpeɪʃənz tɪ rɪˈsiv ˌhoʊmioʊˈpæθək ˈtritmənt. bət ɔn ˌʤuˈlaɪ 21 ðə ˌɪnˈkludɪd ˌhoʊmioʊˈpæθi ɪn ə ˈlɛŋθi rɪˈpɔrt ɔn ˈaɪtəmz ðət ˈpraɪˌmɛri kɛr ˈdɑktərz ʃʊd nɑt prəˈskraɪb. ðət ˈifɛktɪvli bænz ˈpeɪʃənz frəm ˈjuzɪŋ ˈgəvərnmənt fəndz fər ˌhoʊmioʊˈpæθək ˈtritmənt. ðə ˈkərəntli spɛnz ˈəpwərdz əv (mɔr ðən ɔn ˌhoʊmioʊˈpæθi prəˈskrɪpʃənz iʧ jɪr, əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt. bət ðə ˈɔθərz ˈsaɪtɪd ə "læk əv roʊˈbəst ˈɛvədəns əv ˈklɪnɪkəl ˈifɛktɪvnəs" fər ðə ˈtritmənt ənd səˈʤɛstɪd fɪˈzɪʃənz ʃʊd stɑp priˈskraɪbɪŋ ɪt tɪ ˈpeɪʃənz. ˈsaɪmən ˈstivənz, ʧif ɪgˈzɛkjətɪv əv ðə, sɛd ɪn ə ˈsteɪtmənt əˈnaʊnsɪŋ ðə dɪˈsɪʒən ðət ˌhoʊmioʊˈpæθi ɪz "æt bɛst ə pləˈsiboʊ." hi kɔld ðə ˈpriviəs dɪˈsɪʒən tɪ ˈkəvər ðə ˈrɛmədi "ə mɪsˈjuz əv skɛrs fəndz wɪʧ kʊd ˈbɛtər bi dɪˈvoʊtɪd tɪ ˈtritmənts ðət wərk." ðə ˈjuˈɛs ˈgəvərnmənt ˈdəzənt səˈpɔrt ðə ˈtritmənt ˈiðər læst jɪr, ðə ˈfɛdərəl treɪd kəˈmɪʃən riˈlist ˈgaɪˌdlaɪnz rikˈwaɪərɪŋ prəˈdusərz əv ˌhoʊmioʊˈpæθək ˈtritmənts tɪ æd ə dɪˈskleɪmər tɪ ðɛr ˈpækɪʤɪŋ seɪɪŋ "ðɛr ɪz noʊ ˌsaɪənˈtɪfɪk ˈɛvədəns ðət ðə ˈprɑdəkt wərks." əˈkrɔs ðə gloʊb, ˌhaʊˈɛvər, ˌhoʊmioʊˈpæθi rɪˈmeɪnz ə ˈbumɪŋ ˈɪndəstri. "aɪ kən wɛl ˌəndərˈstænd waɪ ˈsæmjul ðə ˈfaʊndər əv ˌhoʊmioʊˈpæθi wɑz dɪˈsætəsˌfaɪd wɪθ ðə steɪt əv ˈsɛnʧəri ˈmɛdəsənz ˈpræktɪsɪz, səʧ ɛz ənd ˈpərʤɪŋ, ənd traɪd tɪ faɪnd ə ˈbɛtər ɔlˈtərnətɪv," roʊt ɪn ə blɔg poʊst fər ðə ˈmɛdɪkəl ˈʤərnəl ðə ˈæftər ˈpəblɪʃɪŋ hɪz ˈrisərʧ. "bət aɪ wʊd gɛs hi wʊd bi ˌdɪsəˈpɔɪnɪd baɪ ðə kəˈlɛktɪv ˈfeɪljər əv ˌhoʊmioʊˈpæθi tɪ ˈkɛri ɔn hɪz ˈɪnəˌveɪtɪv ˌɪnˌvɛstəˈgeɪʃənz, bət ˌɪnˈstɛd kənˈtɪnju tɪ pərˈsu ə ˌθɛrəˈpjutɪk ˌdɛˈdɛnd." |
tasmania's opposition casts doubt over $16m cadbury grant
updated
tasmanian opposition leader bryan green has used question time to ask the premier to confirm whether a controversial federal grant to cadbury would be paid.
the grant of $16 million was promised by the federal government to the chocolate maker during the 2013 election campaign to help the company upgrade its claremont factory and restart tours.
but mr green pressed premier will hodgman to lobby the federal government to hand the state government the money to instead help create jobs on struggling west coast.
"can you confirm that the $16 million that was committed to the tourism development at cadbury's has been withdrawn, and if so will you finally stand up formania and demand the money is invested on the state's struggling west coast?" he asked during question time.
that is a matter between cadbury and the federal government, and i am not going to any announcement they may make.manian premier will hodgman
mr hodgman did not deny mr green's claim about the $16 million grant, saying he understood cadbury would make an announcement today.
"that is a matter between cadbury and the federal government, and i am not going to any announcement they may make," mr hodgman told parliament.
in mid-feburary, independent andrew wilkie raised the controversial grant in federal parliament.
prime minister tony abbott defended a delay in handing over the money and indicated it would only be handed over if the business case stacks up.
at the time, mr abbott said: "we've only had the business case for a matter of weeks, we are carefully studying the business case, if the case stacks up the project will go ahead".
topics: government-and-politics,,
first posted | tasmania's* ˌɑpəˈzɪʃən kæsts daʊt ˈoʊvər ˈkædˌbɛri grænt ˈəpˌdeɪtɪd ˌtæzˈmeɪniən ˌɑpəˈzɪʃən ˈlidər braɪən grin həz juzd kˈwɛʃən taɪm tɪ æsk ðə prɛˈmɪr tɪ kənˈfərm ˈwɛðər ə ˌkɑntrəˈvərʃəl ˈfɛdərəl grænt tɪ ˈkædˌbɛri wʊd bi peɪd. ðə grænt əv 16 ˈmɪljən wɑz ˈprɑməst baɪ ðə ˈfɛdərəl ˈgəvərnmənt tɪ ðə ˈʧɔklət ˈmeɪkər ˈdʊrɪŋ ðə 2013 ɪˈlɛkʃən kæmˈpeɪn tɪ hɛlp ðə ˈkəmpəˌni ˈəpˈgreɪd ɪts ˈklɛrˌmɑnt ˈfæktəri ənd riˈstɑrt tʊrz. bət ˈmɪstər grin prɛst prɛˈmɪr wɪl ˈhɑʤmən tɪ ˈlɑbi ðə ˈfɛdərəl ˈgəvərnmənt tɪ hænd ðə steɪt ˈgəvərnmənt ðə ˈməni tɪ ˌɪnˈstɛd hɛlp kriˈeɪt ʤɑbz ɔn ˈstrəgəlɪŋ wɛst koʊst. "kən ju kənˈfərm ðət ðə 16 ˈmɪljən ðət wɑz kəˈmɪtɪd tɪ ðə ˈtʊˌrɪzəm dɪˈvɛləpmənt æt ˈkædˌbɛriz həz bɪn wɪθˈdrɔn, ənd ɪf soʊ wɪl ju ˈfaɪnəli stænd əp fər ˌtæzˈmeɪniə ənd dɪˈmænd ðə ˈməni ɪz ˌɪnˈvɛstɪd ɔn ðə steɪts ˈstrəgəlɪŋ wɛst koʊst?" hi æst ˈdʊrɪŋ kˈwɛʃən taɪm. ðət ɪz ə ˈmætər bɪtˈwin ˈkædˌbɛri ənd ðə ˈfɛdərəl ˈgəvərnmənt, ənd aɪ æm nɑt goʊɪŋ tɪ ˈɛni əˈnaʊnsmɛnt ðeɪ meɪ meɪk. ˌtæzˈmeɪniən prɛˈmɪr wɪl ˈhɑʤmən ˈmɪstər ˈhɑʤmən dɪd nɑt dɪˈnaɪ ˈmɪstər grinz kleɪm əˈbaʊt ðə 16 ˈmɪljən grænt, seɪɪŋ hi ˌəndərˈstʊd ˈkædˌbɛri wʊd meɪk ən əˈnaʊnsmɛnt təˈdeɪ. "ðət ɪz ə ˈmætər bɪtˈwin ˈkædˌbɛri ənd ðə ˈfɛdərəl ˈgəvərnmənt, ənd aɪ æm nɑt goʊɪŋ tɪ ˈɛni əˈnaʊnsmɛnt ðeɪ meɪ meɪk," ˈmɪstər ˈhɑʤmən toʊld ˈpɑrləmɛnt. ɪn mid-feburary*, ˌɪndɪˈpɛndənt ˈændru ˈwɪlki reɪzd ðə ˌkɑntrəˈvərʃəl grænt ɪn ˈfɛdərəl ˈpɑrləmɛnt. praɪm ˈmɪnɪstər ˈtoʊni ˈæbət dɪˈfɛndɪd ə dɪˈleɪ ɪn ˈhændɪŋ ˈoʊvər ðə ˈməni ənd ˈɪndəˌkeɪtɪd ɪt wʊd ˈoʊnli bi ˈhændɪd ˈoʊvər ɪf ðə ˈbɪznɪs keɪs stæks əp. æt ðə taɪm, ˈmɪstər ˈæbət sɛd: "wiv ˈoʊnli hæd ðə ˈbɪznɪs keɪs fər ə ˈmætər əv wiks, wi ər ˈkɛrfəli ˈstədiɪŋ ðə ˈbɪznɪs keɪs, ɪf ðə keɪs stæks əp ðə ˈprɑʤɛkt wɪl goʊ əˈhɛd". ˈtɑpɪks: government-and-politics*, fərst ˈpoʊstɪd |
it was planned as the most daring operation undertaken by the in recent years exceptional in courage and complexity. the mission: take captive the head of military wing, ahmed al-jabari, in the heart of the gaza strip, and bring him back to israel as a bargaining chip for release.
details of the raid of the century are being published here for the first time.
one can only imagine the stories generations of fighters from special units would have grown up on had it succeeded. but the soldiers men from an elite unit who were sent into position and were ready to carry out the capture of in gaza ultimately returned empty-handed.
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from the moment the operation received approval in late 2008, the defense establishment kicked intelligence gathering on into high gear. they quickly identified a weak spot, a routine: the man would often come back from a visit with one of his two wives, then travel across the gaza strip in a way that would allow an team to ambush him. he also made a habit of not driving in a secure convoy, and preferred moving about in a private car with just one or two bodyguards.
more information collected by military intelligence and by the shin bet paved the way for the operation. the fighters began to train.
on the designated day, “d,” the commander of the unit, oversaw the operation at a location not far from gaza, while another commander took up a position in the field.
jabari was expected to arrive at the location and encounter a ambush, carried out under cover of darkness. according to sources involved in planning the operation, “the likelihood that he would have been taken alive was high. we have the necessary equipment to have ensured his survival of the ambush, and if we would have wanted, we could have taken out the bodyguards.”
after a long wait, the troops received the green light and started making their way into gaza for the operation a daring raid, directed at the heart of the islamist group that was holding hostage, a reassertion of potency designed to attain the leverage to secure the release. but at the last minute they received an order to turn back. their disappointment was palpable. but the mission had only been delayed, not aborted.
several days later, the forces again received the and again set out for the ambush in early evening. meanwhile, israeli top brass convened at the shin bet headquarters in tel aviv, to monitor the operation. those present included galant, of the’s southern command and the commander running the operation; g., head of the shin southern command; representatives of the executive branch of the shin bet; nimrod sheffer, director of the headquarters; and a., the deputy commander of the unit carrying out the operation.
behind a glass window sat minister ehud barak, chief of staff ashkenazi and head of the shin bet yuval diskin. hours passed until the forces on the ground took up their positions. it was approximately 9 pm.
in retrospect,’s fate was sealed on that night in 2008, though he could not have known it. had he been taken hostage, he would not have been assassinated in november 2012 at the beginning of operation pillar of defense and possible he would have been released in an exchange deal for. (the captured soldier was finally released in a prisoner exchange in october 2011, after five years in hamas captivity. the deal was partly negotiated by, who was part of the hamas group that handed over to the egyptians when the deal was implemented.)
at first, that night, things proceeded as planned. did not exhibit unusual behavior. galant gave the order for the operation to begin. in just a few moments, was supposed to have arrived on the road where the forces were waiting. the tension in tel aviv was profound. the defense minister and the chief of staff moved into the main command room.
the car containing was expected to make a turn in the direction of the fighters in position, just as it had a few days earlier. this was supposed to trigger the operation. but the vehicle, departing from’s routine, proceeded in a different direction.
the brass in tel aviv watched with immense disappointment as the car drove further and further away from the ambush. d. and his men were ordered to pull back and make their way home without terrorist.
the full story of the operation will be published on friday. | ɪt wɑz plænd ɛz ðə moʊst ˈdɛrɪŋ ˌɑpərˈeɪʃən ˈəndərˌteɪkən baɪ ðə ɪn ˈrisənt jɪrz ɪkˈsɛpʃənəl ɪn kərɪʤ ənd kəmˈplɛksɪti. ðə ˈmɪʃən: teɪk ˈkæptɪv ðə hɛd əv ˈmɪlɪˌtɛri wɪŋ, ˈɑmɛd al-jabari*, ɪn ðə hɑrt əv ðə ˈgɑzə strɪp, ənd brɪŋ ɪm bæk tɪ ˈɪzriəl ɛz ə ˈbɑrgɪnɪŋ ʧɪp fər riˈlis. ˈditeɪlz əv ðə reɪd əv ðə ˈsɛnʧəri ər biɪŋ ˈpəblɪʃt hir fər ðə fərst taɪm. wən kən ˈoʊnli ˌɪˈmæʤən ðə ˈstɔriz ˌʤɛnərˈeɪʃənz əv ˈfaɪtərz frəm ˈspɛʃəl ˈjunɪts wʊd hæv groʊn əp ɔn hæd ɪt səkˈsidɪd. bət ðə ˈsoʊlʤərz mɛn frəm ən ɪˈlit ˈjunɪt hu wər sɛnt ˈɪntu pəˈzɪʃən ənd wər ˈrɛdi tɪ ˈkɛri aʊt ðə ˈkæpʧər əv ɪn ˈgɑzə ˈəltəmətli rɪˈtərnd ˈɛmptiˈhændɪd. gɪt ðə taɪmz əv ˈɪzriəlz ˈdeɪli ɪˈdɪʃən baɪ iˈmeɪl ənd ˈnɛvər mɪs ɑr tɔp ˈstɔriz fri saɪn əp frəm ðə ˈmoʊmənt ðə ˌɑpərˈeɪʃən rɪˈsivd əˈpruvəl ɪn leɪt 2008 ðə dɪˈfɛns ɪˈstæblɪʃmənt kɪkt ˌɪnˈtɛləʤəns ˈgæðərɪŋ ɔn ˈɪntu haɪ gɪr. ðeɪ kˈwɪkli aɪˈdɛntəˌfaɪd ə wik spɑt, ə ruˈtin: ðə mæn wʊd ˈɔfən kəm bæk frəm ə ˈvɪzɪt wɪθ wən əv hɪz tu waɪvz, ðɛn ˈtrævəl əˈkrɔs ðə ˈgɑzə strɪp ɪn ə weɪ ðət wʊd əˈlaʊ ən tim tɪ ˈæmˌbʊʃ ɪm. hi ˈɔlsoʊ meɪd ə ˈhæbət əv nɑt ˈdraɪvɪŋ ɪn ə sɪˈkjʊr ˈkɑnˌvɔɪ, ənd prɪˈfərd ˈmuvɪŋ əˈbaʊt ɪn ə ˈpraɪvət kɑr wɪθ ʤɪst wən ər tu ˈbɑdiˌgɑrdz. mɔr ˌɪnˌfɔrˈmeɪʃən kəˈlɛktəd baɪ ˈmɪlɪˌtɛri ˌɪnˈtɛləʤəns ənd baɪ ðə ʃɪn bɛt peɪvd ðə weɪ fər ðə ˌɑpərˈeɪʃən. ðə ˈfaɪtərz bɪˈgæn tɪ treɪn. ɔn ðə ˈdɛzɪgˌneɪtɪd deɪ, ““d,”*,” ðə kəˈmændər əv ðə ˈjunɪt, ˈoʊvərˌsɔ ðə ˌɑpərˈeɪʃən æt ə loʊˈkeɪʃən nɑt fɑr frəm ˈgɑzə, waɪl əˈnəðər kəˈmændər tʊk əp ə pəˈzɪʃən ɪn ðə fild. wɑz ɪkˈspɛktɪd tɪ əraɪv æt ðə loʊˈkeɪʃən ənd ɪnˈkaʊnər ə ˈæmˌbʊʃ, ˈkɛrid aʊt ˈəndər ˈkəvər əv ˈdɑrknəs. əˈkɔrdɪŋ tɪ ˈsɔrsəz ˌɪnˈvɑlvd ɪn ˈplænɪŋ ðə ˌɑpərˈeɪʃən, ˈlaɪkliˌhʊd ðət hi wʊd hæv bɪn ˈteɪkən əˈlaɪv wɑz haɪ. wi hæv ðə ˈnɛsəˌsɛri ɪkˈwɪpmənt tɪ hæv ɪnˈʃʊrd hɪz sərˈvaɪvəl əv ðə ˈæmˌbʊʃ, ənd ɪf wi wʊd hæv ˈwɔntɪd, wi kʊd hæv ˈteɪkən aʊt ðə bodyguards.”*.” ˈæftər ə lɔŋ weɪt, ðə trups rɪˈsivd ðə grin laɪt ənd ˈstɑrtɪd ˈmeɪkɪŋ ðɛr weɪ ˈɪntu ˈgɑzə fər ðə ˌɑpərˈeɪʃən ə ˈdɛrɪŋ reɪd, dɪˈrɛktɪd æt ðə hɑrt əv ðə ˈɪsləmɪst grup ðət wɑz ˈhoʊldɪŋ ˈhɑstɪʤ, ə ˌriəˈsərʃən əv ˈpoʊtənsi dɪˈzaɪnd tɪ əˈteɪn ðə ˈlɛvərɪʤ tɪ sɪˈkjʊr ðə riˈlis. bət æt ðə læst ˈmɪnət ðeɪ rɪˈsivd ən ˈɔrdər tɪ tərn bæk. ðɛr ˌdɪsəˈpɔɪntmənt wɑz ˈpælpəbəl. bət ðə ˈmɪʃən hæd ˈoʊnli bɪn dɪˈleɪd, nɑt əˈbɔrtɪd. ˈsɛvərəl deɪz ˈleɪtər, ðə ˈfɔrsɪz əˈgɛn rɪˈsivd ðə ənd əˈgɛn sɛt aʊt fər ðə ˈæmˌbʊʃ ɪn ˈərli ˈivnɪŋ. ˈminˌwaɪl, ˌɪzˈreɪli tɔp bræs kənˈvind æt ðə ʃɪn bɛt ˈhɛdˌkɔrtərz ɪn tɛl ɑˈviv, tɪ ˈmɑnətər ðə ˌɑpərˈeɪʃən. ðoʊz ˈprɛzənt ˌɪnˈkludɪd ˈgɑlənt, əv ðə ˈsəðərn kəˈmænd ənd ðə kəˈmændər ˈrənɪŋ ðə ˌɑpərˈeɪʃən; ʤi., hɛd əv ðə ʃɪn ˈsəðərn kəˈmænd; ˌrɛprɪˈzɛnətɪvz əv ðə ɪgˈzɛkjətɪv brænʧ əv ðə ʃɪn bɛt; ˈnɪmrɑd ˈʃɛfər, dɪˈrɛktər əv ðə ˈhɛdˌkɔrtərz; ənd ə., ðə ˈdɛpjəti kəˈmændər əv ðə ˈjunɪt ˈkɛriɪŋ aʊt ðə ˌɑpərˈeɪʃən. bɪˈhaɪnd ə glæs ˈwɪndoʊ sæt ˈmɪnɪstər ɛˈhəd ˈbɑrək, ʧif əv stæf ˌæʃkəˈnɑzi ənd hɛd əv ðə ʃɪn bɛt ˈjuvəl ˈdɪskɪn. aʊərz pæst ənˈtɪl ðə ˈfɔrsɪz ɔn ðə graʊnd tʊk əp ðɛr pəˈzɪʃənz. ɪt wɑz əˈprɑksəmətli 9 piɛm. ɪn ˈrɛtrəˌspɛkt, feɪt wɑz sild ɔn ðət naɪt ɪn 2008 ðoʊ hi kʊd nɑt hæv noʊn ɪt. hæd hi bɪn ˈteɪkən ˈhɑstɪʤ, hi wʊd nɑt hæv bɪn əˈsæsəˌneɪtəd ɪn noʊˈvɛmbər 2012 æt ðə bɪˈgɪnɪŋ əv ˌɑpərˈeɪʃən ˈpɪlər əv dɪˈfɛns ənd ˈpɑsəbəl hi wʊd hæv bɪn riˈlist ɪn ən ɪksˈʧeɪnʤ dil fər. (ðə ˈkæpʧərd ˈsoʊlʤər wɑz ˈfaɪnəli riˈlist ɪn ə ˈprɪzənər ɪksˈʧeɪnʤ ɪn ɑkˈtoʊbər 2011 ˈæftər faɪv jɪrz ɪn ˌhɑˈmɑs kæpˈtɪvəti. ðə dil wɑz ˈpɑrtli nɪˈgoʊʃiˌeɪtɪd baɪ, hu wɑz pɑrt əv ðə ˌhɑˈmɑs grup ðət ˈhændɪd ˈoʊvər tɪ ðə ɪˈʤɪpʃənz wɪn ðə dil wɑz ˈɪmpləˌmɛnəd.) æt fərst, ðət naɪt, θɪŋz prəˈsidəd ɛz plænd. dɪd nɑt ɪgˈzɪbɪt ənˈjuˌʒuəl bɪˈheɪvjər. ˈgɑlənt geɪv ðə ˈɔrdər fər ðə ˌɑpərˈeɪʃən tɪ bɪˈgɪn. ɪn ʤɪst ə fju ˈmoʊmənts, wɑz səˈpoʊzd tɪ hæv əraɪvd ɔn ðə roʊd wɛr ðə ˈfɔrsɪz wər ˈweɪtɪŋ. ðə ˈtɛnʃən ɪn tɛl ɑˈviv wɑz proʊˈfaʊnd. ðə dɪˈfɛns ˈmɪnɪstər ənd ðə ʧif əv stæf muvd ˈɪntu ðə meɪn kəˈmænd rum. ðə kɑr kənˈteɪnɪŋ wɑz ɪkˈspɛktɪd tɪ meɪk ə tərn ɪn ðə dɪˈrɛkʃɪn əv ðə ˈfaɪtərz ɪn pəˈzɪʃən, ʤɪst ɛz ɪt hæd ə fju deɪz ˈərliər. ðɪs wɑz səˈpoʊzd tɪ ˈtrɪgər ðə ˌɑpərˈeɪʃən. bət ðə ˈviɪkəl, dɪˈpɑrtɪŋ frəm ruˈtin, prəˈsidəd ɪn ə ˈdɪfərənt dɪˈrɛkʃɪn. ðə bræs ɪn tɛl ɑˈviv wɔʧt wɪθ ˌɪˈmɛns ˌdɪsəˈpɔɪntmənt ɛz ðə kɑr droʊv ˈfərðər ənd ˈfərðər əˈweɪ frəm ðə ˈæmˌbʊʃ. di. ənd hɪz mɛn wər ˈɔrdərd tɪ pʊl bæk ənd meɪk ðɛr weɪ hoʊm wɪˈθaʊt ˈtɛrərɪst ðə fʊl ˈstɔri əv ðə ˌɑpərˈeɪʃən wɪl bi ˈpəblɪʃt ɔn ˈfraɪˌdeɪ. |
borrowers buying homes with bigger and bigger mortgages. specialist lenders taking business from banks by offering more aggressive loan terms. analysts claiming there is nothing to worry about.
sound familiar?
the real estate market in canada is starting to share some similarities with the us before its housing bubble burst. for one thing, mortgage debt in canada is close to 70% of gdp, not far from the peak in the us before it all went wrong:
canada’s central bank recently warned that increasing household indebtedness is the major financial vulnerability. thanks to easy credit and foreign demand, property prices in canada have been average home price is now rising at a 13% annual pace, not far off the highest rate recorded before the global financial crisis. as a result, the ranks of canadian mortgage borrowers with high ratios has jumped in recent years:
so, is canada headed for a crash?
banking regulation in canada has traditionally been stricter than in the us, and recent changes to mortgage rules have put even tougher limits on down payments, ratios, and the like. still, the central bank is not too worried lightly regulated mortgage finance specialists taking market share from banks.
benjamin tal, an economist at the canadian imperial bank of commerce, think so (pdf). he claims that the us housing market cratered not because debt levels were high, but because the us built up ”lousy” debt, whereas the composition of canadian debt is sound. indeed, less than 1% of mortgages are three months or more overdue (pdf). “there’s no real estate bubble, except perhaps in vancouver,” notes marc of the national bank of canada.
canadian homeowners will hope these assessments prove more accurate than the ones on the other side of the border. | ˈbɑroʊərz baɪɪŋ hoʊmz wɪθ ˈbɪgər ənd ˈbɪgər ˈmɔrgɪʤɪz. ˈspɛʃəlɪst ˈlɛndərz ˈteɪkɪŋ ˈbɪznɪs frəm bæŋks baɪ ˈɔfərɪŋ mɔr əˈgrɛsɪv loʊn tərmz. ˈænəlɪsts ˈkleɪmɪŋ ðɛr ɪz ˈnəθɪŋ tɪ ˈwəri əˈbaʊt. saʊnd fəˈmɪljər? ðə ril ɛˈsteɪt ˈmɑrkɪt ɪn ˈkænədə ɪz ˈstɑrtɪŋ tɪ ʃɛr səm ˌsɪməˈlɛrətiz wɪθ ðə ˈjuˈɛs ˌbiˈfɔr ɪts ˈhaʊzɪŋ ˈbəbəl bərst. fər wən θɪŋ, ˈmɔrgɪʤ dɛt ɪn ˈkænədə ɪz kloʊz tɪ 70 əv gdp*, nɑt fɑr frəm ðə pik ɪn ðə ˈjuˈɛs ˌbiˈfɔr ɪt ɔl wɛnt rɔŋ: ˈsɛntrəl bæŋk ˈrisəntli wɔrnd ðət ˌɪnˈkrisɪŋ ˈhaʊsˌhoʊld ˌɪnˈdɛtɪdnɪs ɪz ðə ˈmeɪʤər ˌfaɪˈnænʃəl ˌvəlnərəˈbɪlɪti. θæŋks tɪ ˈizi ˈkrɛdɪt ənd ˈfɔrən dɪˈmænd, ˈprɑpərti ˈpraɪsɪz ɪn ˈkænədə hæv bɪn ˈævərɪʤ hoʊm praɪs ɪz naʊ ˈraɪzɪŋ æt ə 13 ˈænjuəl peɪs, nɑt fɑr ɔf ðə haɪəst reɪt rɪˈkɔrdɪd ˌbiˈfɔr ðə ˈgloʊbəl ˌfaɪˈnænʃəl ˈkraɪsəs. ɛz ə rɪˈzəlt, ðə ræŋks əv kəˈneɪdiən ˈmɔrgɪʤ ˈbɑroʊərz wɪθ haɪ ˈreɪʃiˌoʊz həz ʤəmpt ɪn ˈrisənt jɪrz: soʊ, ɪz ˈkænədə ˈhɛdɪd fər ə kræʃ? ˈbæŋkɪŋ ˌrɛgjəˈleɪʃən ɪn ˈkænədə həz trəˈdɪʃənəli bɪn ˈstrɪktər ðən ɪn ðə ˈjuˈɛs, ənd ˈrisənt ˈʧeɪnʤɪz tɪ ˈmɔrgɪʤ rulz hæv pʊt ˈivɪn ˈtəfər ˈlɪmɪts ɔn daʊn ˈpeɪmənts, ˈreɪʃiˌoʊz, ənd ðə laɪk. stɪl, ðə ˈsɛntrəl bæŋk ɪz nɑt tu ˈwərid ˈlaɪtli ˈrɛgjəˌleɪtɪd ˈmɔrgɪʤ ˈfaɪˌnæns ˈspɛʃəlɪsts ˈteɪkɪŋ ˈmɑrkɪt ʃɛr frəm bæŋks. ˈbɛnʤəmən tɑl, ən ɪˈkɑnəmɪst æt ðə kəˈneɪdiən ˌɪmˈpɪriəl bæŋk əv ˈkɑmərs, θɪŋk soʊ (pdf*). hi kleɪmz ðət ðə ˈjuˈɛs ˈhaʊzɪŋ ˈmɑrkɪt ˈkreɪtərd nɑt bɪˈkəz dɛt ˈlɛvəlz wər haɪ, bət bɪˈkəz ðə ˈjuˈɛs bɪlt əp ””lousy”*” dɛt, wɛˈræz ðə ˌkɑmpəˈzɪʃən əv kəˈneɪdiən dɛt ɪz saʊnd. ˌɪnˈdid, lɛs ðən 1 əv ˈmɔrgɪʤɪz ər θri mənθs ər mɔr ˈoʊvərˈdu (pdf*). noʊ ril ɛˈsteɪt ˈbəbəl, ɪkˈsɛpt pərˈhæps ɪn vancouver,”*,” noʊts mɑrk əv ðə ˈnæʃənəl bæŋk əv ˈkænədə. kəˈneɪdiən ˈhoʊˌmoʊnərz wɪl hoʊp ðiz əˈsɛsmənts pruv mɔr ˈækjərət ðən ðə wənz ɔn ðə ˈəðər saɪd əv ðə ˈbɔrdər. |
first, apple revealed a critical bug in its implementation of encryption in ios, requiring an emergency patch. then researchers found the same bug is also included in apple's desktop operating system, a gaping web security hole that leaves users of safari at risk of having their traffic hijacked. now one researcher has found evidence that the bug extends beyond apple's browser to other applications including mail, twitter,, and even apple's software update mechanism.
on sunday, privacy researcher posted a list of applications on twitter that he says he's determined use apple's "secure transport" framework, the coding library that developers depend on to build programs that securely communicate online using the common encryption protocols and. the full list, which isn't comprehensive given that only analyzed the programs on his own pc, is shown below. has underlined the vulnerable application names in red.)
soltani, an independent researcher whose recent work has included analyzing the surveillance documents leaked by contractor edward snowden on behalf of the washington post, warns that the security of several applications on that list are severely compromised, including apple's email program mail, scheduling app calendar and its official twitter desktop client. the bug affects how apple devices authenticate their secure connection with servers, allowing an to fake that verification and hijack or corrupt traffic using what's known as a "man-in-the-middle" attack. "all these apps would be vulnerable to the same vulnerability outlined on friday," says.
some of the affected apps such as and have added security that could reduce the effects of the security vulnerability, though warns that for the instant messaging application the initial at apple's website may be compromised, even if the messages themselves remain encrypted, and that similar problems may exist for. "there are going to be parts of the protocol like the initial 'handshake' that rely on, and those will be vulnerable to attacks," says.
equally troubling is the notion that apple's software update application is affected, which means that apple's mechanism for pushing new code to machines, including security updates, could be compromised. notes that in addition to and, software update also checks for apple's signature on any code that it asks users to install. but he adds that the protection hasn't stopped malware from spoofing those updates in the past to install spying tools on victims' machines.
i've reached out to apple for comment on's findings, and i'll update this post if i hear from the company.
apple's newly discovered security flaw, dubbed "gotofail" by the security community due to a single improperly used "goto" command in apple's code that triggered it, initially came to light friday when apple issued a security update for ios. researchers at the security firm and google quickly reverse engineered that patch to show how it affected as well, and initially recommended that users stay away from networks and avoid safari, which is more dependent on apple's implementation of and than other browsers such as chrome or firefox.
soltani's work, however, shows that the problem extends further, leaving many users with few options for secure communications until apple issues a fix for its desktop software. the company promised in a statement to reuters saturday to make that fix available "very soon." given the widening gaps in apple's security the flaw exposes, it can't come soon enough.
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also on forbes: | fərst, ˈæpəl rɪˈvild ə ˈkrɪtɪkəl bəg ɪn ɪts ˌɪmpləmɛnˈteɪʃən əv ɛnˈkrɪpʃən ɪn ˈioʊs, rikˈwaɪərɪŋ ən ˈimərʤənsi pæʧ. ðɛn ˈrisərʧərz faʊnd ðə seɪm bəg ɪz ˈɔlsoʊ ˌɪnˈkludɪd ɪn ˈæpəlz ˈdɛskˌtɑp ˈɔpərˌeɪtɪŋ ˈsɪstəm, ə ˈgeɪpɪŋ wɛb sɪˈkjʊrəti hoʊl ðət livz ˈjuzərz əv səˈfɑri æt rɪsk əv ˈhævɪŋ ðɛr ˈtræfɪk ˈhaɪˌʤækt. naʊ wən ˈrisərʧər həz faʊnd ˈɛvədəns ðət ðə bəg ɪkˈstɛndz bɪɔnd ˈæpəlz ˈbraʊzər tɪ ˈəðər ˌæpləˈkeɪʃənz ˌɪnˈkludɪŋ meɪl, tˈwɪtər,, ənd ˈivɪn ˈæpəlz ˈsɔfˌwɛr ˈəpˌdeɪt ˈmɛkəˌnɪzəm. ɔn ˈsənˌdi, ˈpraɪvəsi ˈrisərʧər ˈpoʊstɪd ə lɪst əv ˌæpləˈkeɪʃənz ɔn tˈwɪtər ðət hi sɪz hiz dɪˈtərmənd juz ˈæpəlz "sɪˈkjʊr ˈtrænspɔrt" ˈfreɪmˌwərk, ðə ˈkoʊdɪŋ ˈlaɪbrɛˌri ðət dɪˈvɛləpərz dɪˈpɛnd ɔn tɪ bɪld ˈproʊˌgræmz ðət sɪˈkjʊrli kəmˈjunəˌkeɪt ˈɔnˌlaɪn ˈjuzɪŋ ðə ˈkɑmən ɛnˈkrɪpʃən ˈproʊtəˌkɔlz ənd. ðə fʊl lɪst, wɪʧ ˈɪzənt ˌkɑmpriˈhɛnsɪv ˈgɪvɪn ðət ˈoʊnli ˈænəˌlaɪzd ðə ˈproʊˌgræmz ɔn hɪz oʊn ˈpiˈsi, ɪz ʃoʊn bɪˈloʊ. həz ˈəndərˌlaɪnd ðə ˈvəlnərəbəl ˌæpləˈkeɪʃən neɪmz ɪn rɛd.), ən ˌɪndɪˈpɛndənt ˈrisərʧər huz ˈrisənt wərk həz ˌɪnˈkludɪd ˈænəˌlaɪzɪŋ ðə sərˈveɪləns ˈdɑkjəmənts likt baɪ ˈkɑnˌtræktər ˈɛdwərd sˈnoʊdən ɔn bɪˈhæf əv ðə ˈwɔʃɪŋtən poʊst, wɔrnz ðət ðə sɪˈkjʊrəti əv ˈsɛvərəl ˌæpləˈkeɪʃənz ɔn ðət lɪst ər səˈvɪrli ˈkɑmprəˌmaɪzd, ˌɪnˈkludɪŋ ˈæpəlz iˈmeɪl ˈproʊˌgræm meɪl, ˈskɛʤʊlɪŋ æp ˈkæləndər ənd ɪts əˈfɪʃəl tˈwɪtər ˈdɛskˌtɑp klaɪənt. ðə bəg əˈfɛkts haʊ ˈæpəl dɪˈvaɪsɪz ɔˈθɛntəˌkeɪt ðɛr sɪˈkjʊr kəˈnɛkʃən wɪθ ˈsərvərz, əˈlaʊɪŋ ən tɪ feɪk ðət ˌvɛrəfəˈkeɪʃən ənd ˈhaɪˌʤæk ər kərəpt ˈtræfɪk ˈjuzɪŋ wəts noʊn ɛz ə "man-in-the-middle*" əˈtæk. "ɔl ðiz æps wʊd bi ˈvəlnərəbəl tɪ ðə seɪm ˌvəlnərəˈbɪlɪti ˈaʊˌtlaɪnd ɔn ˈfraɪˌdeɪ," sɪz. səm əv ðə əˈfɛktɪd æps səʧ ɛz ənd hæv ˈædɪd sɪˈkjʊrəti ðət kʊd rɪˈdus ðə ˈifɛkts əv ðə sɪˈkjʊrəti ˌvəlnərəˈbɪlɪti, ðoʊ wɔrnz ðət fər ðə ˈɪnstənt ˈmɛsɪʤɪŋ ˌæpləˈkeɪʃən ðə ˌɪˈnɪʃəl æt ˈæpəlz ˈwɛbˌsaɪt meɪ bi ˈkɑmprəˌmaɪzd, ˈivɪn ɪf ðə ˈmɛsɪʤɪz ðɛmˈsɛlvz rɪˈmeɪn ɪnˈkrɪptɪd, ənd ðət ˈsɪmələr ˈprɑbləmz meɪ ɪgˈzɪst fər. "ðɛr ər goʊɪŋ tɪ bi pɑrts əv ðə ˈproʊtəˌkɔl laɪk ðə ˌɪˈnɪʃəl 'ˈhændˌʃeɪk' ðət rɪˈlaɪ ɔn, ənd ðoʊz wɪl bi ˈvəlnərəbəl tɪ əˈtæks," sɪz. ˈikwəli ˈtrəbəlɪŋ ɪz ðə ˈnoʊʃən ðət ˈæpəlz ˈsɔfˌwɛr ˈəpˌdeɪt ˌæpləˈkeɪʃən ɪz əˈfɛktɪd, wɪʧ minz ðət ˈæpəlz ˈmɛkəˌnɪzəm fər ˈpʊʃɪŋ nu koʊd tɪ məˈʃinz, ˌɪnˈkludɪŋ sɪˈkjʊrəti ˈəpˌdeɪts, kʊd bi ˈkɑmprəˌmaɪzd. noʊts ðət ɪn əˈdɪʃən tɪ ənd, ˈsɔfˌwɛr ˈəpˌdeɪt ˈɔlsoʊ ʧɛks fər ˈæpəlz ˈsɪgnəʧər ɔn ˈɛni koʊd ðət ɪt æsks ˈjuzərz tɪ ˌɪnˈstɔl. bət hi ædz ðət ðə prəˈtɛkʃən ˈhæzənt stɑpt ˈmælˌwɛr frəm ˈspufɪŋ ðoʊz ˈəpˌdeɪts ɪn ðə pæst tɪ ˌɪnˈstɔl spaɪɪŋ tulz ɔn ˈvɪktɪmz' məˈʃinz. aɪv riʧt aʊt tɪ ˈæpəl fər ˈkɑmɛnt ɔn ˈfaɪndɪŋz, ənd aɪl ˈəpˌdeɪt ðɪs poʊst ɪf aɪ hir frəm ðə ˈkəmpəˌni. ˈæpəlz ˈnuli dɪˈskəvərd sɪˈkjʊrəti flɔ, dəbd "gotofail*" baɪ ðə sɪˈkjʊrəti kəmˈjunɪti du tɪ ə ˈsɪŋgəl ˌɪmˈprɑpərli juzd "ˈgoʊˌtu" kəˈmænd ɪn ˈæpəlz koʊd ðət ˈtrɪgərd ɪt, ˌɪˈnɪʃəli keɪm tɪ laɪt ˈfraɪˌdeɪ wɪn ˈæpəl ˈɪʃud ə sɪˈkjʊrəti ˈəpˌdeɪt fər ˈioʊs. ˈrisərʧərz æt ðə sɪˈkjʊrəti fərm ənd ˈgugəl kˈwɪkli rɪˈvərs ˌɛnʤəˈnird ðət pæʧ tɪ ʃoʊ haʊ ɪt əˈfɛktɪd ɛz wɛl, ənd ˌɪˈnɪʃəli ˌrɛkəˈmɛndɪd ðət ˈjuzərz steɪ əˈweɪ frəm ˈnɛtˌwərks ənd əˈvɔɪd səˈfɑri, wɪʧ ɪz mɔr dɪˈpɛndənt ɔn ˈæpəlz ˌɪmpləmɛnˈteɪʃən əv ənd ðən ˈəðər ˈbraʊzərz səʧ ɛz kroʊm ər firefox*. wərk, ˌhaʊˈɛvər, ʃoʊz ðət ðə ˈprɑbləm ɪkˈstɛndz ˈfərðər, ˈlivɪŋ ˈmɛni ˈjuzərz wɪθ fju ˈɔpʃənz fər sɪˈkjʊr kəmˌjunəˈkeɪʃənz ənˈtɪl ˈæpəl ˈɪʃuz ə fɪks fər ɪts ˈdɛskˌtɑp ˈsɔfˌwɛr. ðə ˈkəmpəˌni ˈprɑməst ɪn ə ˈsteɪtmənt tɪ ˈrɔɪtərz ˈsæˌtɪˌdeɪ tɪ meɪk ðət fɪks əˈveɪləbəl "ˈvɛri sun." ˈgɪvɪn ðə ˈwaɪdənɪŋ gæps ɪn ˈæpəlz sɪˈkjʊrəti ðə flɔ ɪkˈspoʊzɪz, ɪt kænt kəm sun ɪˈnəf. ˈfɑloʊ mi ɔn tˈwɪtər iˈmeɪl mi, əˈnɑnəməsli sɛnd mi ˈsɛnsɪtɪv ˈdɑkjəmənts ər tɪps ənd ʧɛk aʊt ðə nu ˈpeɪpərˌbæk ɪˈdɪʃən əv maɪ bʊk, ðɪs məˈʃin kɪlz ˈsikrɪts: ˈʤuljən assange*, ðə cypherpunks*, ənd ðɛr faɪt tɪ ɪmˈpaʊər ˈwɪsəlˌbloʊərz. ˈɔlsoʊ ɔn fɔrbz: |
monopoly,
by tom toles
***
do tell
the gay rights movement is anomalous. i guess everything is anomalous to some degree, but gay people were like this giant invisible group that was right there amongst us all along, but everybody was pretending they weren't. this worked out nicely for straight people who didn't want to have to think about what they didn't want to have to think about. well, what do you know, gay people got tired of pretending, because a) nobody likes pretending and b) it occurred to them that they might like the same legal and social rights as heterosexuals. conservatives promptly labeled equal rights for gay people "special rights", meaning rights for somebody who wasn't them.
the good news is that progress has been, by historic standards, fairly swift. what may be the strangest residue of that progress is don't ask, don't tell. while you can argue that it served a bridging function while a establishment came to terms with a new reality, history will look back with blinking at a policy that will seem to have been thought up by a preschooler, along the lines of "if i cover my eyes, can you see me?"
so straight people have had to think a few thoughts that make them squeamish in coming to terms with all this. sorry about that. but now that you've had those thoughts, you can stop thinking about it now! if you keep thinking about it, maybe you have other issues. -- tom toles
*** | məˈnɑpəli, baɪ tɑm toʊlz du tɛl ðə geɪ raɪts ˈmuvmənt ɪz əˈnɑmələs. aɪ gɛs ˈɛvriˌθɪŋ ɪz əˈnɑmələs tɪ səm dɪˈgri, bət geɪ ˈpipəl wər laɪk ðɪs ʤaɪənt ˌɪnˈvɪzəbəl grup ðət wɑz raɪt ðɛr əˈməŋst ˈjuˈɛs ɔl əˈlɔŋ, bət ˈɛvriˌbɑdi wɑz priˈtɛndɪŋ ðeɪ wərənt. ðɪs wərkt aʊt ˈnaɪsli fər streɪt ˈpipəl hu ˈdɪdənt wɔnt tɪ hæv tɪ θɪŋk əˈbaʊt wət ðeɪ ˈdɪdənt wɔnt tɪ hæv tɪ θɪŋk əˈbaʊt. wɛl, wət du ju noʊ, geɪ ˈpipəl gɑt taɪərd əv priˈtɛndɪŋ, bɪˈkəz ə) ˈnoʊˌbɑˌdi laɪks priˈtɛndɪŋ ənd bi) ɪt əˈkərd tɪ ðɛm ðət ðeɪ maɪt laɪk ðə seɪm ˈligəl ənd ˈsoʊʃəl raɪts ɛz ˌhɛtəroʊˈsɛkˌʃuəlz. kənˈsərvətɪvz ˈprɑmptli ˈleɪbəld ˈikwəl raɪts fər geɪ ˈpipəl "ˈspɛʃəl raɪts", ˈminɪŋ raɪts fər ˈsəmˌbɑdi hu ˈwəzənt ðɛm. ðə gʊd nuz ɪz ðət ˈprɑˌgrɛs həz bɪn, baɪ hɪˈstɔrɪk ˈstændərdz, ˈfɛrli swɪft. wət meɪ bi ðə ˈstreɪnʤɪst ˈrɛzəˌdu əv ðət ˈprɑˌgrɛs ɪz doʊnt æsk, doʊnt tɛl. waɪl ju kən ˈɑrgju ðət ɪt sərvd ə ˈbrɪʤɪŋ ˈfəŋkʃən waɪl ə ɪˈstæblɪʃmənt keɪm tɪ tərmz wɪθ ə nu ˌriˈæləˌti, ˈhɪstəri wɪl lʊk bæk wɪθ ˈblɪŋkɪŋ æt ə ˈpɑləsi ðət wɪl sim tɪ hæv bɪn θɔt əp baɪ ə ˈpriˌskulər, əˈlɔŋ ðə laɪnz əv "ɪf aɪ ˈkəvər maɪ aɪz, kən ju si mi?" soʊ streɪt ˈpipəl hæv hæd tɪ θɪŋk ə fju θɔts ðət meɪk ðɛm skˈwimɪʃ ɪn ˈkəmɪŋ tɪ tərmz wɪθ ɔl ðɪs. ˈsɑri əˈbaʊt ðət. bət naʊ ðət juv hæd ðoʊz θɔts, ju kən stɑp ˈθɪŋkɪŋ əˈbaʊt ɪt naʊ! ɪf ju kip ˈθɪŋkɪŋ əˈbaʊt ɪt, ˈmeɪbi ju hæv ˈəðər ˈɪʃuz. tɑm toʊlz |
"sea elephant" here. for the superfamily of sea slugs, see
elephant seals are large, oceangoing earless seals in the genus. the two species, the northern elephant seal (m.) and the southern elephant seal (m. leonina), were both hunted to the brink of extinction by the end of the century, but the numbers have since recovered.
the northern elephant seal, somewhat smaller than its southern relative, ranges over the pacific coast of the u.s., canada and mexico. the most northerly breeding location on the pacific coast is at race rocks, at the southern tip of vancouver island in the strait of juan de fuca. the southern elephant seal is found in the southern hemisphere on islands such as south georgia and island, and on the coasts of new zealand, south africa, and argentina in the peninsula valdés. in southern chile, there is a small colony of 120 animals at jackson bay, admiralty sound almirantazgo), del] the oldest known unambiguous elephant seal fossils are fragmentary fossils of an unnamed member of the tribe described from the late pliocene formation of new] teeth originally identified as representing an unnamed species of have been found in south africa, and dated to the miocene] however & churchill (2016) considered these teeth to be almost certainly misidentified]
elephant seals breed annually and are seemingly faithful to colonies that have established breeding]
description [ edit ]
elephant seals are marine mammals classified under the order pinnipedia, which in latin, means feather or fin] elephant seals are considered true seals, and fall under the family] (true seals) are characterized by having no external ear and reduced] the reduction of their limbs helps them be more streamlined and move easily in the] however, it makes navigating on land a bit difficult because they cannot turn their hind flippers forward to walk like the] in addition, the hind flipper of elephant seals have a lot of surface area, which helps propel them in the] elephant seals spend the majority of their time (90%) underwater in search of food, and can cover 60 miles a day when they head out to] when elephant seals are born, they can weigh up to 80 pounds and reach lengths up to 4] sexual dimorphism is prominently seen in elephant seals due to the fact that male elephant seals can weigh up to 10 times more than] also, the large proboscis, which is considered a secondary sexual characteristic, helps males assert dominance during mating]
elephant seals take their name from the large proboscis of the adult male (bull), which resembles an elephant's] the bull's proboscis is used in producing extraordinarily loud roaring noises, especially during the mating season. more importantly, however, the nose acts as a sort of rebreather, filled with cavities designed to reabsorb moisture from their] this is important during the mating season when the seals do not leave the beach to feed, and must conserve body moisture as there is no incoming source of water. they are colossally large in comparison with other pinnipeds, with southern elephant seal bulls typically reaching a length of 5 m (16 ft) and a weight of (6,600 lb), and are much larger than the adult females (cows), with some exceptionally large males reaching up to 6 m (20 ft) in length and weighing (8,800 lb); cows typically measure about 3 m (10 ft) and 900 (2,000 lb). northern elephant seal bulls reach a length of to m (14 to 16 ft) and the heaviest weigh about (5,500]
the northern and southern elephant seal can be distinguished by looking at various external features. on average, the southern elephant seal tends to be larger than the northern] adult male elephant seals belonging to the northern species tend to have a larger proboscis, and thick chest area with a red coloration compared to the southern] females do not have the large proboscis and can be distinguished between species by looking at their nose] southern females tend to have a smaller, blunt nose compared to northern]
extant species [ edit ]
physiology [ edit ]
skull of a northern elephant seal.
elephant seals spend up to 80% of their lives in the ocean. they can hold their breath for more than 100] longer than any other mammal. elephant seals dive to m (5,090 ft) beneath the ocean's] (the deepest recorded dive of an elephant seal is m (7,835 ft) by a southern elephant] the average depth of their dives is about 300 to 600 m (980 to ft), typically for around 20 minutes for females and 60 minutes for males, as they search for their favorite foods, which are skates, rays, squid, octopuses, eels, small sharks and large fish. their stomachs also often contain gastroliths. they spend only brief amounts of time at the surface to rest in between dives (2-3] females tend to dive a bit deeper due to their prey]
male elephant seals fighting for mates.
elephant seals are shielded from extreme cold by their blubber, more so than by fur. their hair and outer layers of skin molt in large patches. the skin has to be by blood vessels reaching through the blubber. when molting occurs, the seal is susceptible to the cold, and must rest on land, in a safe place called a "haul out". northern males and young adults haul out during june to july to molt; northern females and immature seals during april to may.
elephant seals have a very large volume of blood, allowing them to hold a large amount of oxygen for use when diving. they have large sinuses in their to hold blood and can also store oxygen in their muscles with increased concentrations in muscle. in addition, they have a larger proportion of red blood cells. these adaptations allow elephant seals to dive to such depths and remain underwater for up to two]
elephant seals are also able to slow down their heartbeat (bradycardia) and divert blood flow from the external areas of the body to important core] in addition, they can also slow down their metabolism while performing deep]
elephant seals also have a helpful feature in their bodies known as the heat exchanger to help conserve energy and prevent heat] in this system, arteries and veins are organized in a way to maintain a constant body temperature by having the cool blood flowing to the heart warmed by blood going to external areas of the]
milk produced by elephant seals is remarkably high in compared to other mammals. after an initially lower state, it rises to over 50% (human breast milk is about 4%, and cow milk is about%).[17]
adaptations [ edit ]
elephant seals have large circular eyes that have more rods than cones to help them see in low light conditions when they are] these seals also possess a structure called the lucidum, which helps their vision by having light reflected back to the retina to allow more chances for to detect]
their body is covered in blubber, which helps them keep warm and reduce drag while they are] the shape of their body also helps them maneuver well in the water, but limits their movement on] also, elephant seals have the ability to fast for long periods of time while breeding or] the process, another unique adaptation, is very beneficial when these seals are fasting, breeding, molting, or hauling] this unique nasal structure recycles moisture when they breathe and helps prevent water]
elephant seals have external whiskers called to help them locate prey and navigate their] the are connected to blood vessels, nerves, and muscles making them an important sensing]
due to evolutionary changes, their ear has been modified to work extremely well] the structure of the inner ear helps amplify incoming sounds, and allows these seals to have good directional hearing due to the isolation of the inner] in addition to these adaptations, tissues in the ear canal allow the pressure in the ear to be adjusted while these seals perform their deep]
breeding season [ edit ]
dominant males arrive at potential breeding sites in november, and will spend 3 months on the beach fasting to ensure that they can mate with as many females as] male elephant seals use fighting, vocal noises, and different positions to determine who will be deemed the dominant] when males reach 8 to 9 years of age, they have developed a pronounced long nose, in addition to a chest shield, which is thickened skin in their chest] showing off their noses, making loud vocalizations, and altering their posture are a few ways males show off their] when battles come into play, seals will stand tall, and ram themselves into one another using their chest plates and sharp]
when the pregnant females arrive, the dominating males have already selected their territory on the] females cluster in groups called harems, which could consist up to 50 or more females surrounding one alpha] outside of these groups, a beta bull is normally roaming around on the] the beta bull helps the alpha by preventing other males accessing the] in return, the beta bull might have an opportunity to mate with one of the females while the alpha is]
birth on average only takes a few minutes, and the mother and pup have a connection due to each other's unique smell and] the mothers will fast and nurse up to 28 days, providing their pups with rich] the last two to three days however, females will be ready to mate, and the dominant males will pounce on the] during this exhaustive process, males and females lose up to a third of their body weight during the breeding] the gestation period for females is 11 months, and the seasons lasts from mid december through the middle of] the new pups will spend up to 10 more additional weeks on land learning how to swim and]
life history [ edit ]
the average lifespan of a northern elephant seal is 9 years, while the average lifespan of a southern elephant seal is] males reach maturity at five to six years, but generally do not achieve alpha status until the age of eight, with the prime breeding years being between ages 9 and 12. the longest life expectancy of a male northern elephant seal is approximately 14 years.
females begin breeding at age), and have one pup per breeding] once they begin breeding, 79% of adult females breed each] breeding success is much lower for mothers relative to experienced] annual survival probability of adult females is for experienced breeding females, but only for breeders indicating a significant cost of] more male pups are produced than female pups in years with warmer sea surface temperature in the northeastern pacific]
molting [ edit ]
once a year, elephant seals go through a process called molting where they shed the outer layer of hair and] this molting process takes up to a month to fully] when it comes time to molt, they will haul out on land to shed their outer layer, and will not consume any food during this] the females and juveniles will molt first, followed by the sub adult males, and finally the large mature]
predators [ edit ]
the main predator of elephant seals is the great white] orcas are also another predator to elephant] cookie cutter sharks can even take notorious bites out of their]
status [ edit ]
the lists both species of elephant seal as being of least concern, although they are still threatened by entanglement in marine debris, fishery interactions, and boat collisions. though a complete population count of elephant seals is not possible because all age classes are not ashore at the same time, the most recent estimate of the california breeding stock was approximately individuals. in the united states, the elephant seal, like all marine mammals, is protected under the marine mammal protection act (mmpa), passed in 1972, which outlaws hunting, killing, capture, and harassment of the]
gallery [ edit ]
south georgia elephant seal
elephant seals ( ) on beach, near san simeon, california
male, female and pup
northern elephant seals during molting season at beach, near san simeon, california
two bulls fighting
elephant seal snout
juvenile southern elephant seal
beachmasters, the dominant bulls fighting at island
elephant seals at, california
see also [ edit ] | "si ˈɛləfənt" hir. fər ðə ˈsupərˌfæmli əv si sləgz, si ˈɛləfənt silz ər lɑrʤ, ˈoʊʃənˌgoʊɪŋ ˈɪrləs silz ɪn ðə ˈʤinəs. ðə tu ˈspiʃiz, ðə ˈnɔrðərn ˈɛləfənt sil (ɛm.) ənd ðə ˈsəðərn ˈɛləfənt sil (ɛm. leonina*), wər boʊθ ˈhənɪd tɪ ðə brɪŋk əv ɪkˈstɪŋʃən baɪ ðə ɛnd əv ðə ˈsɛnʧəri, bət ðə ˈnəmbərz hæv sɪns rɪˈkəvərd. ðə ˈnɔrðərn ˈɛləfənt sil, ˈsəmˈwət sˈmɔlər ðən ɪts ˈsəðərn ˈrɛlətɪv, ˈreɪnʤɪz ˈoʊvər ðə pəˈsɪfɪk koʊst əv ðə juz., ˈkænədə ənd ˈmɛksəˌkoʊ. ðə moʊst ˈnɔrðərli ˈbridɪŋ loʊˈkeɪʃən ɔn ðə pəˈsɪfɪk koʊst ɪz æt reɪs rɑks, æt ðə ˈsəðərn tɪp əv vænˈkuvər ˈaɪlənd ɪn ðə streɪt əv wɑn də fuca*. ðə ˈsəðərn ˈɛləfənt sil ɪz faʊnd ɪn ðə ˈsəðərn ˈhɛmɪsˌfɪr ɔn ˈaɪləndz səʧ ɛz saʊθ ˈʤɔrʤə ənd ˈaɪlənd, ənd ɔn ðə koʊsts əv nu ˈzilənd, saʊθ ˈæfrɪkɑ, ənd ˌɑrʤənˈtinə ɪn ðə pəˈnɪnsələ valdés*. ɪn ˈsəðərn ˈʧɪli, ðɛr ɪz ə smɔl ˈkɑləni əv 120 ˈænəməlz æt ˈʤæksən beɪ, ˈædmərəlti saʊnd almirantazgo*), dɛl ðə ˈoʊldəst noʊn ˌənæmˈbɪgjəwəs ˈɛləfənt sil ˈfɑsəlz ər ˈfrægmənˌtɛri ˈfɑsəlz əv ən ənˈneɪmd ˈmɛmbər əv ðə traɪb dɪˈskraɪbd frəm ðə leɪt ˈplaɪəˌsin fɔrˈmeɪʃən əv nu tiθ ərˈɪʤənəli aɪˈdɛntəˌfaɪd ɛz ˌrɛprɪˈzɛnɪŋ ən ənˈneɪmd ˈspiʃiz əv hæv bɪn faʊnd ɪn saʊθ ˈæfrɪkɑ, ənd ˈdeɪtɪd tɪ ðə ˈmaɪəˌsin ˌhaʊˈɛvər ˈʧərʧɪl 2016 kənˈsɪdərd ðiz tiθ tɪ bi ˈɔlˌmoʊst ˈsərtənli mɪsaɪˈdɛnɪˌfaɪd ˈɛləfənt silz brid ˈænjuəli ənd ər ˈsimɪŋli ˈfeɪθfəl tɪ ˈkɑləniz ðət hæv ɪˈstæblɪʃt ˈbridɪŋ dɪˈskrɪpʃən ˈɛdət ˈɛləfənt silz ər mərˈin ˈmæməlz ˈklæsəˌfaɪd ˈəndər ðə ˈɔrdər pinnipedia*, wɪʧ ɪn ˈlætən, minz ˈfɛðər ər fɪn ˈɛləfənt silz ər kənˈsɪdərd tru silz, ənd fɔl ˈəndər ðə ˈfæməli (tru silz) ər ˈkɛrɪktərˌaɪzd baɪ ˈhævɪŋ noʊ ɪkˈstərnəl ɪr ənd rɪˈdust ðə rɪˈdəkʃən əv ðɛr lɪmz hɛlps ðɛm bi mɔr ˈstrimˌlaɪnd ənd muv ˈizəli ɪn ðə ˌhaʊˈɛvər, ɪt meɪks ˈnævəˌgeɪtɪŋ ɔn lænd ə bɪt ˈdɪfəkəlt bɪˈkəz ðeɪ ˈkænɑt tərn ðɛr haɪnd ˈflɪpərz ˈfɔrwərd tɪ wɔk laɪk ðə ɪn əˈdɪʃən, ðə haɪnd ˈflɪpər əv ˈɛləfənt silz hæv ə lɔt əv ˈsərfəs ˈɛriə, wɪʧ hɛlps prəˈpɛl ðɛm ɪn ðə ˈɛləfənt silz spɛnd ðə məˈʤɔrəti əv ðɛr taɪm 90 ˈəndərˌwɔtər ɪn sərʧ əv fud, ənd kən ˈkəvər 60 maɪəlz ə deɪ wɪn ðeɪ hɛd aʊt tɪ wɪn ˈɛləfənt silz ər bɔrn, ðeɪ kən weɪ əp tɪ 80 paʊnz ənd riʧ lɛŋθs əp tɪ 4 ˈsɛkʃuəl daɪˈmɔrfɪzəm ɪz ˈprɑmənəntli sin ɪn ˈɛləfənt silz du tɪ ðə fækt ðət meɪl ˈɛləfənt silz kən weɪ əp tɪ 10 taɪmz mɔr ðən ˈɔlsoʊ, ðə lɑrʤ proʊˈbɑsəs, wɪʧ ɪz kənˈsɪdərd ə ˈsɛkənˌdɛri ˈsɛkʃuəl ˌkɛrɪktərˈɪstɪk, hɛlps meɪlz əˈsərt ˈdɑmənəns ˈdʊrɪŋ ˈmeɪtɪŋ ˈɛləfənt silz teɪk ðɛr neɪm frəm ðə lɑrʤ proʊˈbɑsəs əv ðə ˈædəlt meɪl (bʊl), wɪʧ rɪˈzɛmbəlz ən ˈɛləfənts ðə bʊlz proʊˈbɑsəs ɪz juzd ɪn prəˈdusɪŋ ɛkˌstrɔrdəˈnɛrəli laʊd ˈrɔrɪŋ ˈnɔɪzɪz, əˈspɛʃəli ˈdʊrɪŋ ðə ˈmeɪtɪŋ ˈsizən. mɔr ˌɪmˈpɔrtəntli, ˌhaʊˈɛvər, ðə noʊz ækts ɛz ə sɔrt əv rebreather*, fɪld wɪθ ˈkævɪtiz dɪˈzaɪnd tɪ ˌriəbˈzɔrb ˈmɔɪsʧər frəm ðɛr ðɪs ɪz ˌɪmˈpɔrtənt ˈdʊrɪŋ ðə ˈmeɪtɪŋ ˈsizən wɪn ðə silz du nɑt liv ðə biʧ tɪ fid, ənd məst kənˈsərv ˈbɑdi ˈmɔɪsʧər ɛz ðɛr ɪz noʊ ˈɪnˌkəmɪŋ sɔrs əv ˈwɔtər. ðeɪ ər kəˈlɑsəˌli lɑrʤ ɪn kəmˈpɛrəsən wɪθ ˈəðər pinnipeds*, wɪθ ˈsəðərn ˈɛləfənt sil bʊlz ˈtɪpɪkəli ˈriʧɪŋ ə lɛŋθ əv 5 ɛm 16 ft*) ənd ə weɪt əv paʊnd), ənd ər məʧ ˈlɑrʤər ðən ðə ˈædəlt ˈfiˌmeɪlz (kaʊz), wɪθ səm ɪkˈsɛpʃənəli lɑrʤ meɪlz ˈriʧɪŋ əp tɪ 6 ɛm 20 ft*) ɪn lɛŋθ ənd weɪɪŋ paʊnd); kaʊz ˈtɪpɪkəli ˈmɛʒər əˈbaʊt 3 ɛm 10 ft*) ənd 900 paʊnd). ˈnɔrðərn ˈɛləfənt sil bʊlz riʧ ə lɛŋθ əv tɪ ɛm 14 tɪ 16 ft*) ənd ðə ˈhɛviəst weɪ əˈbaʊt ðə ˈnɔrðərn ənd ˈsəðərn ˈɛləfənt sil kən bi dɪˈstɪŋgwɪʃt baɪ ˈlʊkɪŋ æt ˈvɛriəs ɪkˈstərnəl ˈfiʧərz. ɔn ˈævərɪʤ, ðə ˈsəðərn ˈɛləfənt sil tɛndz tɪ bi ˈlɑrʤər ðən ðə ˈnɔrðərn ˈædəlt meɪl ˈɛləfənt silz bɪˈlɔŋɪŋ tɪ ðə ˈnɔrðərn ˈspiʃiz tɛnd tɪ hæv ə ˈlɑrʤər proʊˈbɑsəs, ənd θɪk ʧɛst ˈɛriə wɪθ ə rɛd ˌkələrˈeɪʃən kəmˈpɛrd tɪ ðə ˈsəðərn ˈfiˌmeɪlz du nɑt hæv ðə lɑrʤ proʊˈbɑsəs ənd kən bi dɪˈstɪŋgwɪʃt bɪtˈwin ˈspiʃiz baɪ ˈlʊkɪŋ æt ðɛr noʊz ˈsəðərn ˈfiˌmeɪlz tɛnd tɪ hæv ə sˈmɔlər, blənt noʊz kəmˈpɛrd tɪ ˈnɔrðərn ˈɛkstənt ˈspiʃiz ˈɛdət ˌfɪziˈɑləʤi ˈɛdət skəl əv ə ˈnɔrðərn ˈɛləfənt sil. ˈɛləfənt silz spɛnd əp tɪ 80 əv ðɛr lɪvz ɪn ðə ˈoʊʃən. ðeɪ kən hoʊld ðɛr brɛθ fər mɔr ðən 100 ˈlɔŋgər ðən ˈɛni ˈəðər ˈmæməl. ˈɛləfənt silz daɪv tɪ ɛm ft*) bɪˈniθ ðə ˈoʊʃənz (ðə ˈdipəst rɪˈkɔrdɪd daɪv əv ən ˈɛləfənt sil ɪz ɛm ft*) baɪ ə ˈsəðərn ˈɛləfənt ðə ˈævərɪʤ dɛpθ əv ðɛr daɪvz ɪz əˈbaʊt 300 tɪ 600 ɛm 980 tɪ ft*), ˈtɪpɪkəli fər əraʊnd 20 ˈmɪnəts fər ˈfiˌmeɪlz ənd 60 ˈmɪnəts fər meɪlz, ɛz ðeɪ sərʧ fər ðɛr ˈfeɪvərɪt fudz, wɪʧ ər skeɪts, reɪz, skwɪd, octopuses*, ilz, smɔl ʃɑrks ənd lɑrʤ fɪʃ. ðɛr ˈstəməks ˈɔlsoʊ ˈɔfən kənˈteɪn gastroliths*. ðeɪ spɛnd ˈoʊnli brif əˈmaʊnts əv taɪm æt ðə ˈsərfəs tɪ rɛst ɪn bɪtˈwin daɪvz ˈfiˌmeɪlz tɛnd tɪ daɪv ə bɪt ˈdipər du tɪ ðɛr preɪ meɪl ˈɛləfənt silz ˈfaɪtɪŋ fər meɪts. ˈɛləfənt silz ər ˈʃildɪd frəm ɪkˈstrim koʊld baɪ ðɛr ˈbləbər, mɔr soʊ ðən baɪ fər. ðɛr hɛr ənd ˈaʊtər leɪərz əv skɪn moʊlt ɪn lɑrʤ ˈpæʧɪz. ðə skɪn həz tɪ bi baɪ bləd ˈvɛsəlz ˈriʧɪŋ θru ðə ˈbləbər. wɪn ˈmoʊltɪŋ əˈkərz, ðə sil ɪz səˈsɛptəbəl tɪ ðə koʊld, ənd məst rɛst ɔn lænd, ɪn ə seɪf pleɪs kɔld ə "hɔl aʊt". ˈnɔrðərn meɪlz ənd jəŋ ˈædəlts hɔl aʊt ˈdʊrɪŋ ʤun tɪ ˌʤuˈlaɪ tɪ moʊlt; ˈnɔrðərn ˈfiˌmeɪlz ənd ˌɪməˈtjʊr silz ˈdʊrɪŋ ˈeɪprəl tɪ meɪ. ˈɛləfənt silz hæv ə ˈvɛri lɑrʤ ˈvɑljum əv bləd, əˈlaʊɪŋ ðɛm tɪ hoʊld ə lɑrʤ əˈmaʊnt əv ˈɑksɪʤən fər juz wɪn ˈdaɪvɪŋ. ðeɪ hæv lɑrʤ ˈsaɪnəsəz ɪn ðɛr tɪ hoʊld bləd ənd kən ˈɔlsoʊ stɔr ˈɑksɪʤən ɪn ðɛr ˈməsəlz wɪθ ˌɪnˈkrist ˌkɑnsənˈtreɪʃənz ɪn ˈməsəl. ɪn əˈdɪʃən, ðeɪ hæv ə ˈlɑrʤər prəˈpɔrʃən əv rɛd bləd sɛlz. ðiz ˌædəpˈteɪʃənz əˈlaʊ ˈɛləfənt silz tɪ daɪv tɪ səʧ dɛpθs ənd rɪˈmeɪn ˈəndərˌwɔtər fər əp tɪ tu ˈɛləfənt silz ər ˈɔlsoʊ ˈeɪbəl tɪ sloʊ daʊn ðɛr ˈhɑrtˌbit (ˌbrædɪˈkɑrdiə) ənd dɪˈvərt bləd floʊ frəm ðə ɪkˈstərnəl ˈɛriəz əv ðə ˈbɑdi tɪ ˌɪmˈpɔrtənt kɔr ɪn əˈdɪʃən, ðeɪ kən ˈɔlsoʊ sloʊ daʊn ðɛr məˈtæbəˌlɪzəm waɪl pərˈfɔrmɪŋ dip ˈɛləfənt silz ˈɔlsoʊ hæv ə ˈhɛlpfəl ˈfiʧər ɪn ðɛr ˈbɑdiz noʊn ɛz ðə hit ɪksˈʧeɪnʤər tɪ hɛlp kənˈsərv ˈɛnərʤi ənd prɪˈvɛnt hit ɪn ðɪs ˈsɪstəm, ˈɑrtəriz ənd veɪnz ər ˈɔrgəˌnaɪzd ɪn ə weɪ tɪ meɪnˈteɪn ə ˈkɑnstənt ˈbɑdi ˈtɛmpərəʧər baɪ ˈhævɪŋ ðə kul bləd floʊɪŋ tɪ ðə hɑrt wɔrmd baɪ bləd goʊɪŋ tɪ ɪkˈstərnəl ˈɛriəz əv ðə mɪlk prəˈdust baɪ ˈɛləfənt silz ɪz rɪˈmɑrkəbli haɪ ɪn kəmˈpɛrd tɪ ˈəðər ˈmæməlz. ˈæftər ən ˌɪˈnɪʃəli loʊər steɪt, ɪt ˈraɪzɪz tɪ ˈoʊvər 50 (ˈjumən brɛst mɪlk ɪz əˈbaʊt 4, ənd kaʊ mɪlk ɪz əˈbaʊt ˌædəpˈteɪʃənz ˈɛdət ˈɛləfənt silz hæv lɑrʤ ˈsərkjələr aɪz ðət hæv mɔr rɑdz ðən koʊnz tɪ hɛlp ðɛm si ɪn loʊ laɪt kənˈdɪʃənz wɪn ðeɪ ər ðiz silz ˈɔlsoʊ pəˈzɛs ə ˈstrəkʧər kɔld ðə lucidum*, wɪʧ hɛlps ðɛr ˈvɪʒən baɪ ˈhævɪŋ laɪt rɪˈflɛktɪd bæk tɪ ðə ˈrɛtənə tɪ əˈlaʊ mɔr ˈʧænsɪz fər tɪ dɪˈtɛkt ðɛr ˈbɑdi ɪz ˈkəvərd ɪn ˈbləbər, wɪʧ hɛlps ðɛm kip wɔrm ənd rɪˈdus dræg waɪl ðeɪ ər ðə ʃeɪp əv ðɛr ˈbɑdi ˈɔlsoʊ hɛlps ðɛm məˈnuvər wɛl ɪn ðə ˈwɔtər, bət ˈlɪmɪts ðɛr ˈmuvmənt ɔn ˈɔlsoʊ, ˈɛləfənt silz hæv ðə əˈbɪləˌti tɪ fæst fər lɔŋ ˈpɪriədz əv taɪm waɪl ˈbridɪŋ ər ðə ˈprɔˌsɛs, əˈnəðər juˈnik ˌædəpˈteɪʃən, ɪz ˈvɛri ˌbɛnəˈfɪʃəl wɪn ðiz silz ər ˈfæstɪŋ, ˈbridɪŋ, ˈmoʊltɪŋ, ər ˈhɔlɪŋ ðɪs juˈnik ˈneɪzəl ˈstrəkʧər riˈsaɪkəlz ˈmɔɪsʧər wɪn ðeɪ brið ənd hɛlps prɪˈvɛnt ˈwɔtər ˈɛləfənt silz hæv ɪkˈstərnəl ˈwɪskərz kɔld tɪ hɛlp ðɛm ˈloʊˌkeɪt preɪ ənd ˈnævəˌgeɪt ðɛr ðə ər kəˈnɛktɪd tɪ bləd ˈvɛsəlz, nərvz, ənd ˈməsəlz ˈmeɪkɪŋ ðɛm ən ˌɪmˈpɔrtənt ˈsɛnsɪŋ du tɪ ˌɛvəˈluʃəˌnɛri ˈʧeɪnʤɪz, ðɛr ɪr həz bɪn ˈmɑdəˌfaɪd tɪ wərk ɪkˈstrimli wɛl ðə ˈstrəkʧər əv ðə ˈɪnər ɪr hɛlps ˈæmpləˌfaɪ ˈɪnˌkəmɪŋ saʊnz, ənd əˈlaʊz ðiz silz tɪ hæv gʊd dɪˈrɛkʃɪnəl ˈhirɪŋ du tɪ ðə ˌaɪsəˈleɪʃən əv ðə ˈɪnər ɪn əˈdɪʃən tɪ ðiz ˌædəpˈteɪʃənz, ˈtɪʃuz ɪn ðə ɪr kəˈnæl əˈlaʊ ðə ˈprɛʃər ɪn ðə ɪr tɪ bi əˈʤəstɪd waɪl ðiz silz pərˈfɔrm ðɛr dip ˈbridɪŋ ˈsizən ˈɛdət ˈdɑmənənt meɪlz əraɪv æt pəˈtɛnʃəl ˈbridɪŋ saɪts ɪn noʊˈvɛmbər, ənd wɪl spɛnd 3 mənθs ɔn ðə biʧ ˈfæstɪŋ tɪ ɪnˈʃʊr ðət ðeɪ kən meɪt wɪθ ɛz ˈmɛni ˈfiˌmeɪlz ɛz meɪl ˈɛləfənt silz juz ˈfaɪtɪŋ, ˈvoʊkəl ˈnɔɪzɪz, ənd ˈdɪfərənt pəˈzɪʃənz tɪ dɪˈtərmən hu wɪl bi dimd ðə ˈdɑmənənt wɪn meɪlz riʧ 8 tɪ 9 jɪrz əv eɪʤ, ðeɪ hæv dɪˈvɛləpt ə prəˈnaʊnst lɔŋ noʊz, ɪn əˈdɪʃən tɪ ə ʧɛst ʃild, wɪʧ ɪz ˈθɪkənd skɪn ɪn ðɛr ʧɛst ʃoʊɪŋ ɔf ðɛr ˈnoʊzɪz, ˈmeɪkɪŋ laʊd vocalizations*, ənd ˈɔltərɪŋ ðɛr ˈpɑsʧər ər ə fju weɪz meɪlz ʃoʊ ɔf ðɛr wɪn ˈbætəlz kəm ˈɪntu pleɪ, silz wɪl stænd tɔl, ənd ræm ðɛmˈsɛlvz ˈɪntu wən əˈnəðər ˈjuzɪŋ ðɛr ʧɛst pleɪts ənd ʃɑrp wɪn ðə ˈprɛgnənt ˈfiˌmeɪlz əraɪv, ðə ˈdɑməˌneɪtɪŋ meɪlz hæv ɔˈrɛdi səˈlɛktɪd ðɛr ˈtɛrɪˌtɔri ɔn ðə ˈfiˌmeɪlz ˈkləstər ɪn grups kɔld harems*, wɪʧ kʊd kənˈsɪst əp tɪ 50 ər mɔr ˈfiˌmeɪlz sərˈaʊndɪŋ wən ˈælfə ˈaʊtˈsaɪd əv ðiz grups, ə ˈbeɪtə bʊl ɪz ˈnɔrməli ˈroʊmɪŋ əraʊnd ɔn ðə ðə ˈbeɪtə bʊl hɛlps ðə ˈælfə baɪ prɪˈvɛnɪŋ ˈəðər meɪlz ˈækˌsɛsɪŋ ðə ɪn rɪˈtərn, ðə ˈbeɪtə bʊl maɪt hæv ən ˌɑpərˈtunəti tɪ meɪt wɪθ wən əv ðə ˈfiˌmeɪlz waɪl ðə ˈælfə ɪz bərθ ɔn ˈævərɪʤ ˈoʊnli teɪks ə fju ˈmɪnəts, ənd ðə ˈməðər ənd pəp hæv ə kəˈnɛkʃən du tɪ iʧ ˈəðərz juˈnik smɛl ənd ðə ˈməðərz wɪl fæst ənd nərs əp tɪ 28 deɪz, prəˈvaɪdɪŋ ðɛr pəps wɪθ rɪʧ ðə læst tu tɪ θri deɪz ˌhaʊˈɛvər, ˈfiˌmeɪlz wɪl bi ˈrɛdi tɪ meɪt, ənd ðə ˈdɑmənənt meɪlz wɪl paʊns ɔn ðə ˈdʊrɪŋ ðɪs ɪgˈzɔstɪv ˈprɔˌsɛs, meɪlz ənd ˈfiˌmeɪlz luz əp tɪ ə θərd əv ðɛr ˈbɑdi weɪt ˈdʊrɪŋ ðə ˈbridɪŋ ðə ʤɛˈsteɪʃən ˈpɪriəd fər ˈfiˌmeɪlz ɪz 11 mənθs, ənd ðə ˈsizənz læsts frəm mɪd dɪˈsɛmbər θru ðə ˈmɪdəl əv ðə nu pəps wɪl spɛnd əp tɪ 10 mɔr əˈdɪʃənəl wiks ɔn lænd ˈlərnɪŋ haʊ tɪ swɪm ənd laɪf ˈhɪstəri ˈɛdət ðə ˈævərɪʤ ˈlaɪfˌspæn əv ə ˈnɔrðərn ˈɛləfənt sil ɪz 9 jɪrz, waɪl ðə ˈævərɪʤ ˈlaɪfˌspæn əv ə ˈsəðərn ˈɛləfənt sil ɪz meɪlz riʧ məˈʧʊrəti æt faɪv tɪ sɪks jɪrz, bət ˈʤɛnərəli du nɑt əˈʧiv ˈælfə ˈstætəs ənˈtɪl ðə eɪʤ əv eɪt, wɪθ ðə praɪm ˈbridɪŋ jɪrz biɪŋ bɪtˈwin ˈeɪʤɪz 9 ənd 12 ðə ˈlɔŋgɪst laɪf ɪkˈspɛktənsi əv ə meɪl ˈnɔrðərn ˈɛləfənt sil ɪz əˈprɑksəmətli 14 jɪrz. ˈfiˌmeɪlz bɪˈgɪn ˈbridɪŋ æt eɪʤ ənd hæv wən pəp pər ˈbridɪŋ wəns ðeɪ bɪˈgɪn ˈbridɪŋ, 79 əv ˈædəlt ˈfiˌmeɪlz brid iʧ ˈbridɪŋ səkˈsɛs ɪz məʧ loʊər fər ˈməðərz ˈrɛlətɪv tɪ ɪkˈspɪriənst ˈænjuəl sərˈvaɪvəl ˌprɑbəˈbɪləˌti əv ˈædəlt ˈfiˌmeɪlz ɪz fər ɪkˈspɪriənst ˈbridɪŋ ˈfiˌmeɪlz, bət ˈoʊnli fər ˈbridərz ˈɪndəˌkeɪtɪŋ ə sɪgˈnɪfɪkənt kɔst əv mɔr meɪl pəps ər prəˈdust ðən ˈfiˌmeɪl pəps ɪn jɪrz wɪθ ˈwɔrmər si ˈsərfəs ˈtɛmpərəʧər ɪn ðə ˌnɔrˈθistərn pəˈsɪfɪk ˈmoʊltɪŋ ˈɛdət wəns ə jɪr, ˈɛləfənt silz goʊ θru ə ˈprɔˌsɛs kɔld ˈmoʊltɪŋ wɛr ðeɪ ʃɛd ðə ˈaʊtər leɪər əv hɛr ənd ðɪs ˈmoʊltɪŋ ˈprɔˌsɛs teɪks əp tɪ ə mənθ tɪ ˈfʊli wɪn ɪt kəmz taɪm tɪ moʊlt, ðeɪ wɪl hɔl aʊt ɔn lænd tɪ ʃɛd ðɛr ˈaʊtər leɪər, ənd wɪl nɑt kənˈsum ˈɛni fud ˈdʊrɪŋ ðɪs ðə ˈfiˌmeɪlz ənd ˈʤuvəˌnaɪlz wɪl moʊlt fərst, ˈfɑloʊd baɪ ðə səb ˈædəlt meɪlz, ənd ˈfaɪnəli ðə lɑrʤ məˈʧʊr ˈprɛdətərz ˈɛdət ðə meɪn ˈprɛdətər əv ˈɛləfənt silz ɪz ðə greɪt waɪt ˈɔrkəs ər ˈɔlsoʊ əˈnəðər ˈprɛdətər tɪ ˈɛləfənt ˈkʊki ˈkətər ʃɑrks kən ˈivɪn teɪk noʊˈtɔriəs baɪts aʊt əv ðɛr ˈstætəs ˈɛdət ðə lɪsts boʊθ ˈspiʃiz əv ˈɛləfənt sil ɛz biɪŋ əv list kənˈsərn, ˌɔlˈðoʊ ðeɪ ər stɪl θˈrɛtənd baɪ ɪnˈtæŋgəlmənt ɪn mərˈin dəˈbri, ˈfɪʃəri ˌɪnərˈækʃənz, ənd boʊt kəˈlɪʒənz. ðoʊ ə kəmˈplit ˌpɑpjəˈleɪʃən kaʊnt əv ˈɛləfənt silz ɪz nɑt ˈpɑsəbəl bɪˈkəz ɔl eɪʤ ˈklæsɪz ər nɑt əˈʃɔr æt ðə seɪm taɪm, ðə moʊst ˈrisənt ˈɛstəˌmeɪt əv ðə ˌkæləˈfɔrnjə ˈbridɪŋ stɑk wɑz əˈprɑksəmətli ˌɪndəˈvɪʤəwəlz. ɪn ðə juˈnaɪtɪd steɪts, ðə ˈɛləfənt sil, laɪk ɔl mərˈin ˈmæməlz, ɪz prəˈtɛktɪd ˈəndər ðə mərˈin ˈmæməl prəˈtɛkʃən ækt (mmpa*), pæst ɪn 1972 wɪʧ ˈaʊˌtlɔz ˈhəntɪŋ, ˈkɪlɪŋ, ˈkæpʧər, ənd hərˈæsmənt əv ðə ˈgæləri ˈɛdət saʊθ ˈʤɔrʤə ˈɛləfənt sil ˈɛləfənt silz ɔn biʧ, nɪr sæn ˈsɪmiən, ˌkæləˈfɔrnjə meɪl, ˈfiˌmeɪl ənd pəp ˈnɔrðərn ˈɛləfənt silz ˈdʊrɪŋ ˈmoʊltɪŋ ˈsizən æt biʧ, nɪr sæn ˈsɪmiən, ˌkæləˈfɔrnjə tu bʊlz ˈfaɪtɪŋ ˈɛləfənt sil snaʊt ˈʤuvəˌnaɪl ˈsəðərn ˈɛləfənt sil beachmasters*, ðə ˈdɑmənənt bʊlz ˈfaɪtɪŋ æt ˈaɪlənd ˈɛləfənt silz æt, ˌkæləˈfɔrnjə si ˈɔlsoʊ ˈɛdət |
sarah covers health policy for the washington post and writes for wonkblog.
coined by the health insurance industry, the term “young” has come to describe who go without coverage because they expect to remain healthy. but young are crucial to making the affordable care act work: the white house is counting on them to buy coverage under the new law, helping to spread the risk and hold down premiums for everybody. debunk a few myths about who these uninsured young people are and what they want from the system.
1. young adults are uninformed about the law.
young adults tend to be about as aware of the law as the rest of the population. a kaiser family foundation poll in august found that 33 percent of adults had heard nothing about their state health insurance exchanges. that figure was 43 percent among and 41 percent among 26-to-35-year-olds. separate polling from the pew research center found that young adults were more aware than any other demographic that the law offers subsidies for low-income americans to purchase insurance. however, they were less aware of the requirement to buy coverage.
young americans are especially aware of the provisions that affect their own coverage options, most prominently the option to stay on their parents’ insurance plans until age 26. a commonwealth fund poll in march found that 62 percent of young adults knew of that program.
2. they want health insurance.
young adults do have the highest uninsured rate of any demographic, with about 27 percent of people between 19 and 34 lacking insurance coverage, according to the kaiser family foundation. experts say this necessarily mean that they want insurance, but rather that they are less likely to be offered coverage through their employers. because more young people work part-time or jobs that do not offer health benefits. when offered coverage by their employers, about 80 percent of young adults sign up about the same rate as older workers.
millions of young adults have also gained coverage under the health provision that allows them to stay on their parents’ health insurance until 26. the department of health and human services estimates that, since this option became available in 2010, more than 3 million young adults have taken advantage of their parents’ insurance plans.
when the kaiser family foundation surveyed young adults about health insurance coverage in june, it found that about three in four said it is “very important” to them to have health insurance.
3. they need health insurance.
while young adults tend to have lower costs, without coverage they can incur substantial bills. one centers for disease control and prevention study found that 17 percent of women ages 18 to 29, and 13 percent of men, have a chronic condition such as cancer or diabetes. federal data show that young adults have higher rates of car accidents, which could lead to pricey medical bills. the high cost of maternity care can be another concern for young adults, with the average charges ranging upward of $32,000, according to a study published this year by health analytics.
young adults without insurance report difficulties accessing care and paying their medical bills. a 2011 study from the commonwealth fund found that more than half of uninsured young adults reported having a medical problem but not seeking treatment. among insured young adults, that number was 19 percent. that same survey found that 51 percent of uninsured young adults had difficulty paying medical bills, with 26 percent having been contacted by a collection agency.
4. young people will face steep premiums in the insurance exchanges.
the law makes radical changes to the market for buying health coverage as an individual. for the first time, it requires insurers to accept all customers regardless of any preexisting health conditions. it also limits the amount that insurers can charge the oldest adults premiums for elderly customers exceed three times the amount charged to the youngest subscribers.
to make the math work and to cover the medical bills of older, sicker enrollees insurers have often had to raise rates for young adults. they have also had to cancel some of the plans they offer younger subscribers, which tend to have lower premiums but benefit packages. that means that, in the exchanges, young shoppers might see much higher sticker prices and experience what the news media has called “rate shock.”
however, many young adults have to pay the full price. instead, most will qualify either for medicaid the public health program that serves low-income americans or for tax subsidies to help buy coverage. the nonprofit families usa, which supports the law, estimates that about million people between 18 and 34 will qualify for a subsidy to purchase health insurance. between these subsidies and medicaid, the government estimates that about four in 10 young americans will pay a monthly premium of less than $100 for a plan under the federal law.
emily wright, a student in tennessee who had previously been without health insurance because of a preexisting condition, found a plan that cost $244 per month. because she qualifies for a federal subsidy of $119, she is paying only $125 each month toward that premium. since tennessee expanding medicaid, she worried that she might not receive financial help: “i was nervous about what i was going to be paying, but it was actually a great deal.”
5. young people signing up for yet.
while they made up the majority of the participants so far, young adults do account for some enrollment. in states that have released demographic information, such as washington and california, young adults were about 20 percent of the first enrollment. in california, the state exchange had people between ages 18 and 34 sign up for coverage, accounting for almost 24 percent of all enrollments in october.
officials at state insurance exchanges say they expected older and sicker consumers to sign up first. they think younger people will sign up later in the period, which runs through march. “those are pretty solid enrollment numbers for a younger demographic,” said michael marchand, a spokesman for washington healthplanfinder. “ideally like to see the number go up in coming months.” white house officials have said they need about 40 percent of the consumers who buy plans on the exchanges to be younger than 35.
sarah.kliff@washpost.com
read more from outlook:
five myths about the affordable care act
why are we still fighting over? because america was designed for stalemate.
why settled
friend us on facebook and follow us on twitter. | ˈsɛrə ˈkəvərz hɛlθ ˈpɑləsi fər ðə ˈwɔʃɪŋtən poʊst ənd raɪts fər wonkblog*. kɔɪnd baɪ ðə hɛlθ ˌɪnˈʃʊrəns ˈɪndəstri, ðə tərm invincibles”*” həz kəm tɪ dɪˈskraɪb hu goʊ wɪˈθaʊt ˈkəvərɪʤ bɪˈkəz ðeɪ ɪkˈspɛkt tɪ rɪˈmeɪn ˈhɛlθi. bət jəŋ ər ˈkruʃəl tɪ ˈmeɪkɪŋ ðə əˈfɔrdəbəl kɛr ækt wərk: ðə waɪt haʊs ɪz ˈkaʊntɪŋ ɔn ðɛm tɪ baɪ ˈkəvərɪʤ ˈəndər ðə nu lɔ, ˈhɛlpɪŋ tɪ sprɛd ðə rɪsk ənd hoʊld daʊn ˈprimiəmz fər ˈɛvriˌbɑdi. dɪˈbəŋk ə fju mɪθs əˈbaʊt hu ðiz ˌənɪnˈʃʊrd jəŋ ˈpipəl ər ənd wət ðeɪ wɔnt frəm ðə ˈsɪstəm. 1 jəŋ ˈædəlts ər ˌənɪnˈfɔrmd əˈbaʊt ðə lɔ. jəŋ ˈædəlts tɛnd tɪ bi əˈbaʊt ɛz əˈwɛr əv ðə lɔ ɛz ðə rɛst əv ðə ˌpɑpjəˈleɪʃən. ə ˈkaɪzər ˈfæməli faʊnˈdeɪʃən poʊl ɪn ˈɔgəst faʊnd ðət 33 pərˈsɛnt əv ˈædəlts hæd hərd ˈnəθɪŋ əˈbaʊt ðɛr steɪt hɛlθ ˌɪnˈʃʊrəns ɪksˈʧeɪnʤɪz. ðət ˈfɪgjər wɑz 43 pərˈsɛnt əˈməŋ ənd 41 pərˈsɛnt əˈməŋ 26-to-35-year-olds*. ˈsɛpərˌeɪt ˈpoʊlɪŋ frəm ðə pju ˈrisərʧ ˈsɛnər faʊnd ðət jəŋ ˈædəlts wər mɔr əˈwɛr ðən ˈɛni ˈəðər ˌdɛməˈgræfɪk ðət ðə lɔ ˈɔfərz ˈsəbsɪdiz fər ˌloʊˈɪnkəm əˈmɛrɪkənz tɪ ˈpərʧəs ˌɪnˈʃʊrəns. ˌhaʊˈɛvər, ðeɪ wər lɛs əˈwɛr əv ðə rɪkˈwaɪrmənt tɪ baɪ ˈkəvərɪʤ. jəŋ əˈmɛrɪkənz ər əˈspɛʃəli əˈwɛr əv ðə prəˈvɪʒənz ðət əˈfɛkt ðɛr oʊn ˈkəvərɪʤ ˈɔpʃənz, moʊst ˈprɑmənəntli ðə ˈɔpʃən tɪ steɪ ɔn ðɛr parents’*’ ˌɪnˈʃʊrəns plænz ənˈtɪl eɪʤ 26 ə ˈkɑmənˌwɛlθ fənd poʊl ɪn mɑrʧ faʊnd ðət 62 pərˈsɛnt əv jəŋ ˈædəlts nu əv ðət ˈproʊˌgræm. 2 ðeɪ wɔnt hɛlθ ˌɪnˈʃʊrəns. jəŋ ˈædəlts du hæv ðə haɪəst ˌənɪnˈʃʊrd reɪt əv ˈɛni ˌdɛməˈgræfɪk, wɪθ əˈbaʊt 27 pərˈsɛnt əv ˈpipəl bɪtˈwin 19 ənd 34 ˈlækɪŋ ˌɪnˈʃʊrəns ˈkəvərɪʤ, əˈkɔrdɪŋ tɪ ðə ˈkaɪzər ˈfæməli faʊnˈdeɪʃən. ˈɛkspərts seɪ ðɪs ˌnɛsəˈsɛrəli min ðət ðeɪ wɔnt ˌɪnˈʃʊrəns, bət ˈrəðər ðət ðeɪ ər lɛs ˈlaɪkli tɪ bi ˈɔfərd ˈkəvərɪʤ θru ðɛr ɪmˈplɔɪərz. bɪˈkəz mɔr jəŋ ˈpipəl wərk ˈpɑrtˈtaɪm ər ʤɑbz ðət du nɑt ˈɔfər hɛlθ ˈbɛnəfɪts. wɪn ˈɔfərd ˈkəvərɪʤ baɪ ðɛr ɪmˈplɔɪərz, əˈbaʊt 80 pərˈsɛnt əv jəŋ ˈædəlts saɪn əp əˈbaʊt ðə seɪm reɪt ɛz ˈoʊldər ˈwərkərz. ˈmɪljənz əv jəŋ ˈædəlts hæv ˈɔlsoʊ geɪnd ˈkəvərɪʤ ˈəndər ðə hɛlθ prəˈvɪʒən ðət əˈlaʊz ðɛm tɪ steɪ ɔn ðɛr parents’*’ hɛlθ ˌɪnˈʃʊrəns ənˈtɪl 26 ðə dɪˈpɑrtmənt əv hɛlθ ənd ˈjumən ˈsərvɪsɪz ˈɛstəˌmeɪts ðət, sɪns ðɪs ˈɔpʃən bɪˈkeɪm əˈveɪləbəl ɪn 2010 mɔr ðən 3 ˈmɪljən jəŋ ˈædəlts hæv ˈteɪkən ædˈvæntɪʤ əv ðɛr parents’*’ ˌɪnˈʃʊrəns plænz. wɪn ðə ˈkaɪzər ˈfæməli faʊnˈdeɪʃən ˈsərˌveɪd jəŋ ˈædəlts əˈbaʊt hɛlθ ˌɪnˈʃʊrəns ˈkəvərɪʤ ɪn ʤun, ɪt faʊnd ðət əˈbaʊt θri ɪn fɔr sɛd ɪt ɪz important”*” tɪ ðɛm tɪ hæv hɛlθ ˌɪnˈʃʊrəns. 3 ðeɪ nid hɛlθ ˌɪnˈʃʊrəns. waɪl jəŋ ˈædəlts tɛnd tɪ hæv loʊər kɔsts, wɪˈθaʊt ˈkəvərɪʤ ðeɪ kən ˌɪnˈkər səbˈstænʃəl bɪlz. wən ˈsɛnərz fər dɪˈziz kənˈtroʊl ənd priˈvɛnʃən ˈstədi faʊnd ðət 17 pərˈsɛnt əv ˈwɪmən ˈeɪʤɪz 18 tɪ 29 ənd 13 pərˈsɛnt əv mɛn, hæv ə ˈkrɑnɪk kənˈdɪʃən səʧ ɛz ˈkænsər ər ˌdaɪəˈbitiz. ˈfɛdərəl ˈdætə ʃoʊ ðət jəŋ ˈædəlts hæv haɪər reɪts əv kɑr ˈæksədənts, wɪʧ kʊd lɛd tɪ ˈpraɪsi ˈmɛdɪkəl bɪlz. ðə haɪ kɔst əv məˈtərnɪti kɛr kən bi əˈnəðər kənˈsərn fər jəŋ ˈædəlts, wɪθ ðə ˈævərɪʤ ˈʧɑrʤɪz ˈreɪnʤɪŋ ˈəpwərd əv əˈkɔrdɪŋ tɪ ə ˈstədi ˈpəblɪʃt ðɪs jɪr baɪ hɛlθ ˌænəˈlɪtɪks. jəŋ ˈædəlts wɪˈθaʊt ˌɪnˈʃʊrəns rɪˈpɔrt ˈdɪfɪˌkəltiz ˈækˌsɛsɪŋ kɛr ənd peɪɪŋ ðɛr ˈmɛdɪkəl bɪlz. ə 2011 ˈstədi frəm ðə ˈkɑmənˌwɛlθ fənd faʊnd ðət mɔr ðən hæf əv ˌənɪnˈʃʊrd jəŋ ˈædəlts ˌriˈpɔrtəd ˈhævɪŋ ə ˈmɛdɪkəl ˈprɑbləm bət nɑt ˈsikɪŋ ˈtritmənt. əˈməŋ ˌɪnˈʃʊrd jəŋ ˈædəlts, ðət ˈnəmbər wɑz 19 pərˈsɛnt. ðət seɪm ˈsərˌveɪ faʊnd ðət 51 pərˈsɛnt əv ˌənɪnˈʃʊrd jəŋ ˈædəlts hæd ˈdɪfɪˌkəlti peɪɪŋ ˈmɛdɪkəl bɪlz, wɪθ 26 pərˈsɛnt ˈhævɪŋ bɪn ˈkɑnˌtæktɪd baɪ ə kəˈlɛkʃən ˈeɪʤənsi. 4 jəŋ ˈpipəl wɪl feɪs stip ˈprimiəmz ɪn ðə ˌɪnˈʃʊrəns ɪksˈʧeɪnʤɪz. ðə lɔ meɪks ˈrædɪkəl ˈʧeɪnʤɪz tɪ ðə ˈmɑrkɪt fər baɪɪŋ hɛlθ ˈkəvərɪʤ ɛz ən ˌɪndəˈvɪʤəwəl. fər ðə fərst taɪm, ɪt rikˈwaɪərz ˌɪnˈʃʊrərz tɪ əkˈsɛpt ɔl ˈkəstəmərz rəˈgɑrdləs əv ˈɛni ˈpriɪgˈzɪstɪŋ hɛlθ kənˈdɪʃənz. ɪt ˈɔlsoʊ ˈlɪmɪts ðə əˈmaʊnt ðət ˌɪnˈʃʊrərz kən ʧɑrʤ ðə ˈoʊldəst ˈædəlts ˈprimiəmz fər ˈɛldərli ˈkəstəmərz ɪkˈsid θri taɪmz ðə əˈmaʊnt ʧɑrʤd tɪ ðə ˈjəŋgəst səbˈskraɪbərz. tɪ meɪk ðə mæθ wərk ənd tɪ ˈkəvər ðə ˈmɛdɪkəl bɪlz əv ˈoʊldər, ˈsɪkər ɛnˈroʊˈliz ˌɪnˈʃʊrərz hæv ˈɔfən hæd tɪ reɪz reɪts fər jəŋ ˈædəlts. ðeɪ hæv ˈɔlsoʊ hæd tɪ ˈkænsəl səm əv ðə plænz ðeɪ ˈɔfər ˈjəŋgər səbˈskraɪbərz, wɪʧ tɛnd tɪ hæv loʊər ˈprimiəmz bət ˈbɛnəfɪt ˈpækɪʤɪz. ðət minz ðət, ɪn ðə ɪksˈʧeɪnʤɪz, jəŋ ˈʃɑpərz maɪt si məʧ haɪər ˈstɪkər ˈpraɪsɪz ənd ɪkˈspɪriəns wət ðə nuz ˈmidiə həz kɔld shock.”*.” ˌhaʊˈɛvər, ˈmɛni jəŋ ˈædəlts hæv tɪ peɪ ðə fʊl praɪs. ˌɪnˈstɛd, moʊst wɪl kˈwɑləˌfaɪ ˈiðər fər ˈmɛdəˌkeɪd ðə ˈpəblɪk hɛlθ ˈproʊˌgræm ðət sərvz ˌloʊˈɪnkəm əˈmɛrɪkənz ər fər tæks ˈsəbsɪdiz tɪ hɛlp baɪ ˈkəvərɪʤ. ðə nɑnˈprɑfət ˈfæməliz ˈjuˈɛˈseɪ, wɪʧ səˈpɔrts ðə lɔ, ˈɛstəˌmeɪts ðət əˈbaʊt ˈmɪljən ˈpipəl bɪtˈwin 18 ənd 34 wɪl kˈwɑləˌfaɪ fər ə ˈsəbsɪdi tɪ ˈpərʧəs hɛlθ ˌɪnˈʃʊrəns. bɪtˈwin ðiz ˈsəbsɪdiz ənd ˈmɛdəˌkeɪd, ðə ˈgəvərnmənt ˈɛstəˌmeɪts ðət əˈbaʊt fɔr ɪn 10 jəŋ əˈmɛrɪkənz wɪl peɪ ə ˈmənθli ˈprimiəm əv lɛs ðən 100 fər ə plæn ˈəndər ðə ˈfɛdərəl lɔ. ˈɛmɪli raɪt, ə ˈstudənt ɪn ˌtɛnəˈsi hu hæd ˈpriviəsli bɪn wɪˈθaʊt hɛlθ ˌɪnˈʃʊrəns bɪˈkəz əv ə ˈpriɪgˈzɪstɪŋ kənˈdɪʃən, faʊnd ə plæn ðət kɔst 244 pər mənθ. bɪˈkəz ʃi kˈwɑləˌfaɪz fər ə ˈfɛdərəl ˈsəbsɪdi əv 119 ʃi ɪz peɪɪŋ ˈoʊnli 125 iʧ mənθ təˈwɔrd ðət ˈprimiəm. sɪns ˌtɛnəˈsi ɪkˈspændɪŋ ˈmɛdəˌkeɪd, ʃi ˈwərid ðət ʃi maɪt nɑt rɪˈsiv ˌfaɪˈnænʃəl hɛlp: wɑz ˈnərvəs əˈbaʊt wət aɪ wɑz goʊɪŋ tɪ bi peɪɪŋ, bət ɪt wɑz ˈæˌkʧuəli ə greɪt deal.”*.” 5 jəŋ ˈpipəl ˈsaɪnɪŋ əp fər jɛt. waɪl ðeɪ meɪd əp ðə məˈʤɔrəti əv ðə pɑrˈtɪsəpənts soʊ fɑr, jəŋ ˈædəlts du əˈkaʊnt fər səm ɛnˈroʊlmənt. ɪn steɪts ðət hæv riˈlist ˌdɛməˈgræfɪk ˌɪnˌfɔrˈmeɪʃən, səʧ ɛz ˈwɔʃɪŋtən ənd ˌkæləˈfɔrnjə, jəŋ ˈædəlts wər əˈbaʊt 20 pərˈsɛnt əv ðə fərst ɛnˈroʊlmənt. ɪn ˌkæləˈfɔrnjə, ðə steɪt ɪksˈʧeɪnʤ hæd ˈpipəl bɪtˈwin ˈeɪʤɪz 18 ənd 34 saɪn əp fər ˈkəvərɪʤ, əˈkaʊnɪŋ fər ˈɔlˌmoʊst 24 pərˈsɛnt əv ɔl ɛnˈroʊlmənts ɪn ɑkˈtoʊbər. əˈfɪʃəlz æt steɪt ˌɪnˈʃʊrəns ɪksˈʧeɪnʤɪz seɪ ðeɪ ɪkˈspɛktɪd ˈoʊldər ənd ˈsɪkər kənˈsumərz tɪ saɪn əp fərst. ðeɪ θɪŋk ˈjəŋgər ˈpipəl wɪl saɪn əp ˈleɪtər ɪn ðə ˈpɪriəd, wɪʧ rənz θru mɑrʧ. ər ˈprɪti ˈsɑləd ɛnˈroʊlmənt ˈnəmbərz fər ə ˈjəŋgər demographic,”*,” sɛd ˈmaɪkəl mɑˈrʧænd, ə ˈspoʊksmən fər ˈwɔʃɪŋtən healthplanfinder*. laɪk tɪ si ðə ˈnəmbər goʊ əp ɪn ˈkəmɪŋ months.”*.” waɪt haʊs əˈfɪʃəlz hæv sɛd ðeɪ nid əˈbaʊt 40 pərˈsɛnt əv ðə kənˈsumərz hu baɪ plænz ɔn ðə ɪksˈʧeɪnʤɪz tɪ bi ˈjəŋgər ðən 35 rɛd mɔr frəm ˈaʊˌtlʊk: faɪv mɪθs əˈbaʊt ðə əˈfɔrdəbəl kɛr ækt waɪ ər wi stɪl ˈfaɪtɪŋ ˈoʊvər? bɪˈkəz əˈmɛrɪkə wɑz dɪˈzaɪnd fər ˈsteɪlˌmeɪt. waɪ ˈsɛtəld frɛnd ˈjuˈɛs ɔn ˈfeɪsˌbʊk ənd ˈfɑloʊ ˈjuˈɛs ɔn tˈwɪtər. |
michael hogan: brian, your speech at the recent sandford martin trust awards for religious broadcasting said tv was blighted by vulgarity and intellectual levels".rong words. did you have a particular programme in mind?
brian sewell: nothing and everything. now it all conforms to a formula. even islam: the untoldory (c4), to which we gave one of the awards, immediately descended into a travelogue and became virtually indistinguishable from anything in which michael palin around. religious broadcasting, all broadcasting, ought to be better than that. we looked at david in the footsteps of paul and again, it just turned into a travelogue. someone in the city of tarsus said, paul's father was a here." off at once goes to weave some canvas himself. does someone sitting in a room in the century weaving flax tell us anything about paul? it's childish and idiotic, but fits that michael palin formula which the bbc inflicts on everything.
mh not everything, surely? you talked in your speech about the "dread sameness" of the bbc, but the corporation has eight tv channels with a vast variety of programming and a lot of it's brilliant.
bs yes, i'm not really talking about the entertaining things. hateful though i find them, the bbc does those perfectly well. but anything they tackle that is intellectual, historical, biographical, cultural… it all turns into a travelogue of some kind. whether it's andrew on the italian renaissance or that young man [simon reeve] wandering round australia, it's the same, because this is what the bbc asks for. the channel controllers are of little education and no background. the editors are very technically clever but know nothing about the topic, so they fit everything to this comfortable format. we deserve better. it's rubbish.
mh but the historical programming is admirable all the way from superb horrible histories to recent tudor season.
bs all those simon schama and davidarkey inevitably turn into walking about and arm-waving. poor mary beard, around the ruins of rome on a bicycle. why? these devices even creep into news bulletins: some wretched reporter suddenly emerges from behind a car or tree and walks towards the camera. for god's sake, you have news to communicate.andill and tell us what it is. i don't want to be entertained, i want to be informed.
mh ok, but what about one of the bbc's majorrengths: science and nature? surely david attenborough and brian cox escape your wrath?
bs attenborough does very well because he is just there, talking as the omnipotent voice. he's good at that. that's infinitely more convincing than brian cox with his delivery, trying to be the sex symbol of science.
mh as an art critic, what did you make of grayson perry's channel 4 series, in the best possible taste?
bs i can't bear grayson perry. he's today's equivalent of sister wendy beckett. you spend all your time looking at his and he's a total distraction from the subject. it may be amusing for some people but you learn nothing about the work, just a lot about grayson, his motorcycle and his teddy bear david measles, or whatever it's called [it's alan measles].
mh if the terrestrial channels aren't to your liking, the likes of sky arts and bbc four are home to more weighty programming.
bs i'm not the commercial channels. they all have obligations to shareholders and advertisers. the bbc doesn't. it has only one obligation and that's to the public who pay for it. when the bbc is covering something serious, it shouldn't be afraid to be serious. it was scandalous when the national gallery had that miraculous leonardo da vinci exhibition last year. what did the bbc do? give an programme to fiona bloody bruce. she gushed like a girl, questioned nothing and none of us learned a thing.
mh i get the impression that mr palin and ms bruce aren't your favourites.
bs i know many people who groan at the mere mention of fiona bruce. what michael palin does, he does perfectly well but it isn't serious television. it's tomfoolery. he goes to outer mongolia and sleeps in a yurt, but you don't learn anything about outer politics, economics, future or past. you're merely having an adventure holiday by proxy. it's and complacent. the bbc plays it far too safe. it's got little alistair on everything now. he has a certain gauche, boyish charm but and this isn't professional jealousy he doesn't know anything. the bbc clearly think it's good to have presented by people with no knowledge or experience. a few years ago, [alan] hosted the proms an absolute insult to anyone who knows or cares about music. you wouldn't ask a conductor to go on gardener's question time.
mh so is the problem, to your mind, that 1 and 2 are trying too hard to be populist?
bs absolutely. it's terrified of being too intellectual. there's no debate, no critical discourse or differing viewpoints. the bbc has forgotten the tradition of the third programme, which was introduced on radio in 1946. it was fundamentally serious: we didn't talk down to you, we talked to each other as we normally would and you'd better hurry along behind. i taught history of art in jail for 10 years and one lesson i learnt very quickly is never talk down to people. if you treat them as equals, you've got them, they're with you. but talk down, they smell it a mile off and hate it. that's what the bbc does all the time.
mh but the bbc remains a great source of pride to many of us. it's arguably the best broadcaster in the world.
bs bollocks. it could be 10 times better. the camera is a wonderful instrument for showing people things. it could work miracles in appreciation of the visual arts but it's never used properly. we get waldemaranding in front of a painting, looming at the camera like some kind of north korean dictator, while you can see two square inches of van gogh behind him. he's another walking-about, merchant and it's not a pretty sight. same with alan yentob. he's not exactly an engaging screen presence, so why is he even there?
mh it can't all be bad, brian. there must be some tv shows you like.
bs i'm a secret devotee of casualty and city. they're wonderfully soporific. good for emptying the brain after a working day.
mh i hear you're also a fan of the apprentice.
bs i'm not sure i like the apprentice but i watch it, fascinated that these awful people even exist. that's rigidly formulaic too, but it's funny.
mh you're a car aficionado too. ever watch top gear?
bs yes but i see it as three clowns enjoying themselves and nothing whatsoever to do with motor cars. they never talk about the aesthetic beauty of cars, their history or future. they're just overgrown schoolboys.
mh you should go on it and be thear in a reasonably priced car.
bs (laughs uproariously) i don't think that's a good idea. i'd be terribly rude in the interview. | ˈmaɪkəl ˈhoʊˌgɑn: braɪən, jʊr spiʧ æt ðə ˈrisənt ˈsændfərd ˈmɑrtɪn trəst əˈwɔrdz fər rɪˈlɪʤəs ˈbrɔdˌkæstɪŋ sɛd ˌtɛləˈvɪʒən wɑz ˈblaɪtɪd baɪ vəlˈgɛrɪti ənd ˌɪnəˈlɛkʧuəl ˈlɛvəlz". strɔŋ wərdz. dɪd ju hæv ə ˌpɑˈtɪkjələr ˈproʊˌgræm ɪn maɪnd? braɪən suɪl: ˈnəθɪŋ ənd ˈɛvriˌθɪŋ. naʊ ɪt ɔl kənˈfɔrmz tɪ ə ˈfɔrmjələ. ˈivɪn ˌɪsˈlɑm: ðə ənˈtoʊld ˈstɔri (ˈsiˈfɔr tɪ wɪʧ wi geɪv wən əv ðə əˈwɔrdz, ˌɪˈmiˌdiətli dɪˈsɛndɪd ˈɪntu ə ˈtrævəˌlɔg ənd bɪˈkeɪm ˈvərʧuəli ˌɪndɪˈstɪŋgwɪʃəbəl frəm ˈɛniˌθɪŋ ɪn wɪʧ ˈmaɪkəl ˈpælɪn əraʊnd. rɪˈlɪʤəs ˈbrɔdˌkæstɪŋ, ɔl ˈbrɔdˌkæstɪŋ, ɔt tɪ bi ˈbɛtər ðən ðət. wi lʊkt æt ˈdeɪvɪd ɪn ðə ˈfʊtˌstɛps əv pɔl ənd əˈgɛn, ɪt ʤɪst tərnd ˈɪntu ə ˈtrævəˌlɔg. ˈsəmˌwən ɪn ðə ˈsɪti əv ˈtɑrsəs sɛd, pɔlz ˈfɑðər wɑz ə hir." ɔf æt wəns goʊz tɪ wiv səm ˈkænvəs hɪmˈsɛlf. dɪz ˈsəmˌwən ˈsɪtɪŋ ɪn ə rum ɪn ðə ˈsɛnʧəri ˈwivɪŋ flæks tɛl ˈjuˈɛs ˈɛniˌθɪŋ əˈbaʊt pɔl? ɪts ˈʧaɪldɪʃ ənd ˌɪdiˈɑtɪk, bət fɪts ðət ˈmaɪkəl ˈpælɪn ˈfɔrmjələ wɪʧ ðə ˌbibiˈsi ˌɪnˈflɪkts ɔn ˈɛvriˌθɪŋ. ˈɛˈmeɪʧ nɑt ˈɛvriˌθɪŋ, ˈʃʊrli? ju tɔkt ɪn jʊr spiʧ əˈbaʊt ðə "drɛd ˈseɪmnəs" əv ðə ˌbibiˈsi, bət ðə ˌkɔrpərˈeɪʃən həz eɪt ˌtɛləˈvɪʒən ˈʧænəlz wɪθ ə væst vərˈaɪəti əv ˈproʊˌgræmɪŋ ənd ə lɔt əv ɪts ˈbrɪljənt. jɛs, əm nɑt ˈrɪli ˈtɔkɪŋ əˈbaʊt ðə ˌɛnərˈteɪnɪŋ θɪŋz. ˈheɪtfəl ðoʊ aɪ faɪnd ðɛm, ðə ˌbibiˈsi dɪz ðoʊz ˈpərfəktli wɛl. bət ˈɛniˌθɪŋ ðeɪ ˈtækəl ðət ɪz ˌɪnəˈlɛkʧuəl, hɪˈstɔrɪkəl, ˌbaɪəˈgræfɪkəl, cultural…*… ɪt ɔl tərnz ˈɪntu ə ˈtrævəˌlɔg əv səm kaɪnd. ˈwɛðər ɪts ˈændru ɔn ðə ˌɪˈtæljən ˌrɛnəˈsɑns ər ðət jəŋ mæn [ˈsaɪmən riv] ˈwɑndərɪŋ raʊnd ɔˈstreɪljə, ɪts ðə seɪm, bɪˈkəz ðɪs ɪz wət ðə ˌbibiˈsi æsks fər. ðə ˈʧænəl kənˈtroʊlərz ər əv ˈlɪtəl ˌɛʤəˈkeɪʃən ənd noʊ ˈbækˌgraʊnd. ðə ˈɛdɪtərz ər ˈvɛri ˈtɛknɪkəli ˈklɛvər bət noʊ ˈnəθɪŋ əˈbaʊt ðə ˈtɑpɪk, soʊ ðeɪ fɪt ˈɛvriˌθɪŋ tɪ ðɪs ˈkəmfərtəbəl ˈfɔrˌmæt. wi dɪˈzərv ˈbɛtər. ɪts ˈrəbɪʃ. ˈɛˈmeɪʧ bət ðə hɪˈstɔrɪkəl ˈproʊˌgræmɪŋ ɪz ˈædmərəbəl ɔl ðə weɪ frəm sʊˈpərb ˈhɔrəbəl ˈhɪstəriz tɪ ˈrisənt ˈtudər ˈsizən. ɔl ðoʊz ˈsaɪmən ˈʃɑmə ənd ˈdeɪvɪd ˈstɑrˌki ˌɪˈnɛvətəbli tərn ˈɪntu ˈwɔkɪŋ əˈbaʊt ənd arm-waving*. pur ˈmɛri bɪrd, əraʊnd ðə ruɪnz əv roʊm ɔn ə ˈbaɪsɪkəl. waɪ? ðiz dɪˈvaɪsɪz ˈivɪn krip ˈɪntu nuz ˈbʊlətənz: səm ˈrɛʧɪd rɪˈpɔrtər ˈsədənli ˈimərʤɪz frəm bɪˈhaɪnd ə kɑr ər tri ənd wɔks təˈwɔrdz ðə ˈkæmərə. fər gɑdz seɪk, ju hæv nuz tɪ kəmˈjunəˌkeɪt. stænd stɪl ənd tɛl ˈjuˈɛs wət ɪt ɪz. aɪ doʊnt wɔnt tɪ bi ˌɛnərˈteɪnd, aɪ wɔnt tɪ bi ˌɪnˈfɔrmd. ˈɛˈmeɪʧ ˈoʊˈkeɪ, bət wət əˈbaʊt wən əv ðə ˌbibiˈsis ˈmeɪʤər strɛŋθs: saɪəns ənd ˈneɪʧər? ˈʃʊrli ˈdeɪvɪd ˈæˌtənbəroʊ ənd braɪən kɑks ɪˈskeɪp jʊr ræθ? ˈæˌtənbəroʊ dɪz ˈvɛri wɛl bɪˈkəz hi ɪz ʤɪst ðɛr, ˈtɔkɪŋ ɛz ðə ɑmˈnɪpətənt vɔɪs. hiz gʊd æt ðət. ðæts ˈɪnfənətli mɔr kənˈvɪnsɪŋ ðən braɪən kɑks wɪθ hɪz dɪˈlɪvəri, traɪɪŋ tɪ bi ðə sɛks ˈsɪmbəl əv saɪəns. ˈɛˈmeɪʧ ɛz ən ɑrt ˈkrɪtɪk, wət dɪd ju meɪk əv ˈgreɪsən ˈpɛriz ˈʧænəl 4 ˈsɪriz, ɪn ðə bɛst ˈpɑsəbəl teɪst? aɪ kænt bɛr ˈgreɪsən ˈpɛri. hiz ˈtudeɪz ɪkˈwɪvələnt əv ˈsɪstər ˈwɛndi ˈbɛkɪt. ju spɛnd ɔl jʊr taɪm ˈlʊkɪŋ æt hɪz ənd hiz ə ˈtoʊtəl dɪˈstrækʃən frəm ðə ˈsəbʤɪkt. ɪt meɪ bi əmˈjuzɪŋ fər səm ˈpipəl bət ju lərn ˈnəθɪŋ əˈbaʊt ðə wərk, ʤɪst ə lɔt əˈbaʊt ˈgreɪsən, hɪz ˈmoʊtərˌsaɪkəl ənd hɪz ˈtɛdi bɛr ˈdeɪvɪd ˈmizəlz, ər ˌwəˈtɛvər ɪts kɔld [ɪts ˈælən ˈmizəlz]. ˈɛˈmeɪʧ ɪf ðə tərˈɛstriəl ˈʧænəlz ˈɑrənt tɪ jʊr ˈlaɪkɪŋ, ðə laɪks əv skaɪ ɑrts ənd ˌbibiˈsi fɔr ər hoʊm tɪ mɔr ˈweɪˌti ˈproʊˌgræmɪŋ. əm nɑt ðə kəˈmərʃəl ˈʧænəlz. ðeɪ ɔl hæv ˌɑbləˈgeɪʃənz tɪ ˈʃɛˌrhoʊldərz ənd ˈædvərˌtaɪzərz. ðə ˌbibiˈsi ˈdəzənt. ɪt həz ˈoʊnli wən ˌɑbləˈgeɪʃən ənd ðæts tɪ ðə ˈpəblɪk hu peɪ fər ɪt. wɪn ðə ˌbibiˈsi ɪz ˈkəvərɪŋ ˈsəmθɪŋ ˈsɪriəs, ɪt ˈʃʊdənt bi əˈfreɪd tɪ bi ˈsɪriəs. ɪt wɑz ˈskændələs wɪn ðə ˈnæʃənəl ˈgæləri hæd ðət mərˈækjələs ˌliəˈnɑrdoʊ ˈdiˈeɪ ˈvɪnʧi ˌɛksəˈbɪʃən læst jɪr. wət dɪd ðə ˌbibiˈsi du? gɪv ən ˈproʊˌgræm tɪ fiˈoʊnə ˈblədi brus. ʃi gəʃt laɪk ə gərl, kˈwɛsʧənd ˈnəθɪŋ ənd nən əv ˈjuˈɛs ˈlərnɪd ə θɪŋ. ˈɛˈmeɪʧ aɪ gɪt ðə ˌɪmˈprɛʃən ðət ˈmɪstər ˈpælɪn ənd mɪz brus ˈɑrənt jʊr favourites*. aɪ noʊ ˈmɛni ˈpipəl hu groʊn æt ðə mɪr ˈmɛnʃən əv fiˈoʊnə brus. wət ˈmaɪkəl ˈpælɪn dɪz, hi dɪz ˈpərfəktli wɛl bət ɪt ˈɪzənt ˈsɪriəs ˈtɛləˌvɪʒən. ɪts tomfoolery*. hi goʊz tɪ ˈaʊtər mɑŋˈgoʊljə ənd slips ɪn ə jʊrt, bət ju doʊnt lərn ˈɛniˌθɪŋ əˈbaʊt ˈaʊtər ˈpɑləˌtɪks, ˌɛkəˈnɑmɪks, fˈjuʧər ər pæst. jʊr ˈmɪrli ˈhævɪŋ ən ədˈvɛnʧər ˈhɑlɪˌdeɪ baɪ ˈprɑksi. ɪts ənd kəmˈpleɪsənt. ðə ˌbibiˈsi pleɪz ɪt fɑr tu seɪf. ɪts gɑt ˈlɪtəl ˈælɪˌstɛr ɔn ˈɛvriˌθɪŋ naʊ. hi həz ə ˈsərtən goʊʃ, bɔɪɪʃ ʧɑrm bət ənd ðɪs ˈɪzənt prəˈfɛʃənəl ˈʤɛləsi hi ˈdəzənt noʊ ˈɛniˌθɪŋ. ðə ˌbibiˈsi ˈklɪrli θɪŋk ɪts gʊd tɪ hæv pərˈzɛnəd baɪ ˈpipəl wɪθ noʊ ˈnɑlɪʤ ər ɪkˈspɪriəns. ə fju jɪrz əˈgoʊ, [ˈælən] ˈhoʊstɪd ðə prɑmz ən ˈæbsəˌlut ˌɪnˈsəlt tɪ ˈɛniˌwən hu noʊz ər kɛrz əˈbaʊt mˈjuzɪk. ju ˈwʊdənt æsk ə kənˈdəktər tɪ goʊ ɔn ˈgɑrdənərz kˈwɛʃən taɪm. ˈɛˈmeɪʧ soʊ ɪz ðə ˈprɑbləm, tɪ jʊr maɪnd, ðət 1 ənd 2 ər traɪɪŋ tu hɑrd tɪ bi ˈpɑpjələst? ˌæbsəˈlutli. ɪts ˈtɛrəˌfaɪd əv biɪŋ tu ˌɪnəˈlɛkʧuəl. ðɛrz noʊ dəˈbeɪt, noʊ ˈkrɪtɪkəl ˈdɪskɔrs ər ˈdɪfərɪŋ vˈjuˌpɔɪnts. ðə ˌbibiˈsi həz fərˈgɑtən ðə trəˈdɪʃən əv ðə θərd ˈproʊˌgræm, wɪʧ wɑz ˌɪntrəˈdust ɔn ˈreɪdiˌoʊ ɪn 1946 ɪt wɑz ˌfəndəˈmɛnəli ˈsɪriəs: wi ˈdɪdənt tɔk daʊn tɪ ju, wi tɔkt tɪ iʧ ˈəðər ɛz wi ˈnɔrməli wʊd ənd jʊd ˈbɛtər ˈhəri əˈlɔŋ bɪˈhaɪnd. aɪ tɔt ˈhɪstəri əv ɑrt ɪn ʤeɪl fər 10 jɪrz ənd wən ˈlɛsən aɪ lərnt ˈvɛri kˈwɪkli ɪz ˈnɛvər tɔk daʊn tɪ ˈpipəl. ɪf ju trit ðɛm ɛz ˈikwəlz, juv gɑt ðɛm, ðɛr wɪθ ju. bət tɔk daʊn, ðeɪ smɛl ɪt ə maɪl ɔf ənd heɪt ɪt. ðæts wət ðə ˌbibiˈsi dɪz ɔl ðə taɪm. ˈɛˈmeɪʧ bət ðə ˌbibiˈsi rɪˈmeɪnz ə greɪt sɔrs əv praɪd tɪ ˈmɛni əv ˈjuˈɛs. ɪts ˈɑrgjuəbli ðə bɛst ˈbrɔdˌkæstər ɪn ðə wərld. bollocks*. ɪt kʊd bi 10 taɪmz ˈbɛtər. ðə ˈkæmərə ɪz ə ˈwəndərfəl ˈɪnstrəmənt fər ʃoʊɪŋ ˈpipəl θɪŋz. ɪt kʊd wərk ˈmɪrəkəlz ɪn əˌpriʃiˈeɪʃən əv ðə ˈvɪʒəwəl ɑrts bət ɪts ˈnɛvər juzd ˈprɑpərli. wi gɪt ˈvɑldəmɑr ˈstændɪŋ ɪn frənt əv ə ˈpeɪnɪŋ, ˈlumɪŋ æt ðə ˈkæmərə laɪk səm kaɪnd əv nɔrθ ˌkɔˈriən ˈdɪkteɪtər, waɪl ju kən si tu skwɛr ˈɪnʧɪz əv væn goʊ bɪˈhaɪnd ɪm. hiz əˈnəðər walking-about*, ˈmərʧənt ənd ɪts nɑt ə ˈprɪti saɪt. seɪm wɪθ ˈælən yentob*. hiz nɑt ɪgˈzæktli ən ɪnˈgeɪʤɪŋ skrin ˈprɛzəns, soʊ waɪ ɪz hi ˈivɪn ðɛr? ˈɛˈmeɪʧ ɪt kænt ɔl bi bæd, braɪən. ðɛr məst bi səm ˌtɛləˈvɪʒən ʃoʊz ju laɪk. əm ə ˈsikrɪt ˌdɛvəˈti əv ˈkæʒəwəlti ənd ˈsɪti. ðɛr ˈwəndərfəli soporific*. gʊd fər ˈɛmtiɪŋ ðə breɪn ˈæftər ə ˈwərkɪŋ deɪ. ˈɛˈmeɪʧ aɪ hir jʊr ˈɔlsoʊ ə fæn əv ðə əˈprɛntɪs. əm nɑt ʃʊr aɪ laɪk ðə əˈprɛntɪs bət aɪ wɔʧ ɪt, ˈfæsəˌneɪtɪd ðət ðiz ˈɔfəl ˈpipəl ˈivɪn ɪgˈzɪst. ðæts ˈrɪʤɪdli ˌfɔrmjəˈleɪɪk tu, bət ɪts ˈfəni. ˈɛˈmeɪʧ jʊr ə kɑr əˌfiʃjəˈnɑˌdoʊ tu. ˈɛvər wɔʧ tɔp gɪr? jɛs bət aɪ si ɪt ɛz θri klaʊnz ˌɛnˈʤɔɪɪŋ ðɛmˈsɛlvz ənd ˈnəθɪŋ ˌwətsoʊˈɛvər tɪ du wɪθ ˈmoʊtər kɑz. ðeɪ ˈnɛvər tɔk əˈbaʊt ðə ɛsˈθɛtɪk ˈbjuti əv kɑz, ðɛr ˈhɪstəri ər fˈjuʧər. ðɛr ʤɪst ˌoʊvərˈgroʊn ˈskulˌbɔɪz. ˈɛˈmeɪʧ ju ʃʊd goʊ ɔn ɪt ənd bi ðə stɑr ɪn ə ˈrizənəbli praɪst kɑr. (læfs uproariously*) aɪ doʊnt θɪŋk ðæts ə gʊd aɪˈdiə. aɪd bi ˈtɛrəbli rud ɪn ðə ˈɪntərvˌju. |
image caption microsoft claims it would cost it $4bn a year if it met all of motorola's licensing demands
microsoft has suffered a setback in a patent row over technologies used by its 360 games console.
a judge at the us international trade commission has ruled that the firm infringed four patents owned by motorola mobility .
the full commission will review the judgement in august.
if the final ruling goes against microsoft and it does not settle, motorola could theoretically force it to halt imports of the to the us.
the claims relate to technologies involved in the video compression standard and wi-fi connectivity.
licensing fees
this is just one of several cases involving about 50 intellectual properties that the maker says microsoft should have licensed.
microsoft has said that if it met all of motorola's demands it would face an annual bill of $4bn (£2.5bn).
motorola - which is in the process of being taken over by google - disputes the figure.
a spokesman for motorola said: "microsoft continues to infringe motorola patent portfolio, and we remain confident in our position."
however, microsoft signalled it planned to fight on, saying: "we remain confident the commission will ultimately rule in microsoft's favour."
'essential' innovations
patent consultant florian mueller, who advises microsoft, noted on his blog that three of the four disputed patents involved technologies .
these are inventions recognised as being essential to an industry standard. in other words, microsoft could not offer wi-fi or the ability to play videos without using them.
such patents must be offered under "fair, reasonable and non-discriminatory terms".
at the start of april, the european commission said that it had launched two investigations into whether motorola's efforts to enforce its innovations amounted to "an abuse of a dominant market position".
german ban
the next significant ruling involving the two firms is due on 2 may from a court in mannheim, germany.
it will decide whether motorola should be allowed to order a ban on the distribution of windows 7, windows media payer and the console in the country because of the patents dispute.
microsoft has already moved its european software distribution centre from germany to the netherlands to potential disruption.
however, a us court has ruled that motorola must not enforce such a ban until a judge considers evidence about the company's behaviour. a hearing is scheduled for 7 may. | ˈɪmɪʤ ˈkæpʃən ˈmaɪˌkroʊˈsɔft kleɪmz ɪt wʊd kɔst ɪt ə jɪr ɪf ɪt mɛt ɔl əv ˌmoʊtərˈoʊləz ˈlaɪsənsɪŋ dɪˈmændz ˈmaɪˌkroʊˈsɔft həz ˈsəfərd ə ˈsɛtˌbæk ɪn ə ˈpætənt roʊ ˈoʊvər tɛkˈnɑləʤiz juzd baɪ ɪts 360 geɪmz ˈkɑnsoʊl. ə ʤəʤ æt ðə ˈjuˈɛs ˌɪnərˈnæʃənɑl treɪd kəˈmɪʃən həz ruld ðət ðə fərm ˌɪnˈfrɪnʤd fɔr ˈpætənts oʊnd baɪ ˌmoʊtərˈoʊlə moʊˈbɪlɪti ðə fʊl kəˈmɪʃən wɪl ˌrivˈju ðə ˈʤəʤmənt ɪn ˈɔgəst. ɪf ðə ˈfaɪnəl ˈrulɪŋ goʊz əˈgɛnst ˈmaɪˌkroʊˈsɔft ənd ɪt dɪz nɑt ˈsɛtəl, ˌmoʊtərˈoʊlə kʊd ˌθiərˈɛtɪkəli fɔrs ɪt tɪ hɔlt ˌɪmˈpɔrts əv ðə tɪ ðə ˈjuˈɛs. ðə kleɪmz rɪˈleɪt tɪ tɛkˈnɑləʤiz ˌɪnˈvɑlvd ɪn ðə ˈvɪdioʊ kəmˈprɛʃən ˈstændərd ənd ˈwaɪˌfaɪ kənɛkˈtɪvɪti. ˈlaɪsənsɪŋ fiz ðɪs ɪz ʤɪst wən əv ˈsɛvərəl ˈkeɪsɪz ˌɪnˈvɑlvɪŋ əˈbaʊt 50 ˌɪnəˈlɛkʧuəl ˈprɑpərtiz ðət ðə ˈmeɪkər sɪz ˈmaɪˌkroʊˈsɔft ʃʊd hæv ˈlaɪsənst. ˈmaɪˌkroʊˈsɔft həz sɛd ðət ɪf ɪt mɛt ɔl əv ˌmoʊtərˈoʊləz dɪˈmændz ɪt wʊd feɪs ən ˈænjuəl bɪl əv £2.5bn*). ˌmoʊtərˈoʊlə wɪʧ ɪz ɪn ðə ˈprɔˌsɛs əv biɪŋ ˈteɪkən ˈoʊvər baɪ ˈgugəl dɪˈspjuts ðə ˈfɪgjər. ə ˈspoʊksmən fər ˌmoʊtərˈoʊlə sɛd: "ˈmaɪˌkroʊˈsɔft kənˈtɪnjuz tɪ ˌɪnˈfrɪnʤ ˌmoʊtərˈoʊlə ˈpætənt pɔrtˈfoʊliˌoʊ, ənd wi rɪˈmeɪn ˈkɑnfədənt ɪn ɑr pəˈzɪʃən." ˌhaʊˈɛvər, ˈmaɪˌkroʊˈsɔft ˈsɪgnəld ɪt plænd tɪ faɪt ɔn, seɪɪŋ: "wi rɪˈmeɪn ˈkɑnfədənt ðə kəˈmɪʃən wɪl ˈəltəmətli rul ɪn ˈmaɪˌkroʊˈsɔfts ˈfeɪvər." 'ɛˈsɛnʃəl' ˌɪnəˈveɪʃənz ˈpætənt kənˈsəltənt ˈflɔriən mˈjulər, hu ædˈvaɪzɪz ˈmaɪˌkroʊˈsɔft, ˈnoʊtɪd ɔn hɪz blɔg ðət θri əv ðə fɔr dɪˈspjutɪd ˈpætənts ˌɪnˈvɑlvd tɛkˈnɑləʤiz ðiz ər ˌɪnˈvɛnʃənz ˈrɛkəgˌnaɪzd ɛz biɪŋ ɛˈsɛnʃəl tɪ ən ˈɪndəstri ˈstændərd. ɪn ˈəðər wərdz, ˈmaɪˌkroʊˈsɔft kʊd nɑt ˈɔfər ˈwaɪˌfaɪ ər ðə əˈbɪləˌti tɪ pleɪ ˈvɪdioʊz wɪˈθaʊt ˈjuzɪŋ ðɛm. səʧ ˈpætənts məst bi ˈɔfərd ˈəndər "fɛr, ˈrizənəbəl ənd ˈnɑndɪˈskrɪmənəˌtɔri tərmz". æt ðə stɑrt əv ˈeɪprəl, ðə ˌjʊrəˈpiən kəˈmɪʃən sɛd ðət ɪt hæd lɔnʧt tu ˌɪnˌvɛstəˈgeɪʃənz ˈɪntu ˈwɛðər ˌmoʊtərˈoʊləz ˈɛfərts tɪ ɛnˈfɔrs ɪts ˌɪnəˈveɪʃənz əˈmaʊnɪd tɪ "ən əˈbjuz əv ə ˈdɑmənənt ˈmɑrkɪt pəˈzɪʃən". ˈʤərmən bæn ðə nɛkst sɪgˈnɪfɪkənt ˈrulɪŋ ˌɪnˈvɑlvɪŋ ðə tu fərmz ɪz du ɔn 2 meɪ frəm ə kɔrt ɪn ˈmænhaɪm, ˈʤərməni. ɪt wɪl ˌdɪˈsaɪd ˈwɛðər ˌmoʊtərˈoʊlə ʃʊd bi əˈlaʊd tɪ ˈɔrdər ə bæn ɔn ðə ˌdɪstrəˈbjuʃən əv ˈwɪndoʊz 7 ˈwɪndoʊz ˈmidiə peɪər ənd ðə ˈkɑnsoʊl ɪn ðə ˈkəntri bɪˈkəz əv ðə ˈpætənts dɪˈspjut. ˈmaɪˌkroʊˈsɔft həz ɔˈrɛdi muvd ɪts ˌjʊrəˈpiən ˈsɔfˌwɛr ˌdɪstrəˈbjuʃən ˈsɛntər frəm ˈʤərməni tɪ ðə ˈnɛðərləndz tɪ pəˈtɛnʃəl dɪsˈrəpʃən. ˌhaʊˈɛvər, ə ˈjuˈɛs kɔrt həz ruld ðət ˌmoʊtərˈoʊlə məst nɑt ɛnˈfɔrs səʧ ə bæn ənˈtɪl ə ʤəʤ kənˈsɪdərz ˈɛvədəns əˈbaʊt ðə ˈkəmpəniz bɪˈheɪvjər. ə ˈhirɪŋ ɪz ˈskɛʤʊld fər 7 meɪ. |
costa rica has again topped the happy planet index rankings with a substantial lead - having previously come top in our 2009 and 2012 editions. this tropical country is home to the greatest density of species in the world. costa per capita is less than a quarter of the size of many western european and north american countries, and is primarily based on tourism, agriculture and exports.
people living in costa rica have higher wellbeing than the residents of many rich nations, including the usa and the uk, and live longer than people in the usa. and all of this is achieved with a per capita ecological footprint just one third of the size of the usa’s.
what’s working well in costa rica?
costa rica abolished its army in 1949, and has since reallocated army funds to be spent on education, health and pensions . in 2012, costa rica invested more in education and health as a proportion of gross domestic product than the uk. professor mariano rojas, a costa rican economist at the latin american faculty of social sciences, attributes costa ricans’ high wellbeing to a culture of forming solid social networks of friends, families and neighbourhoods.
costa rica is also a world leader when it comes to environmental protection. the costa rican government uses taxes collected on the sale of fossil fuels to pay for the protection of forests.
in 2015, the country was able to produce 99% of its electricity from renewable sources, and the government continues to invest in renewable energy generation in an effort to meet its goal of becoming carbon neutral by 2021.
what could be improved?
income inequality in costa rica is particularly high - in part because costa tax system does not effectively redistribute wealth across the population. and while costa commitment to environmental sustainability is impressive, its ecological footprint yet small enough to be completely sustainable.
photo credit: cc pasha | ˈkɔstɑ ˈrikə həz əˈgɛn tɑpt ðə ˈhæpi ˈplænət ˈɪndɛks ˈræŋkɪŋz wɪθ ə səbˈstænʃəl lɛd ˈhævɪŋ ˈpriviəsli kəm tɔp ɪn ɑr 2009 ənd 2012 ɪˈdɪʃənz. ðɪs ˈtrɑpɪkəl ˈkəntri ɪz hoʊm tɪ ðə ˈgreɪtəst ˈdɛnsɪti əv ˈspiʃiz ɪn ðə wərld. ˈkɔstɑ pər ˈkæpɪtə ɪz lɛs ðən ə kˈwɔrtər əv ðə saɪz əv ˈmɛni ˈwɛstərn ˌjʊrəˈpiən ənd nɔrθ əˈmɛrɪkən ˈkəntriz, ənd ɪz praɪˈmɛrəli beɪst ɔn ˈtʊˌrɪzəm, ˈægrɪˌkəlʧər ənd ˈɛkspɔrts. ˈpipəl ˈlɪvɪŋ ɪn ˈkɔstɑ ˈrikə hæv haɪər ˌwɛlˈbiɪŋ ðən ðə ˈrɛzɪdənts əv ˈmɛni rɪʧ ˈneɪʃənz, ˌɪnˈkludɪŋ ðə ˈjuˈɛˈseɪ ənd ðə uk*, ənd lɪv ˈlɔŋgər ðən ˈpipəl ɪn ðə ˈjuˈɛˈseɪ. ənd ɔl əv ðɪs ɪz əˈʧivd wɪθ ə pər ˈkæpɪtə ɛkəˈlɑʤɪkəl ˈfʊtˌprɪnt ʤɪst wən θərd əv ðə saɪz əv ðə usa’s*. ˈwərkɪŋ wɛl ɪn ˈkɔstɑ ˈrikə? ˈkɔstɑ ˈrikə əˈbɑlɪʃt ɪts ˈɑrmi ɪn 1949 ənd həz sɪns ˌriˈæləˌkeɪtɪd ˈɑrmi fəndz tɪ bi spɛnt ɔn ˌɛʤəˈkeɪʃən, hɛlθ ənd ˈpɛnʃənz ɪn 2012 ˈkɔstɑ ˈrikə ˌɪnˈvɛstɪd mɔr ɪn ˌɛʤəˈkeɪʃən ənd hɛlθ ɛz ə prəˈpɔrʃən əv groʊs dəˈmɛstɪk ˈprɑdəkt ðən ðə uk*. prəˈfɛsər ˌmɑriˈɑnoʊ ˈroʊhɑs, ə ˈkɔstɑ ˈrikən ɪˈkɑnəmɪst æt ðə ˈlætən əˈmɛrɪkən ˈfækəlti əv ˈsoʊʃəl ˈsaɪənsɪz, əˈtrɪˌbjuts ˈkɔstɑ ricans’*’ haɪ ˌwɛlˈbiɪŋ tɪ ə ˈkəlʧər əv ˈfɔrmɪŋ ˈsɑləd ˈsoʊʃəl ˈnɛtˌwərks əv frɛndz, ˈfæməliz ənd ˈneɪbərˌhʊdz. ˈkɔstɑ ˈrikə ɪz ˈɔlsoʊ ə wərld ˈlidər wɪn ɪt kəmz tɪ ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən. ðə ˈkɔstɑ ˈrikən ˈgəvərnmənt ˈjuzɪz ˈtæksɪz kəˈlɛktəd ɔn ðə seɪl əv ˈfɑsəl fjuəlz tɪ peɪ fər ðə prəˈtɛkʃən əv ˈfɔrəsts. ɪn 2015 ðə ˈkəntri wɑz ˈeɪbəl tɪ ˈproʊdus 99 əv ɪts ɪˌlɛkˈtrɪsəti frəm riˈnuəbəl ˈsɔrsəz, ənd ðə ˈgəvərnmənt kənˈtɪnjuz tɪ ˌɪnˈvɛst ɪn riˈnuəbəl ˈɛnərʤi ˌʤɛnərˈeɪʃən ɪn ən ˈɛfərt tɪ mit ɪts goʊl əv bɪˈkəmɪŋ ˈkɑrbən ˈnutrəl baɪ 2021 wət kʊd bi ˌɪmˈpruvd? ˈɪnˌkəm ˌɪnɪkˈwɑləti ɪn ˈkɔstɑ ˈrikə ɪz ˌpɑrˈtɪkjələrli haɪ ɪn pɑrt bɪˈkəz ˈkɔstɑ tæks ˈsɪstəm dɪz nɑt ˈifɛktɪvli ˌridɪˈstrɪbjut wɛlθ əˈkrɔs ðə ˌpɑpjəˈleɪʃən. ənd waɪl ˈkɔstɑ kəˈmɪtmənt tɪ ɪnˌvaɪrənˈmɛnəl səˌsteɪnəˈbɪlɪti ɪz ˌɪmˈprɛsɪv, ɪts ɛkəˈlɑʤɪkəl ˈfʊtˌprɪnt jɛt smɔl ɪˈnəf tɪ bi kəmˈplitli səˈsteɪnəbəl. ˈfoʊˌtoʊ ˈkrɛdɪt: ˈsiˈsi ˈpɑʃə |
and opponents of star citizen tried to say there was no market for a space simulator...
we all knew that chris roberts' freelancer spiritual successor, star citizen was a big deal, but did you know that it has now sailed past $55 million in crowdfunding? this milestone means that not only is it the most video game, but it is now officially in the guinness book of world records as the most anything, ever.
roberts, in a blog post on robert space industries responding to the new world record, tries to ascertain just where all this money is coming from, and why people keep dumping more and more into the still unreleased title.
"the answer is that star citizen isn't a normal game," he said. "it's not being developed like a normal game and it's not being funded like a normal game. i've had to toss aside a lot of my knowledge from the old way of developing and embrace a completely new world. there is no publisher. there is no venture capitalist wanting a massive return in three years."
"there is no need to cram the game onto a disc and hope we got it all right." he continued, "star citizen is not the type of game that will be played for a few weeks, then put on a shelf to gather dust. instead of building a game in secrecy we can be fully open with you as a community who have made this game possible."
roberts also announced that the team building star citizen has now increased in number to 280, which is quite a sizable team to be working on the game.
from the sounds of things, roberts is definitely in it for the long haul, and star citizen will most likely be the game to look out for this generation. backers can already alpha test the module of the game, and the module is expected to be revealed at this year's pax australia expo in november.
just don't hold your breath on the title coming to consoles, as it is apparently too big of a game for sony and microsoft's machines to handle.
source: roberts space industries via | ənd əˈpoʊnənts əv stɑr ˈsɪtɪzən traɪd tɪ seɪ ðɛr wɑz noʊ ˈmɑrkɪt fər ə speɪs ˈsɪmjəˌleɪtər... wi ɔl nu ðət krɪs ˈrɑbərts' ˈfriˌlænsər ˈspɪrɪˌʧuəl səkˈsɛsər, stɑr ˈsɪtɪzən wɑz ə bɪg dil, bət dɪd ju noʊ ðət ɪt həz naʊ seɪld pæst 55 ˈmɪljən ɪn crowdfunding*? ðɪs ˈmaɪlˌstoʊn minz ðət nɑt ˈoʊnli ɪz ɪt ðə moʊst ˈvɪdioʊ geɪm, bət ɪt ɪz naʊ əˈfɪʃəli ɪn ðə ˈgɪnəs bʊk əv wərld ˈrɛkərdz ɛz ðə moʊst ˈɛniˌθɪŋ, ˈɛvər. ˈrɑbərts, ɪn ə blɔg poʊst ɔn ˈrɑbərt speɪs ˈɪndəstriz rɪˈspɑndɪŋ tɪ ðə nu wərld ˈrɛkərd, traɪz tɪ ˌæsərˈteɪn ʤɪst wɛr ɔl ðɪs ˈməni ɪz ˈkəmɪŋ frəm, ənd waɪ ˈpipəl kip ˈdəmpɪŋ mɔr ənd mɔr ˈɪntu ðə stɪl ənrɪˈlist ˈtaɪtəl. "ðə ˈænsər ɪz ðət stɑr ˈsɪtɪzən ˈɪzənt ə ˈnɔrməl geɪm," hi sɛd. "ɪts nɑt biɪŋ dɪˈvɛləpt laɪk ə ˈnɔrməl geɪm ənd ɪts nɑt biɪŋ ˈfəndɪd laɪk ə ˈnɔrməl geɪm. aɪv hæd tɪ tɔs əˈsaɪd ə lɔt əv maɪ ˈnɑlɪʤ frəm ðə oʊld weɪ əv dɪˈvɛləpɪŋ ənd ɪmˈbreɪs ə kəmˈplitli nu wərld. ðɛr ɪz noʊ ˈpəblɪʃər. ðɛr ɪz noʊ ˈvɛnʧər ˈkæpətəlɪst ˈwɑnɪŋ ə ˈmæsɪv rɪˈtərn ɪn θri jɪrz." "ðɛr ɪz noʊ nid tɪ kræm ðə geɪm ˈɔntu ə dɪsk ənd hoʊp wi gɑt ɪt ɔl raɪt." hi kənˈtɪnjud, "stɑr ˈsɪtɪzən ɪz nɑt ðə taɪp əv geɪm ðət wɪl bi pleɪd fər ə fju wiks, ðɛn pʊt ɔn ə ʃɛlf tɪ ˈgæðər dəst. ˌɪnˈstɛd əv ˈbɪldɪŋ ə geɪm ɪn ˈsikrəsi wi kən bi ˈfʊli ˈoʊpən wɪθ ju ɛz ə kəmˈjunɪti hu hæv meɪd ðɪs geɪm ˈpɑsəbəl." ˈrɑbərts ˈɔlsoʊ əˈnaʊnst ðət ðə tim ˈbɪldɪŋ stɑr ˈsɪtɪzən həz naʊ ˌɪnˈkrist ɪn ˈnəmbər tɪ 280 wɪʧ ɪz kwaɪt ə ˈsaɪzəbəl tim tɪ bi ˈwərkɪŋ ɔn ðə geɪm. frəm ðə saʊnz əv θɪŋz, ˈrɑbərts ɪz ˈdɛfənətli ɪn ɪt fər ðə lɔŋ hɔl, ənd stɑr ˈsɪtɪzən wɪl moʊst ˈlaɪkli bi ðə geɪm tɪ lʊk aʊt fər ðɪs ˌʤɛnərˈeɪʃən. ˈbækərz kən ɔˈrɛdi ˈælfə tɛst ðə ˈmɑʤul əv ðə geɪm, ənd ðə ˈmɑʤul ɪz ɪkˈspɛktɪd tɪ bi rɪˈvild æt ðɪs jɪrz pæks ɔˈstreɪljə ˈɛkspoʊ ɪn noʊˈvɛmbər. ʤɪst doʊnt hoʊld jʊr brɛθ ɔn ðə ˈtaɪtəl ˈkəmɪŋ tɪ kənˈsoʊlz, ɛz ɪt ɪz əˈpɛrəntli tu bɪg əv ə geɪm fər ˈsoʊni ənd ˈmaɪˌkroʊˈsɔfts məˈʃinz tɪ ˈhændəl. sɔrs: ˈrɑbərts speɪs ˈɪndəstriz ˈviə |
puppetconf, the operations conference of choice, is back this year. the 2012 incarnation will be larger, and located at the mission bay conference center in san francisco, ca on sep 27 & 28. last year we had an amazing conference with presentations on puppet, great operations, and of course, an excellent hallway track. so doubling down on the past success, and we're adding some fresh activities, too. new to the docket: hands-on technical labs to show off some new technologies, offering our first bout of puppet certifications, and having an entire track devoted to community and modules.
you can be a part of in several ways. the call for speakers is open, and we're looking for presentations in format (45 minutes or so), as well as ideas. our call for presentations closes july 31, so don't delay too long.
puppetconf cfp: what we want
we're interested in presentations and topics around expanding puppet deployments, using puppet at scale, module authoring, puppet forge usage and anything else related to puppet. we also love talks on operations teams and practices that make us all better. these talks don't have to focus on puppet at all. we love hearing about scaling to tens of thousands of nodes, test driven infrastructure, next generation monitoring, operations with dozens of lines of business, and more. this is a great chance to let people in the world know what you're doing.
for the topics, nothing is off limits. we'll tackle hard problems, we'll theorize, deliver conjecture, and have a great time.
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if you're looking for ideas and wondering if something would be hit, it's sometimes a good idea to run the topics by the folks in #puppet on irc. send ideas to the list as well.
puppetconf for
if speaking your thing, perfectly ok. attending is an awesome experience. see some blog posts from featured speakers coming soon. be able to learn from listening, some from experiencing things in labs, and some from great discussions in between sessions and at night.
no matter what reasons you have to get to, just get there. i look forward to chatting with you and sharing our infrastructure experiences.
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cross-posted from.com | puppetconf*, ðə ˌɑpərˈeɪʃənz ˈkɑnfərəns əv ʧɔɪs, ɪz bæk ðɪs jɪr. ðə 2012 ˌɪnˈkɑrˈneɪʃən wɪl bi ˈlɑrʤər, ənd ˈloʊˌkeɪtəd æt ðə ˈmɪʃən beɪ ˈkɑnfərəns ˈsɛnər ɪn sæn frænˈsɪskoʊ, ˈsiˈeɪ ɔn ˈɛˈsiˈpi 27 28 læst jɪr wi hæd ən əˈmeɪzɪŋ ˈkɑnfərəns wɪθ ˌprɛzənˈteɪʃənz ɔn ˈpəpɪt, greɪt ˌɑpərˈeɪʃənz, ənd əv kɔrs, ən ˈɛksələnt ˈhɔlˌweɪ træk. soʊ ˈdəbəlɪŋ daʊn ɔn ðə pæst səkˈsɛs, ənd wɪr ˈædɪŋ səm frɛʃ ækˈtɪvɪtiz, tu. nu tɪ ðə ˈdɑkət: ˌhænˈzɔn ˈtɛknɪkəl læbz tɪ ʃoʊ ɔf səm nu tɛkˈnɑləʤiz, ˈɔfərɪŋ ɑr fərst baʊt əv ˈpəpɪt ˌsərtəfəˈkeɪʃənz, ənd ˈhævɪŋ ən ɪnˈtaɪər træk dɪˈvoʊtɪd tɪ kəmˈjunɪti ənd ˈmɑʤulz. ju kən bi ə pɑrt əv ɪn ˈsɛvərəl weɪz. ðə kɔl fər ˈspikərz ɪz ˈoʊpən, ənd wɪr ˈlʊkɪŋ fər ˌprɛzənˈteɪʃənz ɪn ˈfɔrˌmæt 45 ˈmɪnəts ər soʊ), ɛz wɛl ɛz aɪˈdiəz. ɑr kɔl fər ˌprɛzənˈteɪʃənz ˈkloʊzɪz ˌʤuˈlaɪ 31 soʊ doʊnt dɪˈleɪ tu lɔŋ. cfp*: wət wi wɔnt wɪr ˈɪntəˌrɛstɪd ɪn ˌprɛzənˈteɪʃənz ənd ˈtɑpɪks əraʊnd ɪkˈspændɪŋ ˈpəpɪt dɪˈplɔɪmənts, ˈjuzɪŋ ˈpəpɪt æt skeɪl, ˈmɑʤul ˈɔθərɪŋ, ˈpəpɪt fɔrʤ ˈjusɪʤ ənd ˈɛniˌθɪŋ ɛls rɪˈleɪtɪd tɪ ˈpəpɪt. wi ˈɔlsoʊ ləv tɔks ɔn ˌɑpərˈeɪʃənz timz ənd ˈpræktɪsɪz ðət meɪk ˈjuˈɛs ɔl ˈbɛtər. ðiz tɔks doʊnt hæv tɪ ˈfoʊkɪs ɔn ˈpəpɪt æt ɔl. wi ləv ˈhirɪŋ əˈbaʊt ˈskeɪlɪŋ tɪ tɛnz əv ˈθaʊzənz əv noʊdz, tɛst ˈdrɪvən ˌɪnfrəˈstrəkʧər, nɛkst ˌʤɛnərˈeɪʃən ˈmɑnətərɪŋ, ˌɑpərˈeɪʃənz wɪθ ˈdəzənz əv laɪnz əv ˈbɪznɪs, ənd mɔr. ðɪs ɪz ə greɪt ʧæns tɪ lɛt ˈpipəl ɪn ðə wərld noʊ wət jʊr duɪŋ. fər ðə ˈtɑpɪks, ˈnəθɪŋ ɪz ɔf ˈlɪmɪts. wɪl ˈtækəl hɑrd ˈprɑbləmz, wɪl θiəraɪz, dɪˈlɪvər kənˈʤɛkʧər, ənd hæv ə greɪt taɪm. gɪt ˈfidˌbæk ˌbiˈfɔr ju səbˈmɪt (ˈɔpʃənəl) ɪf jʊr ˈlʊkɪŋ fər aɪˈdiəz ənd ˈwəndərɪŋ ɪf ˈsəmθɪŋ wʊd bi hɪt, ɪts ˈsəmˌtaɪmz ə gʊd aɪˈdiə tɪ rən ðə ˈtɑpɪks baɪ ðə foʊks ɪn #ˈpəpɪt ɔn irc*. sɛnd aɪˈdiəz tɪ ðə lɪst ɛz wɛl. fər ɪf ˈspikɪŋ jʊr θɪŋ, ˈpərfəktli ˈoʊˈkeɪ. əˈtɛndɪŋ ɪz ən ˈɔsəm ɪkˈspɪriəns. si səm blɔg poʊsts frəm ˈfiʧərd ˈspikərz ˈkəmɪŋ sun. bi ˈeɪbəl tɪ lərn frəm ˈlɪsənɪŋ, səm frəm ɪkˈspɪriənsɪŋ θɪŋz ɪn læbz, ənd səm frəm greɪt dɪˈskəʃənz ɪn bɪtˈwin ˈsɛʃənz ənd æt naɪt. noʊ ˈmætər wət ˈrizənz ju hæv tɪ gɪt tɪ, ʤɪst gɪt ðɛr. aɪ lʊk ˈfɔrwərd tɪ ˈʧætɪŋ wɪθ ju ənd ˈʃɛrɪŋ ɑr ˌɪnfrəˈstrəkʧər ɪkˈspɪriənsɪz. lərn mɔr: frəm |
a great piece of design or illustration can be taken to new heights by having it screen-printed. the texture and variance of the ink on the paper is beautiful, and the 'happy mistakes' are delicious. but this magic is not possible without prepping your artwork. let's learn how!
introduction
i have previously shown how i generally go about creating an illustration or design, this tutorial is not that.
in this tut i will cover the steps that need to be taken, after the artwork is completed, for it to be ready for screen-printing. this is not a tutorial on the process of screen printing, if you are unfamiliar with the process please review an additional tutorial.
the basic idea is that the artwork will be separated into different layers of color, and printed one at a time. a great aspect of this process is that by overlapping the layers you can create additional colors. this tutorial showcases how i prepare, or separate, the artwork for printing.
i should note that there are probably a million variations on this process, and everyone undoubtedly does it a little differently. i am showing how i go about it.
final image preview
want access to the full vector source files and copies of every tutorial, including this one? join vector plus for just 9$ a month. a preview of the final image is below. you can view the large version here.
step 1
while designing i have already thought about a few main issues. mainly, the order the layers will be printed, and how the colors will work. for this design i kept the layering as simple as possible so that it was easy to see what i am doing.
the design will have two layers, teal and brown. first the teal layer will be printed, followed by the brown layer over the top of the teal. the shadow inside the sleeve of the mans arm is the only area of overlap. when the teal and brown overlay, it will create the dark brown color.
step
most people probably try a few different things and have extra pieces and scrapes around a design, so first i will need to do little up. while creating this design i the hand and the hair letters saying "work" on the hand (in black). this will not be used, so delete it.
step
from experience i have learned to take that extra second before i start and make a copy of the entire illustration in a new layer, then hide its visibility. this is just for a backup, but i always end up using it.
step 3
since the design is made from so many different shapes, i like to simplifying things. here the design is in the outlines view mode. you can start to see that the design is made of many different shapes. this can get messy when trying to print the artwork in layers, as you need to with screen-printing. so i need to separate the colors into two layers (the brown and the teal layers) so that when the layers overlap they do not interfere with each other.
step
this next step is the basic process that will be repeated throughout this tut, so its important to understand. it will involve adding or subtracting combinations of shapes using the pathfinder palette. suggestion: experiment with every option of this palette. it's the easiest way to understand how it works.
i want to combine the two shapes that make up the brown jacket sleeve (selected in red). select both shapes.
step
click the add to shape area button while holding the option key to expand, otherwise you will have to hit the expand button. this creates one simplified shape.
step 5
next i need to trim the letters of the dashed lines in the suit jacket - the word "get," because the shape that covered it before got lost in the previous step.
go into the backup layer ("layer image 1 copy") and select the brown shape. copy the shape (command + c). switch back to the working layer and paste the shape (command + f). be sure to hide the backup layer and select the working layer (top layer).
step 6
select the dashed line shape and the brown jacket sleeve shape. holding the option key select subtract from shape area again in the pathfinder palette.
step 7
next move the brown shape layer (jacket sleeve and hair) layer so that it's just above the teal background shape. i noticed there is a white shape that is not needed. delete it.
step
select the brown jacket shape and paste a copy in back (command + b). select the large teal background shape and select the subtract from shape area button. obviously, you know to hold the option button or hit expand by now so i wont mention it again.
step
now, you need to delete the dashed lines that make up the word "get," because it overlaps where you want the paper to show through the brown jacket shape. enter the large teal background shape group (by if your in) and delete the dashed lines.
step 9
subtract the cream shirt shape with the word "to" written in teal (the button is the "o") in it from the brown jacket shape. select the subtract from shape area button in the pathfinder palette, while both shapes are selected. we are getting super close!
step 10
simply select the dark brown inside of the sleeve shape and change the color to the teal shape using the eye dropper tool.
step 11
subtract the cream hand shape from the large teal background shape.
step 12
select all the teal shapes, using the magic wand tool, and group them (command + g). do the same with the brown shapes and label that the "brown" layer. move the "teal" layer to the position just above the cream paper color and label the layer "teal." label each layer and edit the name of the layer) and move the "brown" layer above the "teal" layer.
step 13
ready to print! feel free to delete the "backup" layer at this point. to preview how the colors will look when they are screen printed, select the brown layer, and change its blending mode to multiply. this mimics what will happen when the brown layer is printed over the teal layer.
final image
*disclaimer: the colors on screen may vary (sometimes drastically) from the color of the final screen print. numerous factors can effect the color of the print, such as mixing inks by hand, color of the paper, natural light versus light, etc. it is not an exact science, but it is beautiful.
the final image is below. you can view the large version here.
subscribe to the vectortuts+ feed to stay up to date with the latest vector tutorials and articles. | ə greɪt pis əv dɪˈzaɪn ər ˌɪləˈstreɪʃən kən bi ˈteɪkən tɪ nu haɪts baɪ ˈhævɪŋ ɪt screen-printed*. ðə ˈtɛksʧər ənd ˈvɛriəns əv ðə ɪŋk ɔn ðə ˈpeɪpər ɪz ˈbjutəfəl, ənd ðə 'ˈhæpi mɪˈsteɪks' ər dɪˈlɪʃəs. bət ðɪs ˈmæʤɪk ɪz nɑt ˈpɑsəbəl wɪˈθaʊt ˈprɛpɪŋ jʊr ˈɑrtˌwərk. lɛts lərn haʊ! ˌɪntrəˈdəkʃən aɪ hæv ˈpriviəsli ʃoʊn haʊ aɪ ˈʤɛnərəli goʊ əˈbaʊt kriˈeɪtɪŋ ən ˌɪləˈstreɪʃən ər dɪˈzaɪn, ðɪs tuˈtɔriəl ɪz nɑt ðət. ɪn ðɪs tət aɪ wɪl ˈkəvər ðə stɛps ðət nid tɪ bi ˈteɪkən, ˈæftər ðə ˈɑrtˌwərk ɪz kəmˈplitɪd, fər ɪt tɪ bi ˈrɛdi fər screen-printing*. ðɪs ɪz nɑt ə tuˈtɔriəl ɔn ðə ˈprɔˌsɛs əv skrin ˈprɪnɪŋ, ɪf ju ər ˌənfəˈmɪljər wɪθ ðə ˈprɔˌsɛs pliz ˌrivˈju ən əˈdɪʃənəl tuˈtɔriəl. ðə ˈbeɪsɪk aɪˈdiə ɪz ðət ðə ˈɑrtˌwərk wɪl bi ˈsɛpərˌeɪtɪd ˈɪntu ˈdɪfərənt leɪərz əv ˈkələr, ənd ˈprɪnɪd wən æt ə taɪm. ə greɪt ˈæˌspɛkt əv ðɪs ˈprɔˌsɛs ɪz ðət baɪ ˈoʊvərˌlæpɪŋ ðə leɪərz ju kən kriˈeɪt əˈdɪʃənəl ˈkələrz. ðɪs tuˈtɔriəl ˈʃoʊˌkeɪsɪz haʊ aɪ priˈpɛr, ər ˈsɛpərˌeɪt, ðə ˈɑrtˌwərk fər ˈprɪnɪŋ. aɪ ʃʊd noʊt ðət ðɛr ər ˈprɑbəˌbli ə ˈmɪljən ˌvɛriˈeɪʃənz ɔn ðɪs ˈprɔˌsɛs, ənd ˈɛvriˌwən ənˈdaʊtɪdli dɪz ɪt ə ˈlɪtəl ˈdɪfərˈɛntli. aɪ æm ʃoʊɪŋ haʊ aɪ goʊ əˈbaʊt ɪt. ˈfaɪnəl ˈɪmɪʤ ˈprivˌju wɔnt ˈækˌsɛs tɪ ðə fʊl ˈvɛktər sɔrs faɪlz ənd ˈkɑpiz əv ˈɛvəri tuˈtɔriəl, ˌɪnˈkludɪŋ ðɪs wən? ʤɔɪn ˈvɛktər pləs fər ʤɪst 9 ə mənθ. ə ˈprivˌju əv ðə ˈfaɪnəl ˈɪmɪʤ ɪz bɪˈloʊ. ju kən vju ðə lɑrʤ ˈvərʒən hir. stɛp 1 waɪl dɪˈzaɪnɪŋ aɪ hæv ɔˈrɛdi θɔt əˈbaʊt ə fju meɪn ˈɪʃuz. ˈmeɪnli, ðə ˈɔrdər ðə leɪərz wɪl bi ˈprɪnɪd, ənd haʊ ðə ˈkələrz wɪl wərk. fər ðɪs dɪˈzaɪn aɪ kɛpt ðə leɪərɪŋ ɛz ˈsɪmpəl ɛz ˈpɑsəbəl soʊ ðət ɪt wɑz ˈizi tɪ si wət aɪ æm duɪŋ. ðə dɪˈzaɪn wɪl hæv tu leɪərz, til ənd braʊn. fərst ðə til leɪər wɪl bi ˈprɪnɪd, ˈfɑloʊd baɪ ðə braʊn leɪər ˈoʊvər ðə tɔp əv ðə til. ðə ˈʃæˌdoʊ ˌɪnˈsaɪd ðə sliv əv ðə mænz ɑrm ɪz ðə ˈoʊnli ˈɛriə əv ˈoʊvərˌlæp. wɪn ðə til ənd braʊn ˈoʊvərˌleɪ, ɪt wɪl kriˈeɪt ðə dɑrk braʊn ˈkələr. stɛp moʊst ˈpipəl ˈprɑbəˌbli traɪ ə fju ˈdɪfərənt θɪŋz ənd hæv ˈɛkstrə ˈpisɪz ənd skreɪps əraʊnd ə dɪˈzaɪn, soʊ fərst aɪ wɪl nid tɪ du ˈlɪtəl əp. waɪl kriˈeɪtɪŋ ðɪs dɪˈzaɪn aɪ ðə hænd ənd ðə hɛr ˈlɛtərz seɪɪŋ "wərk" ɔn ðə hænd (ɪn blæk). ðɪs wɪl nɑt bi juzd, soʊ dɪˈlit ɪt. stɛp frəm ɪkˈspɪriəns aɪ hæv ˈlərnɪd tɪ teɪk ðət ˈɛkstrə ˈsɛkənd ˌbiˈfɔr aɪ stɑrt ənd meɪk ə ˈkɑpi əv ðə ɪnˈtaɪər ˌɪləˈstreɪʃən ɪn ə nu leɪər, ðɛn haɪd ɪts ˌvɪzəˈbɪlɪti. ðɪs ɪz ʤɪst fər ə ˈbæˌkəp, bət aɪ ˈɔlˌweɪz ɛnd əp ˈjuzɪŋ ɪt. stɛp 3 sɪns ðə dɪˈzaɪn ɪz meɪd frəm soʊ ˈmɛni ˈdɪfərənt ʃeɪps, aɪ laɪk tɪ ˈsɪmpləˌfaɪɪŋ θɪŋz. hir ðə dɪˈzaɪn ɪz ɪn ðə ˈaʊˌtlaɪnz vju moʊd. ju kən stɑrt tɪ si ðət ðə dɪˈzaɪn ɪz meɪd əv ˈmɛni ˈdɪfərənt ʃeɪps. ðɪs kən gɪt ˈmɛsi wɪn traɪɪŋ tɪ prɪnt ðə ˈɑrtˌwərk ɪn leɪərz, ɛz ju nid tɪ wɪθ screen-printing*. soʊ aɪ nid tɪ ˈsɛpərˌeɪt ðə ˈkələrz ˈɪntu tu leɪərz (ðə braʊn ənd ðə til leɪərz) soʊ ðət wɪn ðə leɪərz ˈoʊvərˌlæp ðeɪ du nɑt ˌɪnərˈfɪr wɪθ iʧ ˈəðər. stɛp ðɪs nɛkst stɛp ɪz ðə ˈbeɪsɪk ˈprɔˌsɛs ðət wɪl bi rɪˈpitɪd θruaʊt ðɪs tət, soʊ ɪts ˌɪmˈpɔrtənt tɪ ˌəndərˈstænd. ɪt wɪl ˌɪnˈvɑlv ˈædɪŋ ər səbˈtræktɪŋ ˌkɑmbəˈneɪʃənz əv ʃeɪps ˈjuzɪŋ ðə ˈpæθˌfaɪndər ˈpælət. səˈʤɛsʧən: ɪkˈspɛrəmənt wɪθ ˈɛvəri ˈɔpʃən əv ðɪs ˈpælət. ɪts ðə ˈiziəst weɪ tɪ ˌəndərˈstænd haʊ ɪt wərks. aɪ wɔnt tɪ ˈkɑmbaɪn ðə tu ʃeɪps ðət meɪk əp ðə braʊn ˈʤækɪt sliv (səˈlɛktɪd ɪn rɛd). səˈlɛkt boʊθ ʃeɪps. stɛp klɪk ðə æd tɪ ʃeɪp ˈɛriə ˈbətən waɪl ˈhoʊldɪŋ ðə ˈɔpʃən ki tɪ ɪkˈspænd, ˈəðərˌwaɪz ju wɪl hæv tɪ hɪt ðə ɪkˈspænd ˈbətən. ðɪs kriˈeɪts wən ˈsɪmpləˌfaɪd ʃeɪp. stɛp 5 nɛkst aɪ nid tɪ trɪm ðə ˈlɛtərz əv ðə dæʃt laɪnz ɪn ðə sut ˈʤækɪt ðə wərd "gɪt," bɪˈkəz ðə ʃeɪp ðət ˈkəvərd ɪt ˌbiˈfɔr gɑt lɔst ɪn ðə ˈpriviəs stɛp. goʊ ˈɪntu ðə ˈbæˌkəp leɪər ("leɪər ˈɪmɪʤ 1 ˈkɑpi") ənd səˈlɛkt ðə braʊn ʃeɪp. ˈkɑpi ðə ʃeɪp (kəˈmænd si). swɪʧ bæk tɪ ðə ˈwərkɪŋ leɪər ənd peɪst ðə ʃeɪp (kəˈmænd ɛf). bi ʃʊr tɪ haɪd ðə ˈbæˌkəp leɪər ənd səˈlɛkt ðə ˈwərkɪŋ leɪər (tɔp leɪər). stɛp 6 səˈlɛkt ðə dæʃt laɪn ʃeɪp ənd ðə braʊn ˈʤækɪt sliv ʃeɪp. ˈhoʊldɪŋ ðə ˈɔpʃən ki səˈlɛkt səbˈtrækt frəm ʃeɪp ˈɛriə əˈgɛn ɪn ðə ˈpæθˌfaɪndər ˈpælət. stɛp 7 nɛkst muv ðə braʊn ʃeɪp leɪər (ˈʤækɪt sliv ənd hɛr) leɪər soʊ ðət ɪts ʤɪst əˈbəv ðə til ˈbækˌgraʊnd ʃeɪp. aɪ ˈnoʊtɪst ðɛr ɪz ə waɪt ʃeɪp ðət ɪz nɑt ˈnidɪd. dɪˈlit ɪt. stɛp səˈlɛkt ðə braʊn ˈʤækɪt ʃeɪp ənd peɪst ə ˈkɑpi ɪn bæk (kəˈmænd bi). səˈlɛkt ðə lɑrʤ til ˈbækˌgraʊnd ʃeɪp ənd səˈlɛkt ðə səbˈtrækt frəm ʃeɪp ˈɛriə ˈbətən. ˈɑbviəsli, ju noʊ tɪ hoʊld ðə ˈɔpʃən ˈbətən ər hɪt ɪkˈspænd baɪ naʊ soʊ aɪ woʊnt ˈmɛnʃən ɪt əˈgɛn. stɛp naʊ, ju nid tɪ dɪˈlit ðə dæʃt laɪnz ðət meɪk əp ðə wərd "gɪt," bɪˈkəz ɪt ˈoʊvərˌlæps wɛr ju wɔnt ðə ˈpeɪpər tɪ ʃoʊ θru ðə braʊn ˈʤækɪt ʃeɪp. ˈɛnər ðə lɑrʤ til ˈbækˌgraʊnd ʃeɪp grup (baɪ ɪf jʊr ɪn ənd dɪˈlit ðə dæʃt laɪnz. stɛp 9 səbˈtrækt ðə krim ʃərt ʃeɪp wɪθ ðə wərd "tɪ" ˈrɪtən ɪn til (ðə ˈbətən ɪz ðə "oʊ") ɪn ɪt frəm ðə braʊn ˈʤækɪt ʃeɪp. səˈlɛkt ðə səbˈtrækt frəm ʃeɪp ˈɛriə ˈbətən ɪn ðə ˈpæθˌfaɪndər ˈpælət, waɪl boʊθ ʃeɪps ər səˈlɛktɪd. wi ər ˈgɪtɪŋ ˈsupər kloʊz! stɛp 10 ˈsɪmpli səˈlɛkt ðə dɑrk braʊn ˌɪnˈsaɪd əv ðə sliv ʃeɪp ənd ʧeɪnʤ ðə ˈkələr tɪ ðə til ʃeɪp ˈjuzɪŋ ðə aɪ ˈdrɑpər tul. stɛp 11 səbˈtrækt ðə krim hænd ʃeɪp frəm ðə lɑrʤ til ˈbækˌgraʊnd ʃeɪp. stɛp 12 səˈlɛkt ɔl ðə til ʃeɪps, ˈjuzɪŋ ðə ˈmæʤɪk wɑnd tul, ənd grup ðɛm (kəˈmænd ʤi). du ðə seɪm wɪθ ðə braʊn ʃeɪps ənd ˈleɪbəl ðət ðə "braʊn" leɪər. muv ðə "til" leɪər tɪ ðə pəˈzɪʃən ʤɪst əˈbəv ðə krim ˈpeɪpər ˈkələr ənd ˈleɪbəl ðə leɪər "til." ˈleɪbəl iʧ leɪər ənd ˈɛdət ðə neɪm əv ðə leɪər) ənd muv ðə "braʊn" leɪər əˈbəv ðə "til" leɪər. stɛp 13 ˈrɛdi tɪ prɪnt! fil fri tɪ dɪˈlit ðə "ˈbæˌkəp" leɪər æt ðɪs pɔɪnt. tɪ ˈprivˌju haʊ ðə ˈkələrz wɪl lʊk wɪn ðeɪ ər skrin ˈprɪnɪd, səˈlɛkt ðə braʊn leɪər, ənd ʧeɪnʤ ɪts ˈblɛndɪŋ moʊd tɪ ˈməltəˌplaɪ. ðɪs ˈmɪmɪks wət wɪl ˈhæpən wɪn ðə braʊn leɪər ɪz ˈprɪnɪd ˈoʊvər ðə til leɪər. ˈfaɪnəl ˈɪmɪʤ *dɪˈskleɪmər: ðə ˈkələrz ɔn skrin meɪ ˈvɛri (ˈsəmˌtaɪmz ˈdræstɪkli) frəm ðə ˈkələr əv ðə ˈfaɪnəl skrin prɪnt. ˈnumərəs ˈfæktərz kən ˈifɛkt ðə ˈkələr əv ðə prɪnt, səʧ ɛz ˈmɪksɪŋ ɪŋks baɪ hænd, ˈkələr əv ðə ˈpeɪpər, ˈnæʧərəl laɪt ˈvərsəz laɪt, ˌɛtˈsɛtərə. ɪt ɪz nɑt ən ɪgˈzækt saɪəns, bət ɪt ɪz ˈbjutəfəl. ðə ˈfaɪnəl ˈɪmɪʤ ɪz bɪˈloʊ. ju kən vju ðə lɑrʤ ˈvərʒən hir. səbˈskraɪb tɪ ðə vectortuts*+ fid tɪ steɪ əp tɪ deɪt wɪθ ðə ˈleɪtəst ˈvɛktər tuˈtɔriəlz ənd ˈɑrtɪkəlz. |
an oklahoma high-school teacher charged with raping her is getting no jail time, leaving the parents of her victim stunned and outraged.
erin kathleen queen of sand springs, okla., was arrested march 17, 2012, after she was found at the suites hotel in tulsa with the teen son of shasta and adam. queen was a english teacher at charles page high school at the time.
although queen was originally charged with rape and contributing to the delinquency of a minor for supplying the boy with vodka, the case was dismissed this month when queen pleaded guilty to a different felony count of contributing to the delinquency of a minor.
she received three years of probation, was fined $600 and ordered to surrender her license.
read the story that started it all! the big list: female teachers with students
according to title 21, section 1115 of the oklahoma statutes, sex may be considered rape if the victim is at least sixteen (16) years of age and is less than eighteen (18) years of age and is a student, or under the legal custody or supervision of any public or private elementary or secondary school, junior high or high school, or public vocational school, and engages in sexual intercourse with a person who is eighteen (18) years of age or older and is an employee of the same school system.”
on march 21, tulsa county district judge william kellough gave queen a three-year suspended sentence with no prison time and no community service hours.
the outcome has the parents livid.
“i think crap,” adam told the tulsa world. “should it be rape? no. should she be charged with a sexual count for something? yes, but the way (it) was explained, no count (less than) rape that they can charge her with.”
“it’s very frustrating to us that she basically got a slap on the wrist,” said the mother, shasta.
“i cussed. i cried. i totally disagreed with it. (assistant district attorney amanda self) was under the impression that we were ok with a conviction as long as (queen) never taught again. well, we were ok with a conviction of the rape or something that represents the sexual misconduct.”
the paper reports: “within hours of arrest, it seemed to thes that the whole town of sand springs knew what had happened. their social circle grew smaller as friends and potential prom dates were prohibited from socializing with him. and as the lengthy legal process wore on, the options for his freshman year of college were limited by proximity so he could comply with subpoenas for his testimony.”
shasta says her senior year was completely tainted.
“people look at this as, ‘i know why complaining,’ you know? they been in our shoes. they know nothing about it,” she said.
mrs. told she learned of the sexual relationship with a phone call to her son.
“he was reluctant to tell me but then he told me he was with ms. queen, erin queen. and i thought that name sounds familiar. and he said, ‘mom, my english teacher.’ and i died as a parent,” she told the station.
the tulsa world reports thes believe current law in oklahoma properly addresses offenses by female teachers, and “they think the legal system hesitates to call a consensual relationship between a student and teacher especially a student and a female teacher rape.”
“if not going to punish this law to the fullest extent of it, then there should be (a law against) sexual misconduct with students,” shasta said. “there should be something.”
the district office disagrees with thes, claiming justice has been served.
“we believe a felony conviction holds this teacher accountable under the circumstances of this case,” the office said. “after speaking to the victim and the family, our office decided this was in the best interests of justice.” | ən ˌoʊkləˈhoʊmə ˈhaɪˌskul ˈtiʧər ʧɑrʤd wɪθ ˈreɪpɪŋ hər ɪz ˈgɪtɪŋ noʊ ʤeɪl taɪm, ˈlivɪŋ ðə ˈpɛrənts əv hər ˈvɪktɪm stənd ənd ˈaʊˌtreɪʤd. ˈɛrɪn kæθˈlin kwin əv sænd spərɪŋz, okla*., wɑz ərˈɛstɪd mɑrʧ 17 2012 ˈæftər ʃi wɑz faʊnd æt ðə swits hoʊˈtɛl ɪn ˈtəlsə wɪθ ðə tin sən əv ˈʃæstə ənd ˈædəm. kwin wɑz ə ˈɪŋlɪʃ ˈtiʧər æt ˈʧɑrəlz peɪʤ haɪ skul æt ðə taɪm. ˌɔlˈðoʊ kwin wɑz ərˈɪʤənəli ʧɑrʤd wɪθ reɪp ənd kənˈtrɪbjutɪŋ tɪ ðə dɪˈlɪŋkwənsi əv ə ˈmaɪnər fər səˈplaɪɪŋ ðə bɔɪ wɪθ ˈvɑdkə, ðə keɪs wɑz dɪsˈmɪst ðɪs mənθ wɪn kwin ˈplidɪd ˈgɪlti tɪ ə ˈdɪfərənt ˈfɛləni kaʊnt əv kənˈtrɪbjutɪŋ tɪ ðə dɪˈlɪŋkwənsi əv ə ˈmaɪnər. ʃi rɪˈsivd θri jɪrz əv proʊˈbeɪʃən, wɑz faɪnd 600 ənd ˈɔrdərd tɪ sərˈɛndər hər ˈlaɪsəns. rɛd ðə ˈstɔri ðət ˈstɑrtɪd ɪt ɔl! ðə bɪg lɪst: ˈfiˌmeɪl ˈtiʧərz wɪθ ˈstudənts əˈkɔrdɪŋ tɪ ˈtaɪtəl 21 ˈsɛkʃən 1115 əv ðə ˌoʊkləˈhoʊmə ˈstæʧuts, sɛks meɪ bi kənˈsɪdərd reɪp ɪf ðə ˈvɪktɪm ɪz æt list ˈsɪkˈstin 16 jɪrz əv eɪʤ ənd ɪz lɛs ðən ˈeɪˈtin 18 jɪrz əv eɪʤ ənd ɪz ə ˈstudənt, ər ˈəndər ðə ˈligəl ˈkəstədi ər ˌsupərˈvɪʒən əv ˈɛni ˈpəblɪk ər ˈpraɪvət ˌɛləˈmɛnʧri ər ˈsɛkənˌdɛri skul, ˈʤunjər haɪ ər haɪ skul, ər ˈpəblɪk voʊˈkeɪʃənəl skul, ənd ɪnˈgeɪʤɪz ɪn ˈsɛkʃuəl ˈɪnərˌkɔrs wɪθ ə ˈpərsən hu ɪz ˈeɪˈtin 18 jɪrz əv eɪʤ ər ˈoʊldər ənd ɪz ən ɪmˈplɔɪi əv ðə seɪm skul system.”*.” ɔn mɑrʧ 21 ˈtəlsə ˈkaʊnti ˈdɪstrɪkt ʤəʤ ˈwɪljəm ˈkɛlaʊ geɪv kwin ə θˈriˌjɪr səˈspɛndɪd ˈsɛntəns wɪθ noʊ ˈprɪzən taɪm ənd noʊ kəmˈjunɪti ˈsərvɪs aʊərz. ðə ˈaʊtˌkəm həz ðə ˈpɛrənts ˈlɪvɪd. θɪŋk crap,”*,” ˈædəm toʊld ðə ˈtəlsə wərld. ɪt bi reɪp? noʊ. ʃʊd ʃi bi ʧɑrʤd wɪθ ə ˈsɛkʃuəl kaʊnt fər ˈsəmθɪŋ? jɛs, bət ðə weɪ (ɪt) wɑz ɪkˈspleɪnd, noʊ kaʊnt (lɛs ðən) reɪp ðət ðeɪ kən ʧɑrʤ hər with.”*.” ˈvɛri ˈfrəˌstreɪtɪŋ tɪ ˈjuˈɛs ðət ʃi ˈbeɪsɪkli gɑt ə slæp ɔn ðə wrist,”*,” sɛd ðə ˈməðər, ˈʃæstə. kəst. aɪ kraɪd. aɪ ˈtoʊtəli dɪsəˈgrid wɪθ ɪt. (əˈsɪstənt ˈdɪstrɪkt əˈtərni əˈmændə sɛlf) wɑz ˈəndər ðə ˌɪmˈprɛʃən ðət wi wər ˈoʊˈkeɪ wɪθ ə kənˈvɪkʃən ɛz lɔŋ ɛz (kwin) ˈnɛvər tɔt əˈgɛn. wɛl, wi wər ˈoʊˈkeɪ wɪθ ə kənˈvɪkʃən əv ðə reɪp ər ˈsəmθɪŋ ðət ˌrɛprɪˈzɛnts ðə ˈsɛkʃuəl misconduct.”*.” ðə ˈpeɪpər rɪˈpɔrts: aʊərz əv ərˈɛst, ɪt simd tɪ ðə ðət ðə hoʊl taʊn əv sænd spərɪŋz nu wət hæd ˈhæpənd. ðɛr ˈsoʊʃəl ˈsərkəl gru sˈmɔlər ɛz frɛndz ənd pəˈtɛnʃəl prɑm deɪts wər proʊˈhɪbətəd frəm ˈsoʊʃəˌlaɪzɪŋ wɪθ ɪm. ənd ɛz ðə ˈlɛŋθi ˈligəl ˈprɔˌsɛs wɔr ɔn, ðə ˈɔpʃənz fər hɪz ˈfrɛʃmən jɪr əv ˈkɑlɪʤ wər ˈlɪmɪtɪd baɪ prɑkˈsɪməti soʊ hi kʊd kəmˈplaɪ wɪθ səˈpinəz fər hɪz testimony.”*.” ˈʃæstə sɪz hər ˈsinjər jɪr wɑz kəmˈplitli ˈteɪntɪd. lʊk æt ðɪs ɛz, noʊ waɪ complaining,’*,’ ju noʊ? ðeɪ bɪn ɪn ɑr ʃuz. ðeɪ noʊ ˈnəθɪŋ əˈbaʊt it,”*,” ʃi sɛd. ˈmɪsɪz. toʊld ʃi ˈlərnɪd əv ðə ˈsɛkʃuəl riˈleɪʃənˌʃɪp wɪθ ə foʊn kɔl tɪ hər sən. wɑz rɪˈləktənt tɪ tɛl mi bət ðɛn hi toʊld mi hi wɑz wɪθ mɪz. kwin, ˈɛrɪn kwin. ənd aɪ θɔt ðət neɪm saʊnz fəˈmɪljər. ənd hi sɛd, ‘‘mom*, maɪ ˈɪŋlɪʃ teacher.’*.’ ənd aɪ daɪd ɛz ə parent,”*,” ʃi toʊld ðə ˈsteɪʃən. ðə ˈtəlsə wərld rɪˈpɔrts ðə bɪˈliv ˈkɑrənt lɔ ɪn ˌoʊkləˈhoʊmə ˈprɑpərli ˈæˈdrɛsɪz əˈfɛnsɪz baɪ ˈfiˌmeɪl ˈtiʧərz, ənd θɪŋk ðə ˈligəl ˈsɪstəm ˈhɛzəˌteɪts tɪ kɔl ə kənˈsɛnʃuəl riˈleɪʃənˌʃɪp bɪtˈwin ə ˈstudənt ənd ˈtiʧər əˈspɛʃəli ə ˈstudənt ənd ə ˈfiˌmeɪl ˈtiʧər rape.”*.” nɑt goʊɪŋ tɪ ˈpənɪʃ ðɪs lɔ tɪ ðə ˈfʊləst ɪkˈstɛnt əv ɪt, ðɛn ðɛr ʃʊd bi (ə lɔ əˈgɛnst) ˈsɛkʃuəl mɪˈskɑndəkt wɪθ students,”*,” ˈʃæstə sɛd. ʃʊd bi something.”*.” ðə ˈdɪstrɪkt ˈɔfəs dɪsəˈgriz wɪθ ðə, ˈkleɪmɪŋ ˈʤəstɪs həz bɪn sərvd. bɪˈliv ə ˈfɛləni kənˈvɪkʃən hoʊldz ðɪs ˈtiʧər əˈkaʊntəbəl ˈəndər ðə ˈsərkəmˌstænsɪz əv ðɪs case,”*,” ðə ˈɔfəs sɛd. ˈspikɪŋ tɪ ðə ˈvɪktɪm ənd ðə ˈfæməli, ɑr ˈɔfəs ˌdɪˈsaɪdɪd ðɪs wɑz ɪn ðə bɛst ˈɪntərɪsts əv justice.”*.” |
contributing to
via
zw3rk blocked follow following dec 21, 2017
about two weeks ago i gave a talk on “contriubting to via” at the local meetup. sadly the microphone died after a few minutes into the recording, and as such the video has no audio for most of the talk and is pretty useless. as the topic might be of interest to those who could not attend, write down the content of the talk as good as i can.
phabricator?!
let’s start with what is, is the code review tool uses. it was originally developed at facebook by evan priestley, who has since founded phacility, inc where the development of continues.
phabricator is not just used at, it is also used for other projects like llvm, the foundation, freebsd, and a many more.
i will now try to demonstrate the usage of for a simple change (with many pictures!).
creating an account
when visiting.haskell.org, this is the first screen you will be greeted with. we will proceed to open an account so we can do something useful.
upon clicking the “log in” button you will reach the log in form. while you can register a new account, i would suggest to use on of the available alternative account connectors.
for this example, usehub.
it will pull some and real name fromhub, but you will still be required to provide an email address.
with the account we could not start reviewing other peoples code, or even submit our own code for review. so do this next.
i have a change in my tree
phabricator is not really concerned how your local tree looks like. it essentially only cares about differences. so you can go wild with your local branch management; use however you like.
for try to think in patches (differences) instead of commits.
for the following example, been working on cross compiler related issues and while doing so, i usually accumulate lots of different fixes in my branch.
as such i now have some commit ( adds to-prim ) somewhere in my history, which like to get into proper.
let’s go ahead and create a new branch from and the relevant commit onto it. you could do this however you like. just make sure you have a handle on the range for your patch.
let’s ask what the actual patch looks like. diff should tell us. note the stupid white space!
enter
phabricator has a companion tool called arc anist:
“arc, a code review and revision management utility”
to install it, we need to clone the following two repositories:
$ clone
$ clone
then add/bin to your path .
link arc with your account
next need to tell connect arc with our account on.haskell.org. to do this we need to run the command from within the repository
ghc $ arc
arc will request an token, and tells us where we can get it from.
navigating to the gave us, presents us with the following page. simply copying the token
… and pasting it into the terminal should be enough for arc to properly link your haskell account with your repository. this needs to be done only once!
let’s send the patch for review. i like to be explicit about the offset, but usually arc should figure out the offset on its own.
next we might be greeted with this. what is this?! arc wants to be helpful here and tell us that we have lots of files in our repository. if you are sure you have committed everything you want to submit for review, safe to say y here.
alright, so now your $editor will open, and you will be asked to fill out some about your patch.
here’s an example of the filled out. added a summary and added ben as a reviewer. hope not too busy!
upon existing your editor, arc will run a few linters over the patch. and of course it found the stupid white space from before. it is however helpful enough to ask us if we just want to have this change (removal of white space) applied.
removing the white space seems reasonable. so have arc apply the patch. next it wants to know if we want to amend head. and yes it makes sense to just amend this into the last commit. so go with y here.
alright and we are done. arc has sent the patch to; and we got a differential identifier back in this case.
navigating to the of the differential will present us with this page.
a bit further down see the summary we entered and the reviewer(s) we specified.
and even further down we can see the patch we submitted.
now those lines look suspicious, why is this only for linux? do a here.
after adding our comment to the line range we selected, it is displayed but not the gray dashed border. it is not submitted. i think could be a bit better.
we still need to scroll to the bottom and hit “submit” so that our remarks are actually submitted and others can see them.
at the top, will now show the added comment in the timeline.
let’s go back to our source and change the patch. adding a comment probably hurt and might help the next one reading the “code”.
next, create a new commit and take a look at the new patch.
here we now see the new patch. note that not much from the previous patch is left, because we essentially rewrote everything. the second commit reversed everything from the first after all.
time for arc diff again.
and again we are greeted with the files screen.
however the $editor now has a slightly different template because we are updating a differential and are not creating a new one. here we can specify what we changed. by default it will pull information from the commit messages.
after exiting the $editor arc tells us it has updated the differential.
looking at the timeline we see the new update item as well.
of course the patch now looks different and our new patch is displayed. mark the comment as done…
… and again need to hit submit for this to be actually submitted.
the marking of the comment as done is now also reflected in the timeline.
where to go from here? | kənˈtrɪbjutɪŋ tɪ ˈviə blɑkt ˈfɑloʊ ˈfɑloʊɪŋ dɛk 21 2017 əˈbaʊt tu wiks əˈgoʊ aɪ geɪv ə tɔk ɔn tɪ ˈviə phabricator”*” æt ðə ˈloʊkəl meetup*. ˈsædli ðə ˈmaɪkrəˌfoʊn daɪd ˈæftər ə fju ˈmɪnəts ˈɪntu ðə rɪˈkɔrdɪŋ, ənd ɛz səʧ ðə ˈvɪdioʊ həz noʊ ˈɑdiˌoʊ fər moʊst əv ðə tɔk ənd ɪz ˈprɪti ˈjusləs. ɛz ðə ˈtɑpɪk maɪt bi əv ˈɪntəˌrɛst tɪ ðoʊz hu kʊd nɑt əˈtɛnd, raɪt daʊn ðə ˈkɑntɛnt əv ðə tɔk ɛz gʊd ɛz aɪ kən.?! stɑrt wɪθ wət ɪz, ɪz ðə koʊd ˌrivˈju tul ˈjuzɪz. ɪt wɑz ərˈɪʤənəli dɪˈvɛləpt æt ˈfeɪsˌbʊk baɪ ˈɛvən ˈpristli, hu həz sɪns ˈfaʊndɪd phacility*, ɪŋk wɛr ðə dɪˈvɛləpmənt əv kənˈtɪnjuz. ɪz nɑt ʤɪst juzd æt, ɪt ɪz ˈɔlsoʊ juzd fər ˈəðər ˈprɑʤɛkts laɪk llvm*, ðə faʊnˈdeɪʃən, freebsd*, ənd ə ˈmɛni mɔr. aɪ wɪl naʊ traɪ tɪ ˈdɛmənˌstreɪt ðə ˈjusɪʤ əv fər ə ˈsɪmpəl ʧeɪnʤ (wɪθ ˈmɛni ˈpɪkʧərz!). kriˈeɪtɪŋ ən əˈkaʊnt wɪn ˈvɪzɪtɪŋ phabricator.haskell.org*, ðɪs ɪz ðə fərst skrin ju wɪl bi ˈgritɪd wɪθ. wi wɪl pərˈsid tɪ ˈoʊpən ən əˈkaʊnt soʊ wi kən du ˈsəmθɪŋ ˈjusfəl. əˈpɑn ˈklɪkɪŋ ðə in”*” ˈbətən ju wɪl riʧ ðə lɔg ɪn fɔrm. waɪl ju kən ˈrɛʤɪstər ə nu əˈkaʊnt, aɪ wʊd səˈʤɛst tɪ juz ɔn əv ðə əˈveɪləbəl ɔlˈtərnətɪv əˈkaʊnt kəˈnɛktərz. fər ðɪs ɪgˈzæmpəl, juz github*. ɪt wɪl pʊl səm ənd ril neɪm frəm github*, bət ju wɪl stɪl bi rikˈwaɪərd tɪ prəˈvaɪd ən iˈmeɪl ˈæˌdrɛs. wɪθ ðə əˈkaʊnt wi kʊd nɑt stɑrt rivˈjuɪŋ ˈəðər ˈpipəlz koʊd, ər ˈivɪn səbˈmɪt ɑr oʊn koʊd fər ˌrivˈju. soʊ du ðɪs nɛkst. aɪ hæv ə ʧeɪnʤ ɪn maɪ tri ɪz nɑt ˈrɪli kənˈsərnd haʊ jʊr ˈloʊkəl tri lʊks laɪk. ɪt ɛˈsɛnʃəli ˈoʊnli kɛrz əˈbaʊt ˈdɪfərənsɪz. soʊ ju kən goʊ waɪld wɪθ jʊr ˈloʊkəl brænʧ ˈmænɪʤmənt; juz ˌhaʊˈɛvər ju laɪk. fər traɪ tɪ θɪŋk ɪn ˈpæʧɪz (ˈdɪfərənsɪz) ˌɪnˈstɛd əv kəˈmɪts. fər ðə ˈfɑloʊɪŋ ɪgˈzæmpəl, bɪn ˈwərkɪŋ ɔn krɔs kəmˈpaɪlər rɪˈleɪtɪd ˈɪʃuz ənd waɪl duɪŋ soʊ, aɪ ˈjuʒəwəli əˈkjumjəˌleɪt lɑts əv ˈdɪfərənt ˈfɪksɪz ɪn maɪ brænʧ. ɛz səʧ aɪ naʊ hæv səm kəˈmɪt ædz tɪ ˈsəmˌwɛr ɪn maɪ ˈhɪstəri, wɪʧ laɪk tɪ gɪt ˈɪntu ˈprɑpər. goʊ əˈhɛd ənd kriˈeɪt ə nu brænʧ frəm ənd ðə ˈrɛləvənt kəˈmɪt ˈɔntu ɪt. ju kʊd du ðɪs ˌhaʊˈɛvər ju laɪk. ʤɪst meɪk ʃʊr ju hæv ə ˈhændəl ɔn ðə reɪnʤ fər jʊr pæʧ. æsk wət ðə ˈækʧəwəl pæʧ lʊks laɪk. dɪf ʃʊd tɛl ˈjuˈɛs. noʊt ðə ˈstupɪd waɪt speɪs! ˈɛnər həz ə kəmˈpænjən tul kɔld ɑrk anist*:, ə koʊd ˌrivˈju ənd riˈvɪʒən ˈmænɪʤmənt utility”*” tɪ ˌɪnˈstɔl ɪt, wi nid tɪ kloʊn ðə ˈfɑloʊɪŋ tu riˈpɑzəˌtɔriz: kloʊn kloʊn ðɛn æd tɪ jʊr pæθ lɪŋk ɑrk wɪθ jʊr əˈkaʊnt nɛkst nid tɪ tɛl kəˈnɛkt ɑrk wɪθ ɑr əˈkaʊnt ɔn phabricator.haskell.org*. tɪ du ðɪs wi nid tɪ rən ðə kəˈmænd frəm wɪˈθɪn ðə riˈpɑzəˌtɔri ɑrk ɑrk wɪl rɪkˈwɛst ən ˈtoʊkən, ənd tɛlz ˈjuˈɛs wɛr wi kən gɪt ɪt frəm. ˈnævəˌgeɪtɪŋ tɪ ðə geɪv ˈjuˈɛs, ˈprɛzənts ˈjuˈɛs wɪθ ðə ˈfɑloʊɪŋ peɪʤ. ˈsɪmpli ˈkɑpiɪŋ ðə ˈtoʊkən ənd ˈpeɪstɪŋ ɪt ˈɪntu ðə ˈtərmənəl ʃʊd bi ɪˈnəf fər ɑrk tɪ ˈprɑpərli lɪŋk jʊr ˈhæskəl əˈkaʊnt wɪθ jʊr riˈpɑzəˌtɔri. ðɪs nidz tɪ bi dən ˈoʊnli wəns! sɛnd ðə pæʧ fər ˌrivˈju. aɪ laɪk tɪ bi ɪkˈsplɪsət əˈbaʊt ðə ˈɔfˌsɛt, bət ˈjuʒəwəli ɑrk ʃʊd ˈfɪgjər aʊt ðə ˈɔfˌsɛt ɔn ɪts oʊn. nɛkst wi maɪt bi ˈgritɪd wɪθ ðɪs. wət ɪz ðɪs?! ɑrk wɔnts tɪ bi ˈhɛlpfəl hir ənd tɛl ˈjuˈɛs ðət wi hæv lɑts əv faɪlz ɪn ɑr riˈpɑzəˌtɔri. ɪf ju ər ʃʊr ju hæv kəˈmɪtɪd ˈɛvriˌθɪŋ ju wɔnt tɪ səbˈmɪt fər ˌrivˈju, seɪf tɪ seɪ waɪ hir. ˌɔˈlraɪt, soʊ naʊ jʊr $ˈɛdɪtər wɪl ˈoʊpən, ənd ju wɪl bi æst tɪ fɪl aʊt səm əˈbaʊt jʊr pæʧ. ən ɪgˈzæmpəl əv ðə fɪld aʊt. ˈædɪd ə ˈsəməri ənd ˈædɪd bɛn ɛz ə rivˈjuər. hoʊp nɑt tu ˈbɪzi! əˈpɑn ɪgˈzɪstɪŋ jʊr ˈɛdɪtər, ɑrk wɪl rən ə fju ˈlɪntərz ˈoʊvər ðə pæʧ. ənd əv kɔrs ɪt faʊnd ðə ˈstupɪd waɪt speɪs frəm ˌbiˈfɔr. ɪt ɪz ˌhaʊˈɛvər ˈhɛlpfəl ɪˈnəf tɪ æsk ˈjuˈɛs ɪf wi ʤɪst wɔnt tɪ hæv ðɪs ʧeɪnʤ (rɪˈmuvəl əv waɪt speɪs) əˈplaɪd. riˈmuvɪŋ ðə waɪt speɪs simz ˈrizənəbəl. soʊ hæv ɑrk əˈplaɪ ðə pæʧ. nɛkst ɪt wɔnts tɪ noʊ ɪf wi wɔnt tɪ əˈmɛnd hɛd. ənd jɛs ɪt meɪks sɛns tɪ ʤɪst əˈmɛnd ðɪs ˈɪntu ðə læst kəˈmɪt. soʊ goʊ wɪθ waɪ hir. ˌɔˈlraɪt ənd wi ər dən. ɑrk həz sɛnt ðə pæʧ tɪ; ənd wi gɑt ə ˌdɪfərˈɛnʃəl aɪˈdɛntəˌfaɪər bæk ɪn ðɪs keɪs. ˈnævəˌgeɪtɪŋ tɪ ðə əv ðə ˌdɪfərˈɛnʃəl wɪl ˈprɛzənt ˈjuˈɛs wɪθ ðɪs peɪʤ. ə bɪt ˈfərðər daʊn si ðə ˈsəməri wi ˈɛnərd ənd ðə reviewer(s*) wi ˈspɛsəˌfaɪd. ənd ˈivɪn ˈfərðər daʊn wi kən si ðə pæʧ wi səbˈmɪtəd. naʊ ðoʊz laɪnz lʊk səˈspɪʃəs, waɪ ɪz ðɪs ˈoʊnli fər ˈlɪnəks? du ə hir. ˈæftər ˈædɪŋ ɑr ˈkɑmɛnt tɪ ðə laɪn reɪnʤ wi səˈlɛktɪd, ɪt ɪz dɪˈspleɪd bət nɑt ðə greɪ dæʃt ˈbɔrdər. ɪt ɪz nɑt səbˈmɪtəd. aɪ θɪŋk kʊd bi ə bɪt ˈbɛtər. wi stɪl nid tɪ skroʊl tɪ ðə ˈbɑtəm ənd hɪt ““submit”*” soʊ ðət ɑr rɪˈmɑrks ər ˈæˌkʧuəli səbˈmɪtəd ənd ˈəðərz kən si ðɛm. æt ðə tɔp, wɪl naʊ ʃoʊ ðə ˈædɪd ˈkɑmɛnt ɪn ðə ˈtaɪmlaɪn. goʊ bæk tɪ ɑr sɔrs ənd ʧeɪnʤ ðə pæʧ. ˈædɪŋ ə ˈkɑmɛnt ˈprɑbəˌbli hərt ənd maɪt hɛlp ðə nɛkst wən ˈrɛdɪŋ ðə ““code”*”. nɛkst, kriˈeɪt ə nu kəˈmɪt ənd teɪk ə lʊk æt ðə nu pæʧ. hir wi naʊ si ðə nu pæʧ. noʊt ðət nɑt məʧ frəm ðə ˈpriviəs pæʧ ɪz lɛft, bɪˈkəz wi ɛˈsɛnʃəli riˈroʊt ˈɛvriˌθɪŋ. ðə ˈsɛkənd kəˈmɪt rɪˈvərst ˈɛvriˌθɪŋ frəm ðə fərst ˈæftər ɔl. taɪm fər ɑrk dɪf əˈgɛn. ənd əˈgɛn wi ər ˈgritɪd wɪθ ðə faɪlz skrin. ˌhaʊˈɛvər ðə $ˈɛdɪtər naʊ həz ə sˈlaɪtli ˈdɪfərənt ˈtɛmplət bɪˈkəz wi ər ˈəpˌdeɪtɪŋ ə ˌdɪfərˈɛnʃəl ənd ər nɑt kriˈeɪtɪŋ ə nu wən. hir wi kən ˈspɛsəˌfaɪ wət wi ʧeɪnʤd. baɪ dɪˈfɔlt ɪt wɪl pʊl ˌɪnˌfɔrˈmeɪʃən frəm ðə kəˈmɪt ˈmɛsɪʤɪz. ˈæftər ˈɛgzɪtɪŋ ðə $ˈɛdɪtər ɑrk tɛlz ˈjuˈɛs ɪt həz ˈəpˌdeɪtɪd ðə ˌdɪfərˈɛnʃəl. ˈlʊkɪŋ æt ðə ˈtaɪmlaɪn wi si ðə nu ˈəpˌdeɪt ˈaɪtəm ɛz wɛl. əv kɔrs ðə pæʧ naʊ lʊks ˈdɪfərənt ənd ɑr nu pæʧ ɪz dɪˈspleɪd. mɑrk ðə ˈkɑmɛnt ɛz done…*… ənd əˈgɛn nid tɪ hɪt səbˈmɪt fər ðɪs tɪ bi ˈæˌkʧuəli səbˈmɪtəd. ðə ˈmɑrkɪŋ əv ðə ˈkɑmɛnt ɛz dən ɪz naʊ ˈɔlsoʊ rɪˈflɛktɪd ɪn ðə ˈtaɪmlaɪn. wɛr tɪ goʊ frəm hir? 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rise of the tomb raider's has been hinted at but not be called "shadow of the tomb raider" and it's possible crystal dynamics won't be its developer.
this information comes from an unexpected source: a person on a subway. user posted the picture below, which shows the name shadow of the tomb raider on a microsoft powerpoint presentation for the game. there is more text on the slide, reportedly detailing some element of the game's visuals, but it's too blurry to make out.
kotaku heard from a source today that shadow of the tomb raider is the name of the next tomb raider. that square enix would make another tomb raider game is no surprise, but what stands out more is that the site claims thief and ex: mankind divided developer montreal is working on the unannounced game.
a square enix representative told gamespot, "we don't comment on rumors and speculation."
at 2015, square enix boss phil rogers let slip that a third game in the tomb raider franchise that began with the 2013 reboot was on the way. this came up when we asked him about the controversy and backlash surrounding rise of the tomb raider's exclusivity deal with xbox.
"we believe first and foremost this is the right thing to do with tomb raider right now," rogers said about the deal with microsoft. "what it's done for the sake of the studio and the next beat with the tomb raider trilogy [emphasis added]... but the backlash watched carefully and we believe it's the right thing to do."
in august this year, crystal dynamics hired visceral games veteran ian milham to become a game director for the tomb raider franchise, which furthered the suggestion that the studio was making a new tomb raider game. crystal dynamics is also working on a new ip.
rise of the tomb raider finally came to the playstation 4 in september in the form of the 20 year celebration edition. | gɪt ðə ˈleɪtəst nuz ənd ˈvɪdioʊz fər ðɪs geɪm ˈdeɪli, noʊ spæm, noʊ fəs. raɪz əv ðə tum ˈreɪdərz həz bɪn ˈhɪnɪd æt bət nɑt bi kɔld "ˈʃæˌdoʊ əv ðə tum ˈreɪdər" ənd ɪts ˈpɑsəbəl ˈkrɪstəl daɪˈnæmɪks woʊnt bi ɪts dɪˈvɛləpər. ðɪs ˌɪnˌfɔrˈmeɪʃən kəmz frəm ən ˌənɪkˈspɛktɪd sɔrs: ə ˈpərsən ɔn ə ˈsəbˌweɪ. ˈjuzər ˈpoʊstɪd ðə ˈpɪkʧər bɪˈloʊ, wɪʧ ʃoʊz ðə neɪm ˈʃæˌdoʊ əv ðə tum ˈreɪdər ɔn ə ˈmaɪˌkroʊˈsɔft ˈpaʊərˌpɔɪnt ˌprɛzənˈteɪʃən fər ðə geɪm. ðɛr ɪz mɔr tɛkst ɔn ðə slaɪd, rɪˈpɔrtədli dɪˈteɪlɪŋ səm ˈɛləmənt əv ðə geɪmz ˈvɪʒwəlz, bət ɪts tu ˈbləri tɪ meɪk aʊt. hərd frəm ə sɔrs təˈdeɪ ðət ˈʃæˌdoʊ əv ðə tum ˈreɪdər ɪz ðə neɪm əv ðə nɛkst tum ˈreɪdər. ðət skwɛr ˈɛnɪks wʊd meɪk əˈnəðər tum ˈreɪdər geɪm ɪz noʊ səˈpraɪz, bət wət stændz aʊt mɔr ɪz ðət ðə saɪt kleɪmz θif ənd ɛks: ˈmænˈkaɪnd dɪˈvaɪdɪd dɪˈvɛləpər ˌməntriˈɔl ɪz ˈwərkɪŋ ɔn ðə ˌənəˈnaʊnst geɪm. ə skwɛr ˈɛnɪks ˌrɛprɪˈzɛnətɪv toʊld gamespot*, "wi doʊnt ˈkɑmɛnt ɔn ˈrumərz ənd ˌspɛkjəˈleɪʃən." æt 2015 skwɛr ˈɛnɪks bɔs fɪl ˈrɑʤərz lɛt slɪp ðət ə θərd geɪm ɪn ðə tum ˈreɪdər ˈfrænˌʧaɪz ðət bɪˈgæn wɪθ ðə 2013 riˈbut wɑz ɔn ðə weɪ. ðɪs keɪm əp wɪn wi æst ɪm əˈbaʊt ðə ˈkɑntrəˌvərsi ənd ˈbæˌklæʃ sərˈaʊndɪŋ raɪz əv ðə tum ˈreɪdərz ˌɛkˌskluˈsɪvəti dil wɪθ xbox*. "wi bɪˈliv fərst ənd ˈfɔrˌmoʊst ðɪs ɪz ðə raɪt θɪŋ tɪ du wɪθ tum ˈreɪdər raɪt naʊ," ˈrɑʤərz sɛd əˈbaʊt ðə dil wɪθ ˈmaɪˌkroʊˈsɔft. "wət ɪts dən fər ðə seɪk əv ðə ˈstudiˌoʊ ənd ðə nɛkst bit wɪθ ðə tum ˈreɪdər ˈtrɪləʤi [ˈɛmfəsɪs ˈædɪd]... bət ðə ˈbæˌklæʃ wɔʧt ˈkɛrfəli ənd wi bɪˈliv ɪts ðə raɪt θɪŋ tɪ du." ɪn ˈɔgəst ðɪs jɪr, ˈkrɪstəl daɪˈnæmɪks haɪərd ˈvɪsərəl geɪmz ˈvɛtərən ˈiən ˈmɪlhəm tɪ bɪˈkəm ə geɪm dɪˈrɛktər fər ðə tum ˈreɪdər ˈfrænˌʧaɪz, wɪʧ ˈfərðərd ðə səˈʤɛsʧən ðət ðə ˈstudiˌoʊ wɑz ˈmeɪkɪŋ ə nu tum ˈreɪdər geɪm. ˈkrɪstəl daɪˈnæmɪks ɪz ˈɔlsoʊ ˈwərkɪŋ ɔn ə nu ˌaɪˌpi. raɪz əv ðə tum ˈreɪdər ˈfaɪnəli keɪm tɪ ðə ˈpleɪˌsteɪʃən 4 ɪn sɛpˈtɛmbər ɪn ðə fɔrm əv ðə 20 jɪr ˌsɛləˈbreɪʃən ɪˈdɪʃən. |
the famed green men are heading for greener pastures.
known for their hijinks beside the visitors’ penalty box at vancouver canucks’ home games, the two men, known as force (adam forsyth) and sully (ryan sullivan), dress up in green spandex suits and try their best to torment opposing players in the sin bin.
in a youtube video released last week, they announced this will be their last season.
“after five years of being idiots in spandex, we want to be idiots in skin.”
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that got us thinking, “who are some other famous hockey fans?”
so we compiled a list you can click through in the gallery above.
then, vote on the poll below. | ðə feɪmd grin mɛn ər ˈhɛdɪŋ fər ˈgrinər ˈpæsʧərz. noʊn fər ðɛr ˈhɪʤɪŋks ˌbiˈsaɪd ðə visitors’*’ ˈpɛnəlti bɑks æt vænˈkuvər canucks’*’ hoʊm geɪmz, ðə tu mɛn, noʊn ɛz fɔrs (ˈædəm ˈfɔrˌsaɪθ) ənd ˈsəli (raɪən ˈsəlɪvən), drɛs əp ɪn grin ˈspændəks suts ənd traɪ ðɛr bɛst tɪ ˈtɔrˌmɛnt əˈpoʊzɪŋ pleɪərz ɪn ðə sɪn bɪn. ɪn ə ˈjuˌtub ˈvɪdioʊ riˈlist læst wik, ðeɪ əˈnaʊnst ðɪs wɪl bi ðɛr læst ˈsizən. faɪv jɪrz əv biɪŋ ˈɪˌdiəts ɪn ˈspændəks, wi wɔnt tɪ bi ˈɪˌdiəts ɪn skin.”*.” mɔr spɔrts ˈgæləriz: pɔrn stɑrz lɪŋkt tɪ prəˈfɛʃənəl spɔrts stɑrz ðə ˈbɪgəst dədz fər iʧ əv 30 timz ɪn ðət gɑt ˈjuˈɛs ˈθɪŋkɪŋ, ər səm ˈəðər ˈfeɪməs ˈhɑki fans?”*?” soʊ wi kəmˈpaɪld ə lɪst ju kən klɪk θru ɪn ðə ˈgæləri əˈbəv. ðɛn, voʊt ɔn ðə poʊl bɪˈloʊ. |
halifax police say they are investigating an alleged case of assault in front of an argyle street bar this weekend after a halifax musician spoke out about a violent incident he witnessed.
john wesley chisholm says he was at the carleton music bar saturday around midnight. he often plays there as a musician, but was there as a customer.
a young, drunk patron was involved in an exchange with another patron and a doorman ejected him.
"the doorman him out the door. he gets belligerent, swings at the bouncer, and the bouncer beats him down on the street," chisholm said monday.
that sparked a "melee" with other patrons. chisholm says the doorman "grabs him by the hair and beats his head over and over against the ground."
excessive force?
chisholm says a female friend of the tried to stop the bouncer, but was shoved out of the way.
the police arrived and cuffed the patron before taking him home.
chisholm said he felt the doorman used excessive force. he says he offered to make a statement to police, but that they declined to take it.
chisholm says he tried to the bar, but the doorman told him he was banned.
the incident happened after midnight in the city centre. (preston mulligan/cbc)
chisholm, who works in television, wrote a facebook post about the incident to generate a conversation. writing it because our streets are soaked with blood and people are dying. we have to speak out and we have to cause change," he says in the open letter.
he says it was the of the incident that upset him most.
"i'm not around any kind of violence in my regular life and it's always really upsetting to see it," he told the information morning monday. "it seems to have touched a nerve because so many people have shared my experience."
his post has been shared almost times and attracted almost 600 comments.
patron didn't want to lay charges
the carleton says it has spoken to staff and is trying to figure out what happened. the bar confirmed the doorman, who has worked at the carleton for four years, is no longer on the schedule
on monday, halifax police said they had assigned supt. sean auld to look into the matter further. auld is responsible for policing and public safety in the downtown core.
the force said officers will be interviewing everyone involved in the confrontation, but auld said the patron didn't want to press charges.
"i spoke with him this morning and he was uninjured and doesn't wish any further charges and doesn't wish any further action on part of the police," said auld.
the police superintendent said he's concerned about the "culture of alcohol consumption" in halifax and says he is hoping the community will work with the police to help address the problem.
chisholm says his concern isn't ultimately with this particular bar or experience, but with what he sees as a wider trend toward violence. his post produced some remedies, including licensing doormen, creating better communication with police and producing a "patrons' bill of rights."
nova scotia last discussed regulating bouncers in 2010.
he also said he plans to return to the carleton for lunch monday to talk about the issue. | ˈhælɪˌfæks pəˈlis seɪ ðeɪ ər ˌɪnˈvɛstəˌgeɪtɪŋ ən əˈlɛʤd keɪs əv əˈsɔlt ɪn frənt əv ən ˈɑrˌgaɪl strit bɑr ðɪs ˈwiˌkɪnd ˈæftər ə ˈhælɪˌfæks mjuˈzɪʃən spoʊk aʊt əˈbaʊt ə ˈvaɪələnt ˈɪnsədənt hi ˈwɪtnəst. ʤɑn ˈwɛsli ˈʧɪzəm sɪz hi wɑz æt ðə ˈkɑrltən mˈjuzɪk bɑr ˈsæˌtɪˌdeɪ əraʊnd ˈmɪdˌnaɪt. hi ˈɔfən pleɪz ðɛr ɛz ə mjuˈzɪʃən, bət wɑz ðɛr ɛz ə ˈkəstəmər. ə jəŋ, drəŋk ˈpeɪtrən wɑz ˌɪnˈvɑlvd ɪn ən ɪksˈʧeɪnʤ wɪθ əˈnəðər ˈpeɪtrən ənd ə ˈdɔrˌmæn ɪˈʤɛktɪd ɪm. "ðə ˈdɔrˌmæn ɪm aʊt ðə dɔr. hi gɪts bəˈlɪʤərənt, swɪŋz æt ðə ˈbaʊnsər, ənd ðə ˈbaʊnsər bits ɪm daʊn ɔn ðə strit," ˈʧɪzəm sɛd ˈmənˌdeɪ. ðət spɑrkt ə "ˈmeɪˌleɪ" wɪθ ˈəðər ˈpeɪtrənz. ˈʧɪzəm sɪz ðə ˈdɔrˌmæn "græbz ɪm baɪ ðə hɛr ənd bits hɪz hɛd ˈoʊvər ənd ˈoʊvər əˈgɛnst ðə graʊnd." ɪkˈsɛsɪv fɔrs? ˈʧɪzəm sɪz ə ˈfiˌmeɪl frɛnd əv ðə traɪd tɪ stɑp ðə ˈbaʊnsər, bət wɑz ʃəvd aʊt əv ðə weɪ. ðə pəˈlis əraɪvd ənd kəft ðə ˈpeɪtrən ˌbiˈfɔr ˈteɪkɪŋ ɪm hoʊm. ˈʧɪzəm sɛd hi fɛlt ðə ˈdɔrˌmæn juzd ɪkˈsɛsɪv fɔrs. hi sɪz hi ˈɔfərd tɪ meɪk ə ˈsteɪtmənt tɪ pəˈlis, bət ðət ðeɪ dɪˈklaɪnd tɪ teɪk ɪt. ˈʧɪzəm sɪz hi traɪd tɪ ðə bɑr, bət ðə ˈdɔrˌmæn toʊld ɪm hi wɑz bænd. ðə ˈɪnsədənt ˈhæpənd ˈæftər ˈmɪdˌnaɪt ɪn ðə ˈsɪti ˈsɛntər. (ˈprɛstən mulligan/cbc*) ˈʧɪzəm, hu wərks ɪn ˈtɛləˌvɪʒən, roʊt ə ˈfeɪsˌbʊk poʊst əˈbaʊt ðə ˈɪnsədənt tɪ ˈʤɛnərˌeɪt ə ˌkɑnvərˈseɪʃən. ˈraɪtɪŋ ɪt bɪˈkəz ɑr strits ər soʊkt wɪθ bləd ənd ˈpipəl ər daɪɪŋ. wi hæv tɪ spik aʊt ənd wi hæv tɪ kɔz ʧeɪnʤ," hi sɪz ɪn ðə ˈoʊpən ˈlɛtər. hi sɪz ɪt wɑz ðə əv ðə ˈɪnsədənt ðət ˈəpˌsɛt ɪm moʊst. "əm nɑt əraʊnd ˈɛni kaɪnd əv ˈvaɪələns ɪn maɪ ˈrɛgjələr laɪf ənd ɪts ˈɔlˌweɪz ˈrɪli əpˈsɛtɪŋ tɪ si ɪt," hi toʊld ðə ˌɪnˌfɔrˈmeɪʃən ˈmɔrnɪŋ ˈmənˌdeɪ. "ɪt simz tɪ hæv təʧt ə nərv bɪˈkəz soʊ ˈmɛni ˈpipəl hæv ʃɛrd maɪ ɪkˈspɪriəns." hɪz poʊst həz bɪn ʃɛrd ˈɔlˌmoʊst taɪmz ənd əˈtræktəd ˈɔlˌmoʊst 600 ˈkɑmɛnts. ˈpeɪtrən ˈdɪdənt wɔnt tɪ leɪ ˈʧɑrʤɪz ðə ˈkɑrltən sɪz ɪt həz ˈspoʊkən tɪ stæf ənd ɪz traɪɪŋ tɪ ˈfɪgjər aʊt wət ˈhæpənd. ðə bɑr kənˈfərmd ðə ˈdɔrˌmæn, hu həz wərkt æt ðə ˈkɑrltən fər fɔr jɪrz, ɪz noʊ ˈlɔŋgər ɔn ðə ˈskɛʤʊl ɔn ˈmənˌdeɪ, ˈhælɪˌfæks pəˈlis sɛd ðeɪ hæd əˈsaɪnd supt*. ʃɔn ɔld tɪ lʊk ˈɪntu ðə ˈmætər ˈfərðər. ɔld ɪz riˈspɑnsəbəl fər pəˈlisɪŋ ənd ˈpəblɪk ˈseɪfti ɪn ðə ˈdaʊnˈtaʊn kɔr. ðə fɔrs sɛd ˈɔfɪsərz wɪl bi ˈɪntərvˌjuɪŋ ˈɛvriˌwən ˌɪnˈvɑlvd ɪn ðə ˌkɑnfrənˈteɪʃən, bət ɔld sɛd ðə ˈpeɪtrən ˈdɪdənt wɔnt tɪ prɛs ˈʧɑrʤɪz. "aɪ spoʊk wɪθ ɪm ðɪs ˈmɔrnɪŋ ənd hi wɑz əˈnɪnʤərd ənd ˈdəzənt wɪʃ ˈɛni ˈfərðər ˈʧɑrʤɪz ənd ˈdəzənt wɪʃ ˈɛni ˈfərðər ˈækʃən ɔn pɑrt əv ðə pəˈlis," sɛd ɔld. ðə pəˈlis ˌsupərɪnˈtɛndənt sɛd hiz kənˈsərnd əˈbaʊt ðə "ˈkəlʧər əv ˈælkəˌhɑl kənˈsəmʃən" ɪn ˈhælɪˌfæks ənd sɪz hi ɪz ˈhoʊpɪŋ ðə kəmˈjunɪti wɪl wərk wɪθ ðə pəˈlis tɪ hɛlp ˈæˌdrɛs ðə ˈprɑbləm. ˈʧɪzəm sɪz hɪz kənˈsərn ˈɪzənt ˈəltəmətli wɪθ ðɪs ˌpɑˈtɪkjələr bɑr ər ɪkˈspɪriəns, bət wɪθ wət hi siz ɛz ə ˈwaɪdər trɛnd təˈwɔrd ˈvaɪələns. hɪz poʊst prəˈdust səm ˈrɛmədiz, ˌɪnˈkludɪŋ ˈlaɪsənsɪŋ doormen*, kriˈeɪtɪŋ ˈbɛtər kəmˌjunəˈkeɪʃən wɪθ pəˈlis ənd prəˈdusɪŋ ə "ˈpeɪtrənz' bɪl əv raɪts." ˈnoʊvə ˈskoʊʃə læst dɪˈskəst ˈrɛgjəˌleɪtɪŋ ˈbaʊnsərz ɪn 2010 hi ˈɔlsoʊ sɛd hi plænz tɪ rɪˈtərn tɪ ðə ˈkɑrltən fər lənʧ ˈmənˌdeɪ tɪ tɔk əˈbaʊt ðə ˈɪʃu. |
florida republican rep. allen west's democratic challenger patrick murphy declared victory - again - in the house race today after the st. lucie county canvassing board missed its noon deadline to certify recount results, according to the palm beach post.
florida law states that if the deadline to certify final results to the state division of elections passes, the unofficial certified results stand. those counts, submitted last sunday, show murphy ahead by percent, just above the percent spread that would trigger an automatic recount.
murphy has already declared victory once, and is in washington, d.c., for freshman orientation. in a prepared statement shortly after noon, his campaign manager anthony said: "it is beyond time to put this campaign behind us and put the interests of the people on the treasure coast and palm beaches first."
west's campaign, though, is calling for an emergency hearing over "concerns" raised during the recount process, including 900 votes it says were cast in precinct 93, where there are only seven voters registered.
"as usual, murphy's people are full of garbage," west's campaign manager tim edson told the post. "this is something the secretary of state and governor will have to sort out."
one day earlier, edson had said he was encouraged by the efficiency of the recount, which began at a.m. saturday and went until 10 p.m. the process resumed sunday at 8 a.m. canvassing board member tod lowery said sunday the board still had to review and other questionable ballots from eight days before early voting ended.
the canvassing board agreed to recount ballots cast during the last three days of early voting after discovering some of the county's election machines had been unable to read some electronic memory cartridges. but when the elections office admitted to some ballots and ignoring others on nov. 6, west, among a mass of legal complaints filed following murphy's initial declaration of victory, moved that the board recount all votes cast during early voting. | ˈflɔrɪdə rɪˈpəblɪkən rɛpriˈzɛtətɪv. ˈælən wɛsts ˌdɛməˈkrætɪk ˈʧælɪnʤər ˈpætrɪk ˈmərfi dɪˈklɛrd ˈvɪktəri əˈgɛn ɪn ðə haʊs reɪs təˈdeɪ ˈæftər ðə st*. ˈlusi ˈkaʊnti ˈkænvəsɪŋ bɔrd mɪst ɪts nun ˈdɛˌdlaɪn tɪ ˈsərtəˌfaɪ ˌriˈkaʊnt rɪˈzəlts, əˈkɔrdɪŋ tɪ ðə pɑm biʧ poʊst. ˈflɔrɪdə lɔ steɪts ðət ɪf ðə ˈdɛˌdlaɪn tɪ ˈsərtəˌfaɪ ˈfaɪnəl rɪˈzəlts tɪ ðə steɪt dɪˈvɪʒən əv ɪˈlɛkʃənz ˈpæsɪz, ðə ˌənəˈfɪʃəl ˈsərtəˌfaɪd rɪˈzəlts stænd. ðoʊz kaʊnts, səbˈmɪtəd læst ˈsənˌdi, ʃoʊ ˈmərfi əˈhɛd baɪ pərˈsɛnt, ʤɪst əˈbəv ðə pərˈsɛnt sprɛd ðət wʊd ˈtrɪgər ən ˌɔtəˈmætɪk ˌriˈkaʊnt. ˈmərfi həz ɔˈrɛdi dɪˈklɛrd ˈvɪktəri wəns, ənd ɪz ɪn ˈwɔʃɪŋtən, d.c*., fər ˈfrɛʃmən ˌɔriɛnˈteɪʃən. ɪn ə priˈpɛrd ˈsteɪtmənt ˈʃɔrtli ˈæftər nun, hɪz kæmˈpeɪn ˈmænɪʤər ˈænθɔˌni sɛd: "ɪt ɪz bɪɔnd taɪm tɪ pʊt ðɪs kæmˈpeɪn bɪˈhaɪnd ˈjuˈɛs ənd pʊt ðə ˈɪntərɪsts əv ðə ˈpipəl ɔn ðə ˈtrɛʒər koʊst ənd pɑm ˈbiʧɪz fərst." wɛsts kæmˈpeɪn, ðoʊ, ɪz ˈkɔlɪŋ fər ən ˈimərʤənsi ˈhirɪŋ ˈoʊvər "kənˈsərnz" reɪzd ˈdʊrɪŋ ðə ˌriˈkaʊnt ˈprɔˌsɛs, ˌɪnˈkludɪŋ 900 voʊts ɪt sɪz wər kæst ɪn ˈpriˌsɪŋkt 93 wɛr ðɛr ər ˈoʊnli ˈsɛvən ˈvoʊtərz ˈrɛʤɪstərd. "ɛz ˈjuʒəwəl, ˈmərfiz ˈpipəl ər fʊl əv ˈgɑrbɪʤ," wɛsts kæmˈpeɪn ˈmænɪʤər tɪm ˈɛdsən toʊld ðə poʊst. "ðɪs ɪz ˈsəmθɪŋ ðə ˈsɛkrəˌtɛri əv steɪt ənd ˈgəvərnər wɪl hæv tɪ sɔrt aʊt." wən deɪ ˈərliər, ˈɛdsən hæd sɛd hi wɑz ɪnˈkərəʤd baɪ ðə ɪˈfɪʃənsi əv ðə ˌriˈkaʊnt, wɪʧ bɪˈgæn æt a.m*. ˈsæˌtɪˌdeɪ ənd wɛnt ənˈtɪl 10 p.m*. ðə ˈprɔˌsɛs rɪˈzumd ˈsənˌdi æt 8 a.m*. ˈkænvəsɪŋ bɔrd ˈmɛmbər tɑd ˈlaʊəri sɛd ˈsənˌdi ðə bɔrd stɪl hæd tɪ ˌrivˈju ənd ˈəðər kˈwɛsʧənəbəl ˈbæləts frəm eɪt deɪz ˌbiˈfɔr ˈərli ˈvoʊtɪŋ ˈɛndɪd. ðə ˈkænvəsɪŋ bɔrd əˈgrid tɪ ˌriˈkaʊnt ˈbæləts kæst ˈdʊrɪŋ ðə læst θri deɪz əv ˈərli ˈvoʊtɪŋ ˈæftər dɪˈskəvərɪŋ səm əv ðə ˈkaʊntiz ɪˈlɛkʃən məˈʃinz hæd bɪn əˈneɪbəl tɪ rɛd səm ˌɪˌlɛkˈtrɑnɪk ˈmɛməri ˈkɑrtrəʤəz. bət wɪn ðə ɪˈlɛkʃənz ˈɔfəs ədˈmɪtəd tɪ səm ˈbæləts ənd ˌɪgˈnɔrɪŋ ˈəðərz ɔn noʊv. 6 wɛst, əˈməŋ ə mæs əv ˈligəl kəmˈpleɪnts faɪld ˈfɑloʊɪŋ ˈmərfiz ˌɪˈnɪʃəl ˌdɛklərˈeɪʃən əv ˈvɪktəri, muvd ðət ðə bɔrd ˌriˈkaʊnt ɔl voʊts kæst ˈdʊrɪŋ ˈərli ˈvoʊtɪŋ. |
press release
blue light observations indicate atmosphere of a
september 3, 2013
a japanese research team of astronomers and planetary scientists has used subaru telescope's two optical cameras, and the faint object camera and spectrograph (focas), with a blue transmission filter to observe planetary transits of 1214 b 1214 b) (figure 1). the team investigated whether this planet has an atmosphere rich in water or hydrogen. the subaru observations show that the sky of this planet does not show a strong scattering feature, which a cloudless atmosphere would predict. when combined with the findings of previous observations in other colors, this new result implies that 1214 b is likely to have a atmosphere.
figure 1: artist's rendition of a transit of 1214 b in blue light. the blue sphere represents the host star 1214, and the black ball in front of it on the right is 1214 b. (credit: naoj)
super-earths are emerging as a new type of (i.e., a planet orbiting a star outside of our solar system) with a mass and radius larger than the earth's but less than those of ice giants in our solar system, such as uranus or neptune. whethers are more like a "large earth" or a "small uranus" is unknown, since scientists have yet to determine their detailed properties. the current japanese research team of astronomers and planetary scientists focused their efforts on investigating the atmospheric features of one, 1214 b, which is located 40 light years from earth in the constellation ophiuchus, northwest of the center of our milky way galaxy. this planet is one of the well-knowns discovered by charbonneau et. al. (2009) in the project, which focuses on finding habitable planets around nearby small stars. the current team's research examined features of light scattering of 1214 b's transit around its star.
current theory posits that a planet develops in a disk of dense gas surrounding a newly formed star (i.e., a disk). the element hydrogen is a major component of a disk, and water ice is abundant in an outer region beyond a so-called "snow line." findings about wheres have formed and how they have migrated to their current orbits point to the prediction that hydrogen or water vapor is a major atmospheric component of a. if scientists can determine the major atmospheric component of a, they can then infer the planet's birthplace and formation history.
planetary transits enable scientists to investigate changes in the wavelength in the brightness of the star (i.e., transit depth), which indicate the planet's atmospheric composition. strong scattering in the optical wavelength is powerful evidence for a atmosphere. scattering occurs when light particles scatter in a medium without a change in wavelength. such scattering strongly depends on wavelength and enhances short wavelengths; it causes greater transit depth in the blue rather than in the red wavelength.
the current team used the two optical cameras and on the subaru telescope fitted with a blue transmission filter to search for the scattering feature of 1214 b's atmosphere. this planetary system's very faint host star in blue light poses a challenge for researchers seeking to determine whether or not the planet's atmosphere has strong scattering. the large, powerful m mirror of the subaru telescope allowed the team to achieve the sensitivity in the bluest region.
the team's observations showed that 1214 b's atmosphere does not display strong scattering. this finding implies that the planet has a or a atmosphere with extensive clouds. (figure 2).
figure 2: rendition of the relationship between the composition of the atmosphere and transmitted colors of light.
top: if the sky has a clear, upward-extended, atmosphere, scattering a large portion of the blue light from the atmosphere of the host while it less of the red light. as a result, a transit in blue light becomes deeper than the one in red light.
middle: if the sky has a less extended, atmosphere, the effect of the scattering is much weaker than in a atmosphere. in this case, transits in all colors have almost the same transit depths.
bottom: if the sky has extensive clouds, most of the light cannot be transmitted through the atmosphere, even though hydrogen dominates it. as a result, transits in all colors have almost the same transit depths. (credit: naoj)
although the team did not completely discount the possibility of a atmosphere, the new result combined with findings from previous research in other colors suggests that 1214 b is likely to have a atmosphere (figure 3). the team plans to conduct follow-up observations in the near future to reinforce their conclusion.
figure 3: observed transit depths and theoretical models for 1214 b. the blue and points are the data taken with subaru telescope's and, respectively (narita et al. 2013). the red points are taken with the m telescope located in south africa (narita et al. 2013). the three solid lines (yellow, green, and purple) represent hydrogen-rich,, and extensive cloud atmosphere models based on howe & burrows (2012). the subaru telescope data indicate no strong scattering in the blue wavelength. (credit: naoj)
although there are only a small number ofs that scientists can observe in the sky now, this situation will dramatically change when the transiting survey satellite (tess) begins its whole sky survey of small transitings in our solar neighborhood. when new targets become available, scientists can study the of manys with the subaru telescope and next generation, large telescopes such as the thirty meter telescope (tmt). such observations will allow scientists to learn even more about the nature of variouss.
references:
howe, a.r. & burrows, a.s. 2012 "theoretical transit spectra for and other "super-earths", journal, volume 756, article id. 176.
narita, n., fukui, a., ikoma, m., hori, y., et al. 2013 transit of through bands and a long-term monitoring of the stellar variability of 1214," journal, volume 773, issue 2, article id. 144.
acknowledgements:
this research was supported in part by the following: | prɛs riˈlis blu laɪt ˌɑbzərˈveɪʃənz ˈɪndəˌkeɪt ˈætməsˌfɪr əv ə sɛpˈtɛmbər 3 2013 ə ˌʤæpəˈniz ˈrisərʧ tim əv əˈstrɑnəmərz ənd ˈplænəˌtɛri ˈsaɪəntɪsts həz juzd ˈsubəru ˈtɛləˌskoʊps tu ˈɑptɪkəl ˈkæmərəz, ənd ðə feɪnt ˈɑbʤɛkt ˈkæmərə ənd ˈspɛktrəˌgræf (focas*), wɪθ ə blu trænzˈmɪʃən ˈfɪltər tɪ əbˈzərv ˈplænəˌtɛri ˈtrænzɪts əv 1214 bi 1214 bi) (ˈfɪgjər 1 ðə tim ˌɪnˈvɛstəˌgeɪtɪd ˈwɛðər ðɪs ˈplænət həz ən ˈætməsˌfɪr rɪʧ ɪn ˈwɔtər ər ˈhaɪdrəʤən. ðə ˈsubəru ˌɑbzərˈveɪʃənz ʃoʊ ðət ðə skaɪ əv ðɪs ˈplænət dɪz nɑt ʃoʊ ə strɔŋ ˈskætərɪŋ ˈfiʧər, wɪʧ ə ˈklaʊdləs ˈætməsˌfɪr wʊd prɪˈdɪkt. wɪn kəmˈbaɪnd wɪθ ðə ˈfaɪndɪŋz əv ˈpriviəs ˌɑbzərˈveɪʃənz ɪn ˈəðər ˈkələrz, ðɪs nu rɪˈzəlt ˌɪmˈplaɪz ðət 1214 bi ɪz ˈlaɪkli tɪ hæv ə ˈætməsˌfɪr. ˈfɪgjər 1 ˈɑrtɪsts rɛnˈdɪʃən əv ə ˈtrænzɪt əv 1214 bi ɪn blu laɪt. ðə blu sfɪr ˌrɛprɪˈzɛnts ðə hoʊst stɑr 1214 ənd ðə blæk bɔl ɪn frənt əv ɪt ɔn ðə raɪt ɪz 1214 bi. (ˈkrɛdɪt: naoj*) ər ˈimərʤɪŋ ɛz ə nu taɪp əv (i.e*., ə ˈplænət ˈɔrbətɪŋ ə stɑr ˈaʊtˈsaɪd əv ɑr ˈsoʊlər ˈsɪstəm) wɪθ ə mæs ənd ˈreɪdiəs ˈlɑrʤər ðən ðə ərθs bət lɛs ðən ðoʊz əv aɪs ʤaɪənts ɪn ɑr ˈsoʊlər ˈsɪstəm, səʧ ɛz ˈjərənəs ər ˈnɛptun. ˈwɛðər ər mɔr laɪk ə "lɑrʤ ərθ" ər ə "smɔl ˈjərənəs" ɪz ənˈnoʊn, sɪns ˈsaɪəntɪsts hæv jɛt tɪ dɪˈtərmən ðɛr dɪˈteɪld ˈprɑpərtiz. ðə ˈkɑrənt ˌʤæpəˈniz ˈrisərʧ tim əv əˈstrɑnəmərz ənd ˈplænəˌtɛri ˈsaɪəntɪsts ˈfoʊkɪst ðɛr ˈɛfərts ɔn ˌɪnˈvɛstəˌgeɪtɪŋ ðə ˌætməsˈfɛrɪk ˈfiʧərz əv wən, 1214 bi, wɪʧ ɪz ˈloʊˌkeɪtəd 40 laɪt jɪrz frəm ərθ ɪn ðə ˌkɑnstəˈleɪʃən ophiuchus*, ˌnɔrθˈwɛst əv ðə ˈsɛnər əv ɑr ˈmɪlki weɪ ˈgæləksi. ðɪs ˈplænət ɪz wən əv ðə ˈwɛlˈnoʊn dɪˈskəvərd baɪ ˈʃɑrbəˌnoʊ ɛt. æl. 2009 ɪn ðə ˈprɑʤɛkt, wɪʧ ˈfoʊkɪsɪz ɔn ˈfaɪndɪŋ ˈhæbətəbəl ˈplænəts əraʊnd ˈnɪrˈbaɪ smɔl stɑrz. ðə ˈkɑrənt timz ˈrisərʧ ɪgˈzæmənd ˈfiʧərz əv laɪt ˈskætərɪŋ əv 1214 biz ˈtrænzɪt əraʊnd ɪts stɑr. ˈkɑrənt ˈθɪri ˈpɑzəts ðət ə ˈplænət dɪˈvɛləps ɪn ə dɪsk əv dɛns gæs sərˈaʊndɪŋ ə ˈnuli fɔrmd stɑr (i.e*., ə dɪsk). ðə ˈɛləmənt ˈhaɪdrəʤən ɪz ə ˈmeɪʤər kəmˈpoʊnənt əv ə dɪsk, ənd ˈwɔtər aɪs ɪz əˈbəndənt ɪn ən ˈaʊtər ˈriʤən bɪɔnd ə ˈsoʊˈkɔld "snoʊ laɪn." ˈfaɪndɪŋz əˈbaʊt wɛr hæv fɔrmd ənd haʊ ðeɪ hæv ˈmaɪˌgreɪtɪd tɪ ðɛr ˈkɑrənt ˈɔrbəts pɔɪnt tɪ ðə priˈdɪkʃən ðət ˈhaɪdrəʤən ər ˈwɔtər ˈveɪpər ɪz ə ˈmeɪʤər ˌætməsˈfɛrɪk kəmˈpoʊnənt əv ə. ɪf ˈsaɪəntɪsts kən dɪˈtərmən ðə ˈmeɪʤər ˌætməsˈfɛrɪk kəmˈpoʊnənt əv ə, ðeɪ kən ðɛn ˌɪnˈfər ðə ˈplænəts ˈbərθˌpleɪs ənd fɔrˈmeɪʃən ˈhɪstəri. ˈplænəˌtɛri ˈtrænzɪts ɪˈneɪbəl ˈsaɪəntɪsts tɪ ˌɪnˈvɛstəˌgeɪt ˈʧeɪnʤɪz ɪn ðə ˈweɪvˌlɛŋθ ɪn ðə ˈbraɪtnəs əv ðə stɑr (i.e*., ˈtrænzɪt dɛpθ), wɪʧ ˈɪndəˌkeɪt ðə ˈplænəts ˌætməsˈfɛrɪk ˌkɑmpəˈzɪʃən. strɔŋ ˈskætərɪŋ ɪn ðə ˈɑptɪkəl ˈweɪvˌlɛŋθ ɪz ˈpaʊərfəl ˈɛvədəns fər ə ˈætməsˌfɪr. ˈskætərɪŋ əˈkərz wɪn laɪt ˈpɑrtɪkəlz ˈskætər ɪn ə ˈmidiəm wɪˈθaʊt ə ʧeɪnʤ ɪn ˈweɪvˌlɛŋθ. səʧ ˈskætərɪŋ ˈstrɔŋli dɪˈpɛndz ɔn ˈweɪvˌlɛŋθ ənd ɛnˈhænsɪz ʃɔrt ˈweɪvˌlɛŋθs; ɪt ˈkɔzɪz ˈgreɪtər ˈtrænzɪt dɛpθ ɪn ðə blu ˈrəðər ðən ɪn ðə rɛd ˈweɪvˌlɛŋθ. ðə ˈkɑrənt tim juzd ðə tu ˈɑptɪkəl ˈkæmərəz ənd ɔn ðə ˈsubəru ˈtɛləˌskoʊp ˈfɪtɪd wɪθ ə blu trænzˈmɪʃən ˈfɪltər tɪ sərʧ fər ðə ˈskætərɪŋ ˈfiʧər əv 1214 biz ˈætməsˌfɪr. ðɪs ˈplænəˌtɛri ˈsɪstəmz ˈvɛri feɪnt hoʊst stɑr ɪn blu laɪt ˈpoʊzɪz ə ˈʧælənʤ fər ˈrisərʧərz ˈsikɪŋ tɪ dɪˈtərmən ˈwɛðər ər nɑt ðə ˈplænəts ˈætməsˌfɪr həz strɔŋ ˈskætərɪŋ. ðə lɑrʤ, ˈpaʊərfəl ɛm ˈmɪrər əv ðə ˈsubəru ˈtɛləˌskoʊp əˈlaʊd ðə tim tɪ əˈʧiv ðə ˌsɛnsɪˈtɪvɪti ɪn ðə bluəst ˈriʤən. ðə timz ˌɑbzərˈveɪʃənz ʃoʊd ðət 1214 biz ˈætməsˌfɪr dɪz nɑt dɪˈspleɪ strɔŋ ˈskætərɪŋ. ðɪs ˈfaɪndɪŋ ˌɪmˈplaɪz ðət ðə ˈplænət həz ə ər ə ˈætməsˌfɪr wɪθ ɪkˈstɛnsɪv klaʊdz. (ˈfɪgjər 2 ˈfɪgjər 2 rɛnˈdɪʃən əv ðə riˈleɪʃənˌʃɪp bɪtˈwin ðə ˌkɑmpəˈzɪʃən əv ðə ˈætməsˌfɪr ənd trænzˈmɪtəd ˈkələrz əv laɪt. tɔp: ɪf ðə skaɪ həz ə klɪr, upward-extended*, ˈætməsˌfɪr, ˈskætərɪŋ ə lɑrʤ ˈpɔrʃən əv ðə blu laɪt frəm ðə ˈætməsˌfɪr əv ðə hoʊst waɪl ɪt lɛs əv ðə rɛd laɪt. ɛz ə rɪˈzəlt, ə ˈtrænzɪt ɪn blu laɪt bɪˈkəmz ˈdipər ðən ðə wən ɪn rɛd laɪt. ˈmɪdəl: ɪf ðə skaɪ həz ə lɛs ɪkˈstɛndɪd, ˈætməsˌfɪr, ðə ˈifɛkt əv ðə ˈskætərɪŋ ɪz məʧ ˈwikər ðən ɪn ə ˈætməsˌfɪr. ɪn ðɪs keɪs, ˈtrænzɪts ɪn ɔl ˈkələrz hæv ˈɔlˌmoʊst ðə seɪm ˈtrænzɪt dɛpθs. ˈbɑtəm: ɪf ðə skaɪ həz ɪkˈstɛnsɪv klaʊdz, moʊst əv ðə laɪt ˈkænɑt bi trænzˈmɪtəd θru ðə ˈætməsˌfɪr, ˈivɪn ðoʊ ˈhaɪdrəʤən ˈdɑməˌneɪts ɪt. ɛz ə rɪˈzəlt, ˈtrænzɪts ɪn ɔl ˈkələrz hæv ˈɔlˌmoʊst ðə seɪm ˈtrænzɪt dɛpθs. (ˈkrɛdɪt: naoj*) ˌɔlˈðoʊ ðə tim dɪd nɑt kəmˈplitli ˈdɪskaʊnt ðə ˌpɑsəˈbɪləˌti əv ə ˈætməsˌfɪr, ðə nu rɪˈzəlt kəmˈbaɪnd wɪθ ˈfaɪndɪŋz frəm ˈpriviəs ˈrisərʧ ɪn ˈəðər ˈkələrz səˈʤɛsts ðət 1214 bi ɪz ˈlaɪkli tɪ hæv ə ˈætməsˌfɪr (ˈfɪgjər 3 ðə tim plænz tɪ ˈkɑndəkt ˈfɑloʊˌəp ˌɑbzərˈveɪʃənz ɪn ðə nɪr fˈjuʧər tɪ ˌriɪnˈfɔrs ðɛr kənˈkluʒən. ˈfɪgjər 3 əbˈzərvd ˈtrænzɪt dɛpθs ənd ˌθiərˈɛtɪkəl ˈmɑdəlz fər 1214 bi. ðə blu ənd pɔɪnts ər ðə ˈdætə ˈteɪkən wɪθ ˈsubəru ˈtɛləˌskoʊps ənd, rɪˈspɛktɪvli (nɛˈritə ɛt æl. 2013 ðə rɛd pɔɪnts ər ˈteɪkən wɪθ ðə ɛm ˈtɛləˌskoʊp ˈloʊˌkeɪtəd ɪn saʊθ ˈæfrɪkɑ (nɛˈritə ɛt æl. 2013 ðə θri ˈsɑləd laɪnz (ˈjɛloʊ, grin, ənd ˈpərpəl) ˌrɛprɪˈzɛnt hydrogen-rich*,, ənd ɪkˈstɛnsɪv klaʊd ˈætməsˌfɪr ˈmɑdəlz beɪst ɔn haʊ bəroʊz 2012 ðə ˈsubəru ˈtɛləˌskoʊp ˈdætə ˈɪndəˌkeɪt noʊ strɔŋ ˈskætərɪŋ ɪn ðə blu ˈweɪvˌlɛŋθ. (ˈkrɛdɪt: naoj*) ˌɔlˈðoʊ ðɛr ər ˈoʊnli ə smɔl ˈnəmbər əv ðət ˈsaɪəntɪsts kən əbˈzərv ɪn ðə skaɪ naʊ, ðɪs ˌsɪʧuˈeɪʃən wɪl drəˈmætɪkəli ʧeɪnʤ wɪn ðə ˈtrænzɪtɪŋ ˈsərˌveɪ ˈsætəˌlaɪt (tɛs) bɪˈgɪnz ɪts hoʊl skaɪ ˈsərˌveɪ əv smɔl ˈtrænzɪtɪŋ ɪn ɑr ˈsoʊlər ˈneɪbərˌhʊd. wɪn nu ˈtɑrgəts bɪˈkəm əˈveɪləbəl, ˈsaɪəntɪsts kən ˈstədi ðə əv ˈmɛni wɪθ ðə ˈsubəru ˈtɛləˌskoʊp ənd nɛkst ˌʤɛnərˈeɪʃən, lɑrʤ ˈtɛləˌskoʊps səʧ ɛz ðə ˈθərˌdi ˈmitər ˈtɛləˌskoʊp (tmt*). səʧ ˌɑbzərˈveɪʃənz wɪl əˈlaʊ ˈsaɪəntɪsts tɪ lərn ˈivɪn mɔr əˈbaʊt ðə ˈneɪʧər əv ˈvɛriəs. ˈrɛfərənsɪz: haʊ, a.r*. bəroʊz, eɪz. 2012 "ˌθiərˈɛtɪkəl ˈtrænzɪt ˈspɛktrə fər ənd ˈəðər "super-earths*", ˈʤərnəl, ˈvɑljum 756 ˈɑrtɪkəl ˈaɪˈdi. 176 nɛˈritə, ɛn., fuˈkui, ə., ikoma*, ɛm., ˈhɔri, waɪ., ɛt æl. 2013 ˈtrænzɪt əv θru bændz ənd ə ˈlɔŋˈtərm ˈmɑnətərɪŋ əv ðə ˈstɛlər vɛriəˈbɪlɪti əv 1214 ˈʤərnəl, ˈvɑljum 773 ˈɪʃu 2 ˈɑrtɪkəl ˈaɪˈdi. 144 ækˈnɑlɪʤmənts: ðɪs ˈrisərʧ wɑz səˈpɔrtɪd ɪn pɑrt baɪ ðə ˈfɑloʊɪŋ: |
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are men surplus to requirements? the answer, after more than half a century of feminism and the welfare state, depends largely on class. men from the employable and educated classes are still in strong demand among women. but much lower down the socioeconomic scale, among the least privileged, men have become or have come to seem entirely optional.
as many of these women become grandmothers, a new pattern has emerged of three generations of mothers without a man in the house lone granny, lone mum and fatherless children, all expecting the state to stand in for daddy, as of right. these women are not so much welfare queens as matriarchal dynasties of welfare amazons...
the culture is passed on, as you might expect. lone grannies are significantly more likely to have lone and daughters than grannies with husbands or employment, and the same is true of their daughters’ daughters. baby daughters (and baby sons, too) are with their milk the idea that men, like jobs, are largely unnecessary in any serious sense.
the problem with this new type of extended family, says, is that it is not but tends to be parasitic on conventional families in the rest of society. in fact, it appears to lead inexorably to the nightmare of an unproductive dependent underclass.
a reader sends in this article the new generations of for the poor and for the conventional families who support them but perhaps a boondoggle for the political class. isn't this what socialism is all about? | taɪmz ˈɔnˌlaɪn ər mɛn ˈsərpləs tɪ rɪkˈwaɪrmənts? ðə ˈænsər, ˈæftər mɔr ðən hæf ə ˈsɛnʧəri əv ˈfɛmɪˌnɪzəm ənd ðə ˈwɛlˌfɛr steɪt, dɪˈpɛndz ˈlɑrʤli ɔn klæs. mɛn frəm ðə ɛmˈplɔɪəbəl ənd ˈɛʤəˌkeɪtɪd ˈklæsɪz ər stɪl ɪn strɔŋ dɪˈmænd əˈməŋ ˈwɪmən. bət məʧ loʊər daʊn ðə soʊˌsiˌoʊˌɛkəˈnɑmɪk skeɪl, əˈməŋ ðə list ˈprɪvɪlɪʤd, mɛn hæv bɪˈkəm ər hæv kəm tɪ sim ɪnˈtaɪərli ˈɔpʃənəl. ɛz ˈmɛni əv ðiz ˈwɪmən bɪˈkəm ˈgrændˌməðərz, ə nu ˈpætərn həz ˈimərʤd əv θri ˌʤɛnərˈeɪʃənz əv ˈməðərz wɪˈθaʊt ə mæn ɪn ðə haʊs loʊn ˈgræni, loʊn məm ənd ˈfɑðərləs ˈʧɪldrən, ɔl ɪkˈspɛktɪŋ ðə steɪt tɪ stænd ɪn fər ˈdædi, ɛz əv raɪt. ðiz ˈwɪmən ər nɑt soʊ məʧ ˈwɛlˌfɛr kwinz ɛz ˌmeɪtriˈɑrkəl ˈdaɪnəstiz əv ˈwɛlˌfɛr ˈæməˌzɑnz... ðə ˈkəlʧər ɪz pæst ɔn, ɛz ju maɪt ɪkˈspɛkt. loʊn ˈgræniz ər sɪgˈnɪfɪkəntli mɔr ˈlaɪkli tɪ hæv loʊn ənd ˈdɔtərz ðən ˈgræniz wɪθ ˈhəzbəndz ər ɪmˈplɔɪmənt, ənd ðə seɪm ɪz tru əv ðɛr daughters’*’ ˈdɔtərz. ˈbeɪbi ˈdɔtərz (ənd ˈbeɪbi sənz, tu) ər wɪθ ðɛr mɪlk ðə aɪˈdiə ðət mɛn, laɪk ʤɑbz, ər ˈlɑrʤli ənˈnɛsəˌsɛri ɪn ˈɛni ˈsɪriəs sɛns. ðə ˈprɑbləm wɪθ ðɪs nu taɪp əv ɪkˈstɛndɪd ˈfæməli, sɪz, ɪz ðət ɪt ɪz nɑt bət tɛndz tɪ bi ˌpɛrəˈsɪtɪk ɔn kənˈvɛnʃənəl ˈfæməliz ɪn ðə rɛst əv soʊˈsaɪɪti. ɪn fækt, ɪt əˈpɪrz tɪ lɛd ˌɪˈnɛksərəbli tɪ ðə ˈnaɪtˌmɛr əv ən ˌənprəˈdəktɪv dɪˈpɛndənt ˈəndərˌklæs. ə ˈridər sɛndz ɪn ðɪs ˈɑrtɪkəl ðə nu ˌʤɛnərˈeɪʃənz əv fər ðə pur ənd fər ðə kənˈvɛnʃənəl ˈfæməliz hu səˈpɔrt ðɛm bət pərˈhæps ə ˌbunˈdɑgəl fər ðə pəˈlɪtɪkəl klæs. ˈɪzənt ðɪs wət ˈsoʊʃəˌlɪzəm ɪz ɔl əˈbaʊt? |
the years of square looking like a building site are over. a new water feature has been unveiled in the square to mark it being fully open to the public following three years of re-development.
the square has a distinctly continental feel with a panorama of architecture you can look out on to from the grade listed central library to the towering town hall, the midland hotel which was described as a “twentieth century palace” when it opened in 1903, as well as the modern developments of and peters square.
work has included expansion as part of the second city crossing, a new tramop, the relocation of the, development of the surrounding property, and planting of over 50 mature trees, including the first trees on a tram platform in the whole of manchester.
the water feature was turned on close to the newop for the first time to mark the completion of the major transformation of the area.
leader of manchester city council sir richard leese said: “this water feature is the closing chapter to what has been a remarkable transformation of square, from a muddle and claustrophobic transport interchange into an enviable public space that can sit proudly amongst the renowned squares across the world.
“in we have somewhere in our city centre that the public can truly be proud of and a space that complements the architecture both new and old in the civic heart of manchester.”
the square is named after church built around 1788 and demolished in 1907. aone cross was built to commemorate it, with the added alongside it in 1924. during the redevelopment, these have been moved to the cooperreet side of the town hall to create a separate area for quiet reflection away from the traffic.
the area around the square is the site of the massacre in 1819 when the cavalry charged into a crowd of people who had gathered peacefully to demand parliamentary reform.
in december 2016, a time capsule was buried here, the contents of which will provide a snapshot of life in manchester for future generations. | ðə jɪrz əv skwɛr ˈlʊkɪŋ laɪk ə ˈbɪldɪŋ saɪt ər ˈoʊvər. ə nu ˈwɔtər ˈfiʧər həz bɪn ənˈveɪld ɪn ðə skwɛr tɪ mɑrk ɪt biɪŋ ˈfʊli ˈoʊpən tɪ ðə ˈpəblɪk ˈfɑloʊɪŋ θri jɪrz əv re-development*. ðə skwɛr həz ə dɪˈstɪŋktli ˌkɑntəˈnɛnəl fil wɪθ ə ˌpænərˈæmə əv ˈɑrkəˌtɛkʧər ju kən lʊk aʊt ɔn tɪ frəm ðə greɪd ˈlɪstɪd ˈsɛntrəl ˈlaɪbrɛˌri tɪ ðə ˈtaʊrɪŋ taʊn hɔl, ðə ˈmɪˌdlænd hoʊˈtɛl wɪʧ wɑz dɪˈskraɪbd ɛz ə ˈsɛnʧəri palace”*” wɪn ɪt ˈoʊpənd ɪn 1903 ɛz wɛl ɛz ðə ˈmɑdərn dɪˈvɛləpmənts əv ənd ˈpitərz skwɛr. wərk həz ˌɪnˈkludɪd ɪkˈspænʧən ɛz pɑrt əv ðə ˈsɛkənd ˈsɪti ˈkrɔsɪŋ, ə nu træm stɑp, ðə ˌriˈloʊˈkeɪʃən əv ðə, dɪˈvɛləpmənt əv ðə sərˈaʊndɪŋ ˈprɑpərti, ənd ˈplæntɪŋ əv ˈoʊvər 50 məˈʧʊr triz, ˌɪnˈkludɪŋ ðə fərst triz ɔn ə træm ˈplætˌfɔrm ɪn ðə hoʊl əv ˈmænˌʧɛstər. ðə ˈwɔtər ˈfiʧər wɑz tərnd ɔn kloʊz tɪ ðə nu stɑp fər ðə fərst taɪm tɪ mɑrk ðə kəmˈpliʃən əv ðə ˈmeɪʤər ˌtrænsfərˈmeɪʃən əv ðə ˈɛriə. ˈlidər əv ˈmænˌʧɛstər ˈsɪti ˈkaʊnsəl sər ˈrɪʧərd lis sɛd: ˈwɔtər ˈfiʧər ɪz ðə ˈkloʊzɪŋ ˈʧæptər tɪ wət həz bɪn ə rɪˈmɑrkəbəl ˌtrænsfərˈmeɪʃən əv skwɛr, frəm ə ˈmədəl ənd ˌklɔstrəˈfoʊbɪk ˈtrænspɔrt ˌɪnərˈʧeɪnʤ ˈɪntu ən ˈɛnviəbəl ˈpəblɪk speɪs ðət kən sɪt ˈpraʊdli əˈməŋst ðə rɪˈnaʊnd skwɛrz əˈkrɔs ðə wərld. wi hæv ˈsəmˌwɛr ɪn ɑr ˈsɪti ˈsɛntər ðət ðə ˈpəblɪk kən ˈtruli bi praʊd əv ənd ə speɪs ðət ˈkɑmpləmənts ðə ˈɑrkəˌtɛkʧər boʊθ nu ənd oʊld ɪn ðə ˈsɪvɪk hɑrt əv manchester.”*.” ðə skwɛr ɪz neɪmd ˈæftər ʧərʧ bɪlt əraʊnd 1788 ənd dɪˈmɑlɪʃt ɪn 1907 ə stoʊn krɔs wɑz bɪlt tɪ kəˈmɛmərˌeɪt ɪt, wɪθ ðə ˈædɪd əˈlɔŋˈsaɪd ɪt ɪn 1924 ˈdʊrɪŋ ðə ˌridɪˈvɛləpmənt, ðiz hæv bɪn muvd tɪ ðə ˈkupər strit saɪd əv ðə taʊn hɔl tɪ kriˈeɪt ə ˈsɛpərˌeɪt ˈɛriə fər kwaɪət rɪˈflɛkʃən əˈweɪ frəm ðə ˈtræfɪk. ðə ˈɛriə əraʊnd ðə skwɛr ɪz ðə saɪt əv ðə ˈmæsəkər ɪn 1819 wɪn ðə ˈkævəlri ʧɑrʤd ˈɪntu ə kraʊd əv ˈpipəl hu hæd ˈgæðərd ˈpisfəli tɪ dɪˈmænd ˌpɑrləˈmɛntəri rɪˈfɔrm. ɪn dɪˈsɛmbər 2016 ə taɪm ˈkæpsəl wɑz ˈbɛrid hir, ðə ˈkɑntɛnts əv wɪʧ wɪl prəˈvaɪd ə sˈnæpˌʃɑt əv laɪf ɪn ˈmænˌʧɛstər fər fˈjuʧər ˌʤɛnərˈeɪʃənz. |
it’s back to work day for castle star, who today begins filming season 8 of the popular abc series. it was a busy hiatus for, during which she shot two indie movies, the rendezvous and sister cities, and got married. in addition to playing the female lead opposite nathan fillion, has added a new role on castle as part of her new contract: a producer. in her first interview since signing on for season 8, talks about the decision to return, provides a glimpse at next season that promises to shake things up under new alexi hawley and terence paul winter, addresses her future on the show and what she would like to do next.
it was a few weeks for castle fans last spring when the contracts of both fillion and expired. by mid-april, fillion, who plays rick castle, had agreed to a new deal, but’s new pact did not close until hours before abc was to announce its schedule in may. behind the scenes, things as dramatic, says. “for me it necessarily down to the wire,” she says. “i really start speaking about that until after we had wrapped the (7th) season. a lot of the discussions were happening while i was filming the rendezvous, so i let my reps handle. it went rather quickly in the end.”
for, signing on for season 8 was way more than a business decision. “part of my thought process making the decision whether to do another season was creatively, what would that would look like,” she said. factoring into the consideration was the fact that castle creator andrew marlowe was leaving the series after season 7. “he was part of making this character (kate beckett) what become, and he has been part of this dialogue about how to create a strong female heroine,” said.
when hawley and winter both experienced castle were named as new, “i started to feel the character would be safe in the next chapter of castle. i felt confident that they knew the story, the character terence has been on the show since day 1, and some of the most interesting episodes for my character were penned by alexi and while they are eager to shake things up and aim at telling challenging stories, they would also protect the integrity of the character.”
after taking a day to move offices from his previous job as of the following, hawley, along with winter and the castle writing staff, went on a writers retreat where they hashed out a bible for season 8. how will hawley and winter shake things up?
“there are a lot of shifts” d, said, noting that is excited about hawley and ideas while being coy about next storyline and the resolution of season 7 finale cliffhanger, which saw beckett left pondering an offer to run for the new york state senate. still, she revealed some information about the opening two episodes and beyond.
katic called episodes 1 and 2 of season 8 “brother and sister.” each reflects castle and perspective on “an event that shifts the entire season into a higher velocity” and “is part of what will set everything up for the next 20 episodes.”
here are more clues about season 8. “part of the exciting thing about this season is the way alexi and terence have envisioned the cosmic version of why the two characters (castle and beckett) have come together, how did these roads combine. it delves into the mythology of disappearance and memory loss as well as into what inspired beckett to become a cop in the first place.”
will season 8 be’s last on castle? it is too early to discuss that, according to. “i know what is going to happen with castle and its future as we are at the beginning of what this season is going to be.” but she was quick to point out that “as an actor, if we can tell many stories and have a creatively fulfilling experience, we love to jump and explore a character.”
katic, who has won two choice awards for castle, also is looking to expand beyond acting to directing as well as “finding great projects and helping to put them together.” she calls that a natural progression for actors, especially women, noting that many actresses who have won an oscar have done so with movies that they had helped develop and produce. “it’s about finding great pieces and stories that i can be part of” that may or may not be starring vehicles, said.
katic is starting work on castle a week into production so she could wrap production on her second hiatus movie, sister cities with alfred molina and jackie weaver, which she just did over the weekend, and thanked abc for graciously letting her carve time out for the film, which tells the story of four estranged sisters who reunite to mourn after their alleged suicide.
while sister cities wa s shot in la, action adventure the rendezvous, in which plays the female lead opposite raza jaffrey, was a completely different experience. it was filmed in jordan and marked’s first trip to the middle east. “it was unique and amazing,” said about the shoot that had to deal with traveling through the desert in c heat (112° f), holding the camera for camel crossing or redoing a take interrupted by a call to prayer. because economy is not as strong as america’s, the local film industry has to make do with less. “people try to make films happen with a bit more ingenuity, and there is something very charming about generosity and desire to make it happen,” said.
in addition to the two movies and the wedding, took time this summer to work on her atp foundation, which promotes alternative travel. she spent time meeting with people from google, metro as well as the white house discussing the issue that she is very passionate about. “i think this project is part of next chapter of what our planet will look like as within the next years 70% of the population will live in cities,” she said. is trying to set an example making the commitment to travel by public transport or bike at least once a week. | it’s* bæk tɪ wərk deɪ fər ˈkæsəl stɑr, hu təˈdeɪ bɪˈgɪnz ˈfɪlmɪŋ ˈsizən 8 əv ðə ˈpɑpjələr ˈeɪˌbiˌsi ˈsɪriz. ɪt wɑz ə ˈbɪzi haɪˈeɪtəs fər, ˈdʊrɪŋ wɪʧ ʃi ʃɑt tu ˈɪndi ˈmuviz, ðə ˈrɑndɪˌvu ənd ˈsɪstər ˈsɪtiz, ənd gɑt ˈmɛrid. ɪn əˈdɪʃən tɪ pleɪɪŋ ðə ˈfiˌmeɪl lɛd ˈɑpəzɪt ˈneɪθən ˈfɪljən, həz ˈædɪd ə nu roʊl ɔn ˈkæsəl ɛz pɑrt əv hər nu ˈkɑnˌtrækt: ə prəˈdusər. ɪn hər fərst ˈɪntərvˌju sɪns ˈsaɪnɪŋ ɔn fər ˈsizən 8 tɔks əˈbaʊt ðə dɪˈsɪʒən tɪ rɪˈtərn, prəˈvaɪdz ə glɪmps æt nɛkst ˈsizən ðət ˈprɑməsəz tɪ ʃeɪk θɪŋz əp ˈəndər nu əˈlɛksi ˈhɔli ənd ˈtɛrəns pɔl ˈwɪntər, ˈæˈdrɛsɪz hər fˈjuʧər ɔn ðə ʃoʊ ənd wət ʃi wʊd laɪk tɪ du nɛkst. ɪt wɑz ə fju wiks fər ˈkæsəl fænz læst spərɪŋ wɪn ðə ˈkɑnˌtrækts əv boʊθ ˈfɪljən ənd ɪkˈspaɪrd. baɪ mid-april*, ˈfɪljən, hu pleɪz rɪk ˈkæsəl, hæd əˈgrid tɪ ə nu dil, bət nu pækt dɪd nɑt kloʊz ənˈtɪl aʊərz ˌbiˈfɔr ˈeɪˌbiˌsi wɑz tɪ əˈnaʊns ɪts ˈskɛʤʊl ɪn meɪ. bɪˈhaɪnd ðə sinz, θɪŋz ɛz drəˈmætɪk, sɪz. mi ɪt ˌnɛsəˈsɛrəli daʊn tɪ ðə wire,”*,” ʃi sɪz. ˈrɪli stɑrt ˈspikɪŋ əˈbaʊt ðət ənˈtɪl ˈæftər wi hæd ræpt ðə 7th*) ˈsizən. ə lɔt əv ðə dɪˈskəʃənz wər ˈhæpənɪŋ waɪl aɪ wɑz ˈfɪlmɪŋ ðə ˈrɑndɪˌvu, soʊ aɪ lɛt maɪ rɛps ˈhændəl. ɪt wɛnt ˈrəðər kˈwɪkli ɪn ðə end.”*.” fər, ˈsaɪnɪŋ ɔn fər ˈsizən 8 wɑz weɪ mɔr ðən ə ˈbɪznɪs dɪˈsɪʒən. əv maɪ θɔt ˈprɔˌsɛs ˈmeɪkɪŋ ðə dɪˈsɪʒən ˈwɛðər tɪ du əˈnəðər ˈsizən wɑz kriˈeɪtɪvli, wət wʊd ðət wʊd lʊk like,”*,” ʃi sɛd. ˈfæktərɪŋ ˈɪntu ðə kənˌsɪdərˈeɪʃən wɑz ðə fækt ðət ˈkæsəl kriˈeɪtər ˈændru ˈmɑˌrloʊ wɑz ˈlivɪŋ ðə ˈsɪriz ˈæftər ˈsizən 7 wɑz pɑrt əv ˈmeɪkɪŋ ðɪs ˈkɛrɪktər (keɪt ˈbɛkɪt) wət bɪˈkəm, ənd hi həz bɪn pɑrt əv ðɪs ˈdaɪəˌlɔg əˈbaʊt haʊ tɪ kriˈeɪt ə strɔŋ ˈfiˌmeɪl heroine,”*,” sɛd. wɪn ˈhɔli ənd ˈwɪntər boʊθ ɪkˈspɪriənst ˈkæsəl wər neɪmd ɛz nu, ˈstɑrtɪd tɪ fil ðə ˈkɛrɪktər wʊd bi seɪf ɪn ðə nɛkst ˈʧæptər əv ˈkæsəl. aɪ fɛlt ˈkɑnfədənt ðət ðeɪ nu ðə ˈstɔri, ðə ˈkɛrɪktər ˈtɛrəns həz bɪn ɔn ðə ʃoʊ sɪns deɪ 1 ənd səm əv ðə moʊst ˈɪntəˌrɛstɪŋ ˈɛpɪˌsoʊdz fər maɪ ˈkɛrɪktər wər pɛnd baɪ əˈlɛksi ənd waɪl ðeɪ ər ˈigər tɪ ʃeɪk θɪŋz əp ənd eɪm æt ˈtɛlɪŋ ˈʧælənʤɪŋ ˈstɔriz, ðeɪ wʊd ˈɔlsoʊ prəˈtɛkt ðə ˌɪnˈtɛgrəti əv ðə character.”*.” ˈæftər ˈteɪkɪŋ ə deɪ tɪ muv ˈɔfəsɪz frəm hɪz ˈpriviəs ʤɑb ɛz əv ðə ˈfɑloʊɪŋ, ˈhɔli, əˈlɔŋ wɪθ ˈwɪntər ənd ðə ˈkæsəl ˈraɪtɪŋ stæf, wɛnt ɔn ə ˈraɪtərz riˈtrit wɛr ðeɪ hæʃt aʊt ə ˈbaɪbəl fər ˈsizən 8 haʊ wɪl ˈhɔli ənd ˈwɪntər ʃeɪk θɪŋz əp? ər ə lɔt əv shifts”*” di, sɛd, ˈnoʊtɪŋ ðət ɪz ɪkˈsaɪtɪd əˈbaʊt ˈhɔli ənd aɪˈdiəz waɪl biɪŋ kɔɪ əˈbaʊt nɛkst ˈstɔriˌlaɪn ənd ðə ˌrɛzəˈluʃən əv ˈsizən 7 fəˈnæli ˈklɪfˌhæŋər, wɪʧ sɔ ˈbɛkɪt lɛft ˈpɑndərɪŋ ən ˈɔfər tɪ rən fər ðə nu jɔrk steɪt ˈsɛnɪt. stɪl, ʃi rɪˈvild səm ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˈoʊpənɪŋ tu ˈɛpɪˌsoʊdz ənd bɪɔnd. kɔld ˈɛpɪˌsoʊdz 1 ənd 2 əv ˈsizən 8 ənd sister.”*.” iʧ rɪˈflɛkts ˈkæsəl ənd pərˈspɛktɪv ɔn ɪˈvɛnt ðət ʃɪfts ðə ɪnˈtaɪər ˈsizən ˈɪntu ə haɪər velocity”*” ənd pɑrt əv wət wɪl sɛt ˈɛvriˌθɪŋ əp fər ðə nɛkst 20 episodes.”*.” hir ər mɔr kluz əˈbaʊt ˈsizən 8 əv ðə ɪkˈsaɪtɪŋ θɪŋ əˈbaʊt ðɪs ˈsizən ɪz ðə weɪ əˈlɛksi ənd ˈtɛrəns hæv ɛnˈvɪʒənd ðə ˈkɑzmɪk ˈvərʒən əv waɪ ðə tu ˈkɛrɪktərz (ˈkæsəl ənd ˈbɛkɪt) hæv kəm təˈgɛðər, haʊ dɪd ðiz roʊdz ˈkɑmbaɪn. ɪt dɛlvz ˈɪntu ðə məˈθɑləˌʤi əv ˌdɪsəˈpɪrəns ənd ˈmɛməri lɔs ɛz wɛl ɛz ˈɪntu wət ˌɪnˈspaɪərd ˈbɛkɪt tɪ bɪˈkəm ə kɑp ɪn ðə fərst place.”*.” wɪl ˈsizən 8 bi læst ɔn ˈkæsəl? ɪt ɪz tu ˈərli tɪ dɪˈskəs ðət, əˈkɔrdɪŋ tɪ. noʊ wət ɪz goʊɪŋ tɪ ˈhæpən wɪθ ˈkæsəl ənd ɪts fˈjuʧər ɛz wi ər æt ðə bɪˈgɪnɪŋ əv wət ðɪs ˈsizən ɪz goʊɪŋ tɪ be.”*.” bət ʃi wɑz kwɪk tɪ pɔɪnt aʊt ðət ən ˈæktər, ɪf wi kən tɛl ˈmɛni ˈstɔriz ənd hæv ə kriˈeɪtɪvli fʊlˈfɪlɪŋ ɪkˈspɪriəns, wi ləv tɪ ʤəmp ənd ɪkˈsplɔr ə character.”*.”, hu həz wən tu ʧɔɪs əˈwɔrdz fər ˈkæsəl, ˈɔlsoʊ ɪz ˈlʊkɪŋ tɪ ɪkˈspænd bɪɔnd ˈæktɪŋ tɪ dɪˈrɛktɪŋ ɛz wɛl ɛz greɪt ˈprɑʤɛkts ənd ˈhɛlpɪŋ tɪ pʊt ðɛm together.”*.” ʃi kɔlz ðət ə ˈnæʧərəl prəˈgrɛʃən fər ˈæktərz, əˈspɛʃəli ˈwɪmən, ˈnoʊtɪŋ ðət ˈmɛni ˈæktrəsɪz hu hæv wən ən ˈɔskər hæv dən soʊ wɪθ ˈmuviz ðət ðeɪ hæd hɛlpt dɪˈvɛləp ənd ˈproʊdus. əˈbaʊt ˈfaɪndɪŋ greɪt ˈpisɪz ənd ˈstɔriz ðət aɪ kən bi pɑrt of”*” ðət meɪ ər meɪ nɑt bi ˈstɑrɪŋ ˈviɪkəlz, sɛd. ɪz ˈstɑrtɪŋ wərk ɔn ˈkæsəl ə wik ˈɪntu pərˈdəkʃən soʊ ʃi kʊd ræp pərˈdəkʃən ɔn hər ˈsɛkənd haɪˈeɪtəs ˈmuvi, ˈsɪstər ˈsɪtiz wɪθ ˈælfrɪd məˈlinə ənd ˈʤæki ˈwivər, wɪʧ ʃi ʤɪst dɪd ˈoʊvər ðə ˈwiˌkɪnd, ənd θæŋkt ˈeɪˌbiˌsi fər ˈgreɪʃəsli ˈlɛtɪŋ hər kɑrv taɪm aʊt fər ðə fɪlm, wɪʧ tɛlz ðə ˈstɔri əv fɔr ɛˈstreɪnʤd ˈsɪstərz hu ˌriuˈnaɪt tɪ mɔrn ˈæftər ðɛr əˈlɛʤd ˈsuɪˌsaɪd. waɪl ˈsɪstər ˈsɪtiz wɑ ɛs ʃɑt ɪn lɑ, ˈækʃən ədˈvɛnʧər ðə ˈrɑndɪˌvu, ɪn wɪʧ pleɪz ðə ˈfiˌmeɪl lɛd ˈɑpəzɪt ˈræzə ˈʤæfri, wɑz ə kəmˈplitli ˈdɪfərənt ɪkˈspɪriəns. ɪt wɑz fɪlmd ɪn ˈʤɔrdən ənd mɑrkt fərst trɪp tɪ ðə ˈmɪdəl ist. wɑz juˈnik ənd amazing,”*,” sɛd əˈbaʊt ðə ʃut ðət hæd tɪ dil wɪθ ˈtrævəlɪŋ θru ðə ˈdɛzərt ɪn si hit ɛf), ˈhoʊldɪŋ ðə ˈkæmərə fər ˈkæməl ˈkrɔsɪŋ ər riˈduɪŋ ə teɪk ˌɪntərˈəptɪd baɪ ə kɔl tɪ prɛr. bɪˈkəz ɪˈkɑnəmi ɪz nɑt ɛz strɔŋ ɛz america’s*, ðə ˈloʊkəl fɪlm ˈɪndəstri həz tɪ meɪk du wɪθ lɛs. traɪ tɪ meɪk fɪlmz ˈhæpən wɪθ ə bɪt mɔr ˌɪnʤəˈnuəˌti, ənd ðɛr ɪz ˈsəmθɪŋ ˈvɛri ˈʧɑrmɪŋ əˈbaʊt ˌʤɛnərˈɑsəti ənd dɪˈzaɪər tɪ meɪk ɪt happen,”*,” sɛd. ɪn əˈdɪʃən tɪ ðə tu ˈmuviz ənd ðə ˈwɛdɪŋ, tʊk taɪm ðɪs ˈsəmər tɪ wərk ɔn hər ˈeɪˈtiˈpi faʊnˈdeɪʃən, wɪʧ prəˈmoʊts ɔlˈtərnətɪv ˈtrævəl. ʃi spɛnt taɪm ˈmitɪŋ wɪθ ˈpipəl frəm ˈgugəl, ˈmɛˌtroʊ ɛz wɛl ɛz ðə waɪt haʊs dɪˈskəsɪŋ ðə ˈɪʃu ðət ʃi ɪz ˈvɛri ˈpæʃənət əˈbaʊt. θɪŋk ðɪs ˈprɑʤɛkt ɪz pɑrt əv nɛkst ˈʧæptər əv wət ɑr ˈplænət wɪl lʊk laɪk ɛz wɪˈθɪn ðə nɛkst jɪrz 70 əv ðə ˌpɑpjəˈleɪʃən wɪl lɪv ɪn cities,”*,” ʃi sɛd. ɪz traɪɪŋ tɪ sɛt ən ɪgˈzæmpəl ˈmeɪkɪŋ ðə kəˈmɪtmənt tɪ ˈtrævəl baɪ ˈpəblɪk ˈtrænspɔrt ər baɪk æt list wəns ə wik. |
when the iraqi military claimed it would swiftly force the islamic state group to give up control of the sunni city of, they probably didn't expect the battle to last quite so long before finally claiming victory.
but the iraqi government announced wednesday it had pushed insurgents out of the city, reclaiming the city of saddam hussein's birth and a key strategic position in relation to the islamic state group's northern iraq base in mosul.
"most of today is liberated," interior minister mohammed said, according to reuters. "only small parts remain [outside our control]. we will give you the good news in the next few hours after eliminating the pockets that are still in the city."
the battle: after incurring heavy casualties attempting to breach the city, iraqi military forces and shiite militias had to stall their war efforts in mid-march. this stemmed from what u.s. commanders called "poor overall planning," reports the washington post. according to u.s. commanders, iranian leaders were trying to keep the u.s. out of the fight, but the lack of intelligence or firepower needed to smoke the islamic state out of its holdings made it difficult to push forward.
eventually the stall ended when iraqi prime minister haider requested airstrikes against the city last week, pounding is fighters until iraqi and shiite forces were able to resume.
while the city has been liberated and brings the iraqi military closer to reclaiming its country, the battle for left the city broken and scarred, a war zone in the extreme sense of the word. and while it seems like this is the time to rebuild, there isn't much time to breathe. the islamic state threat from mosul looms nearer now, only 140 miles away. | wɪn ðə ˌɪˈræki ˈmɪlɪˌtɛri kleɪmd ɪt wʊd sˈwɪftli fɔrs ðə ˌɪzˈlɑmɪk steɪt grup tɪ gɪv əp kənˈtroʊl əv ðə ˈsuni ˈsɪti əv, ðeɪ ˈprɑbəˌbli ˈdɪdənt ɪkˈspɛkt ðə ˈbætəl tɪ læst kwaɪt soʊ lɔŋ ˌbiˈfɔr ˈfaɪnəli ˈkleɪmɪŋ ˈvɪktəri. bət ðə ˌɪˈræki ˈgəvərnmənt əˈnaʊnst ˈwɛnzˌdeɪ ɪt hæd pʊʃt ˌɪnˈsərʤənts aʊt əv ðə ˈsɪti, riˈkleɪmɪŋ ðə ˈsɪti əv ˈsɑdəm huˈseɪnz bərθ ənd ə ki strəˈtiʤɪk pəˈzɪʃən ɪn riˈleɪʃən tɪ ðə ˌɪzˈlɑmɪk steɪt grups ˈnɔrðərn ˌɪˈrɑk beɪs ɪn ˈmoʊsəl. "moʊst əv təˈdeɪ ɪz ˈlɪˌbərˌeɪtɪd," ˌɪnˈtɪriər ˈmɪnɪstər moʊˈhæmɪd sɛd, əˈkɔrdɪŋ tɪ ˈrɔɪtərz. "ˈoʊnli smɔl pɑrts rɪˈmeɪn [ˈaʊtˈsaɪd ɑr kənˈtroʊl]. wi wɪl gɪv ju ðə gʊd nuz ɪn ðə nɛkst fju aʊərz ˈæftər ɪˈlɪməˌneɪtɪŋ ðə ˈpɑkəts ðət ər stɪl ɪn ðə ˈsɪti." ðə ˈbætəl: ˈæftər ˌɪnˈkərɪŋ ˈhɛvi ˈkæʒəwəltiz əˈtɛmptɪŋ tɪ briʧ ðə ˈsɪti, ˌɪˈræki ˈmɪlɪˌtɛri ˈfɔrsɪz ənd ʃiaɪt mɪˈlɪʃəz hæd tɪ stɔl ðɛr wɔr ˈɛfərts ɪn mid-march*. ðɪs stɛmd frəm wət juz. kəˈmændərz kɔld "pur ˈoʊvərˌɔl ˈplænɪŋ," rɪˈpɔrts ðə ˈwɔʃɪŋtən poʊst. əˈkɔrdɪŋ tɪ juz. kəˈmændərz, ˌɪˈrɑniən ˈlidərz wər traɪɪŋ tɪ kip ðə juz. aʊt əv ðə faɪt, bət ðə læk əv ˌɪnˈtɛləʤəns ər ˈfaɪrˌpaʊər ˈnidɪd tɪ smoʊk ðə ˌɪzˈlɑmɪk steɪt aʊt əv ɪts ˈhoʊldɪŋz meɪd ɪt ˈdɪfəkəlt tɪ pʊʃ ˈfɔrwərd. ɪˈvɛnʧəwəli ðə stɔl ˈɛndɪd wɪn ˌɪˈræki praɪm ˈmɪnɪstər ˈheɪdər rɪkˈwɛstɪd ˈɛrˌstraɪks əˈgɛnst ðə ˈsɪti læst wik, ˈpaʊndɪŋ ɪz ˈfaɪtərz ənˈtɪl ˌɪˈræki ənd ʃiaɪt ˈfɔrsɪz wər ˈeɪbəl tɪ ˈrɛzəˌmeɪ. waɪl ðə ˈsɪti həz bɪn ˈlɪˌbərˌeɪtɪd ənd brɪŋz ðə ˌɪˈræki ˈmɪlɪˌtɛri ˈkloʊzər tɪ riˈkleɪmɪŋ ɪts ˈkəntri, ðə ˈbætəl fər lɛft ðə ˈsɪti ˈbroʊkən ənd skɑrd, ə wɔr zoʊn ɪn ðə ɪkˈstrim sɛns əv ðə wərd. ənd waɪl ɪt simz laɪk ðɪs ɪz ðə taɪm tɪ riˈbɪld, ðɛr ˈɪzənt məʧ taɪm tɪ brið. ðə ˌɪzˈlɑmɪk steɪt θrɛt frəm ˈmoʊsəl lumz ˈnɪrər naʊ, ˈoʊnli 140 maɪəlz əˈweɪ. |
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lansium in the philippines scientific classification kingdom: clade: clade: clade: order: family: genus: species: l. binomial name
osbeck) & bennet] list (jacq.) kosterm. (corrêa) pellegr. griff. kosterm. elmer nom. inval. (kosterm.) kosterm. kosterm. ridl. (corrêa) nees melia
lansium, also known as () or, is a species of tree in the mahogany family. the plant originates from western peninsular malaysia.
description [ edit ]
the tree is average sized, reaching 30 metres (98 ft) in height and 75 centimetres (30 in) in diameter. seedling trees 30 years old planted at 8 x 8 meter spacing can have a height of 10 meters and diameter of 25 cm. the trunk grows in an irregular manner, with its buttress roots showing above ground. the bark is a colour, with light and dark spots. its resin is thick and milk]
the compound leaves are odd numbered, with thin hair, and 6 to 9 buds at intervals. the buds are long and elliptical, approximately 9 to 21 centimetres (3.5 to in) by 5 to 10 centimetres (2.0 to in) in size. the upper edge shines, and the leaves themselves have pointed bases and tips. the stems of the buds measure 5 to 12 millimetres (0.20 to]
the flowers are located in that grow and hang from large branches or the trunk; the bunches may number up to 5 in one place. they are often branched at their base, measure 10 to 30 centimetres (3.9 to in) in size, and have short] the flowers are small, with short stems, and have two genders. the sheathe is shaped like a five lobed cup and is coloured a greenish-yellow. the corona is and hard, measuring 2 to 3 millimetres (0.079 to in) by 4 to 5 millimetres (0.16 to in). there is one, measuring 2 millimetres (0.079 in) in length. the top of the is round. the pistil is short and]
the fruit can be elliptical, ovoid or round, measuring 2 to 7 centimetres (0.79 to in) by to 5 centimetres (0.59 to in) in size. fruits look much like small potatoes and are borne in clusters similar to grapes. the larger fruits are on the variety known as. it is covered by thin, yellow hair giving a slightly fuzzy aspect. the skin thickness varies with the varieties, from 2 millimetres (0.079 in) to approximately 6 millimetres (0.24 in). the fruit contains 1 to 3 seeds, flat, and bitter tasting; the seeds are covered with a thick, that tastes sweet and] the taste has been likened to a combination of grape and grapefruit and is considered excellent by most. the sweet juicy flesh contains sucrose, fructose, and] for consumption, with small or undeveloped seeds and thick are preferred.
vernacular names [ edit ]
the tree and its fruit are known under a variety of common]
assamese:
balinese:
bengali: ,
, burmese: ,
, cebuano: ,
, english:,
javanese: ,
, khmer: long kong
indonesian: , ,
, , malay: , , , , ,
, , , , , sinhalese:
philippine spanish: (plural: )
(plural: ) tagalog: ,
, thai: (ลางสาด) (for the variety), (ลองกอง) (for the variety)
(for the variety), (for the variety) vietnamese: da đất , bon , bon
, , language :
cultivars [ edit ]
l. sold in a bunch in a roadside stall in sold in a bunch in a roadside stall in west
there are numerous of l.. overall, there are two main groups of, those named and those named. there are also mixed-langsat]
those called generally have a large crown, thick with bright green leaves, with short bunches of few fruit. the individual fruit are large, generally round, and have somewhat thick skin that does not release sap when cooked. the seeds are small, with thick flesh, a sweet scent, and a sweet or sour]
meanwhile, the variant commonly known as generally has thinner trees, with a less dense crown consisting of dark green leaves and stiff branches. the bunches are longer, and each bunch holds between 15 and 25 large, fruit. the skin is thin and releases a white sap when cooked. the flesh is watery and tastes sweet and][7]
l. cultivation in mandi angin, ilir, cultivation in mandi angin, ilir,
l. var. is distinguished by its hairy leaves, as well as the tightly packed dark yellow fruit on its bunches. the fruit tends to be small, with thin skin and little sap; the skin is difficult to remove. to be eaten, the fruit is bitten and the flesh sucked through the hole] or rubbed until the skin breaks and the seeds are retrieved. in indonesia the fruit has several names, including, pisitan, pijetan, and] the seeds are relatively large, with thin, sour flesh.
reproduction [ edit ]
the seeds of l. are polyembryonic, the multiple embryos resulting from]
l. is traditionally reproduced by spreading seedlings, either cultivated or collected from below the] it has been said that new seedlings require 20 to 25 years to bear fruit, with the possibility of the quality being] however other sources quote 12 years to first production from seed and no variations. production often varies from year to year, and depends to some extent on having a dry period to induce flowering. one example of ten trees in costa rica about twenty-five years old produced during five years the following weights of salable fruits: 2008: 50 kilos, 2009: 2000 kilos, 2010: 1000 kilos, 2011: 100 kilos, 2012: 1500 kilos. experiments in the philippines with grafting where two trees are planted close to each other and then grafted when one to two meters tall to leave twin root systems on a single main trunk have resulted in earlier and less erratic fruit production.
another common method is by air layering. although the process requires up to several] the new rooted tree produced is itself ready to bear fruit within two years. trees cultivated with this method have a high death] and the growths are less]
the third common way to reproduce l. is with grafting. this results in the new trees having the same genetic characteristics as their parent, and being ready to bear fruit within 5 to 6 years. the offspring are relatively stronger than transplanted]
ecology [ edit ]
l. grows well in mixeds. the plant, especially the variant, prefers damp, shaded areas. it can be grown in the same as durian, petai, and jengkol, as well as]
l. is grown from low grounds up to heights of 600 metres (2,000 ft) above sea level, in areas with an average rainfall of to millimetres (59 to 98 in) a year. the plant can grow and blossom in latosol, yellow podzol, and] the plant prefers slightly acidic soil with good drainage and rich in mulch. the variant is hardier, and can weather dry seasons with a little shade and] the plant cannot handle]
l. generally bears fruit once a year. this period can vary between areas, but blooming is generally after the beginning of the rainy season and fruit production some four months later.
distribution [ edit ]
lansium was originally native to peninsular malaysia. can be found in sulawesi and sarawak, northern borneo, the name is reserved for the varieties of, near the size of golf balls, claimed sweeter and with less sap in the peel. a variety called exported to mainland malaysia from thailand (this variety is called 'longkong' thai: in thailand) grows tighter in the clusters, giving it a faceted shape, and is preferred by many over the standard.
within mainland asia, the tree is cultivated in thailand (thai:,), cambodia, vietnam, india, and malaysia. outside the region, it has also been successfully transplanted and introduced to hawaii and surinam. it grows well in the wetter areas (120 meters or more annual rainfall) of costa rica, where it is still very rare, having been introduced decades ago by the united fruit company. a major hindrance to its acceptance seems to be that it is very slow in bearing, said to take 12 years or more from seed. however, air layering from mature trees, as well as grafting, are said to work well and produce much]
uses [ edit ]
l., showing the around the seed. peeled, showing the around the seed.
l. is cultivated mainly for its fruit, which can be eaten raw. the fruit can also be bottled in] the wood is hard, thick, heavy, and resilient, allowing it to be used in the construction of rural]
some parts of the plant are used in making traditional medicine. the bitter seeds can be pounded and mixed with water to make a and ulcer medication. the bark is used to treat dysentery and malaria; the powdered bark can also be used to treat scorpion stings. the skin is used to treat diarrhea, and in the philippines the dried skin is burned as a mosquito] the skin, especially of the variety, can be dried and burned as]
the greatest producers of are malaysia, thailand, the philippines and indonesia. the production is mostly for internal consumption, although some is exported to singapore, hong kong and kuwait.
see also [ edit ] | "duku*" hir. fər ðə ˈmælˌwɛr, si ɪn ðə ˈfɪləˌpinz ˌsaɪənˈtɪfɪk ˌklæsəfəˈkeɪʃən ˈkɪŋdəm: clade*: clade*: clade*: ˈɔrdər: ˈfæməli: ˈʤinəs: ˈspiʃiz: ɛl. baɪˈnoʊmiəl neɪm) ˈbɛnɪt lɪst (jacq*.) kosterm*. (corrêa*) pellegr*. grɪf. kosterm*. ˈɛlmər nɑm. inval*. (kosterm*.) kosterm*. kosterm*. ridl*. (corrêa*) niz ˈmɛliə, ˈɔlsoʊ noʊn ɛz ər, ɪz ə ˈspiʃiz əv tri ɪn ðə məˈhɑgəni ˈfæməli. ðə plænt ərˈɪʤəˌneɪts frəm ˈwɛstərn pəˈnɪnsələr məˈleɪʒə. dɪˈskrɪpʃən ˈɛdət ðə tri ɪz ˈævərɪʤ saɪzd, ˈriʧɪŋ 30 ˈmitərz 98 ft*) ɪn haɪt ənd 75 ˈsɛntəˌmitərz 30 ɪn) ɪn daɪˈæmətər. ˈsidlɪŋ triz 30 jɪrz oʊld ˈplænɪd æt 8 ɛks 8 ˈmitər ˈspeɪsɪŋ kən hæv ə haɪt əv 10 ˈmitərz ənd daɪˈæmətər əv 25 cm*. ðə trəŋk groʊz ɪn ən ˌɪˈrɛgjələr ˈmænər, wɪθ ɪts ˈbətrəs ruts ʃoʊɪŋ əˈbəv graʊnd. ðə bɑrk ɪz ə ˈkələr, wɪθ laɪt ənd dɑrk spɑts. ɪts ˈrɛzɪn ɪz θɪk ənd mɪlk ðə ˈkɑmpaʊnd livz ər ɑd ˈnəmbərd, wɪθ θɪn hɛr, ənd 6 tɪ 9 bədz æt ˈɪntərvəlz. ðə bədz ər lɔŋ ənd ɪˈlɪptɪkəl, əˈprɑksəmətli 9 tɪ 21 ˈsɛntəˌmitərz tɪ ɪn) baɪ 5 tɪ 10 ˈsɛntəˌmitərz tɪ ɪn) ɪn saɪz. ðə ˈəpər ɛʤ ʃaɪnz, ənd ðə livz ðɛmˈsɛlvz hæv ˈpɔɪntɪd ˈbeɪsɪz ənd tɪps. ðə stɛmz əv ðə bədz ˈmɛʒər 5 tɪ 12 ˈmɪləˌmitərz tɪ ðə flaʊərz ər ˈloʊˌkeɪtəd ɪn ðət groʊ ənd hæŋ frəm lɑrʤ ˈbrænʧɪz ər ðə trəŋk; ðə ˈbənʧɪz meɪ ˈnəmbər əp tɪ 5 ɪn wən pleɪs. ðeɪ ər ˈɔfən brænʧt æt ðɛr beɪs, ˈmɛʒər 10 tɪ 30 ˈsɛntəˌmitərz tɪ ɪn) ɪn saɪz, ənd hæv ʃɔrt ðə flaʊərz ər smɔl, wɪθ ʃɔrt stɛmz, ənd hæv tu ˈʤɛndərz. ðə ʃið ɪz ʃeɪpt laɪk ə faɪv loʊbd kəp ənd ɪz ˈkələrd ə greenish-yellow*. ðə kərˈoʊnə ɪz ənd hɑrd, ˈmɛʒərɪŋ 2 tɪ 3 ˈmɪləˌmitərz tɪ ɪn) baɪ 4 tɪ 5 ˈmɪləˌmitərz tɪ ɪn). ðɛr ɪz wən, ˈmɛʒərɪŋ 2 ˈmɪləˌmitərz ɪn) ɪn lɛŋθ. ðə tɔp əv ðə ɪz raʊnd. ðə ˈpɪstəl ɪz ʃɔrt ənd ðə frut kən bi ɪˈlɪptɪkəl, ˈoʊˌvɔɪd ər raʊnd, ˈmɛʒərɪŋ 2 tɪ 7 ˈsɛntəˌmitərz tɪ ɪn) baɪ tɪ 5 ˈsɛntəˌmitərz tɪ ɪn) ɪn saɪz. fruts lʊk məʧ laɪk smɔl pəˈteɪtoʊz ənd ər bɔrn ɪn ˈkləstərz ˈsɪmələr tɪ greɪps. ðə ˈlɑrʤər fruts ər ɔn ðə vərˈaɪəti noʊn ɛz. ɪt ɪz ˈkəvərd baɪ θɪn, ˈjɛloʊ hɛr ˈgɪvɪŋ ə sˈlaɪtli ˈfəzi ˈæˌspɛkt. ðə skɪn ˈθɪknəs ˈvɛriz wɪθ ðə vərˈaɪətiz, frəm 2 ˈmɪləˌmitərz ɪn) tɪ əˈprɑksəmətli 6 ˈmɪləˌmitərz ɪn). ðə frut kənˈteɪnz 1 tɪ 3 sidz, flæt, ənd ˈbɪtər ˈteɪstɪŋ; ðə sidz ər ˈkəvərd wɪθ ə θɪk, ðət teɪsts swit ənd ðə teɪst həz bɪn ˈlaɪkənd tɪ ə ˌkɑmbəˈneɪʃən əv greɪp ənd ˈgreɪpˌfrut ənd ɪz kənˈsɪdərd ˈɛksələnt baɪ moʊst. ðə swit ˈʤusi flɛʃ kənˈteɪnz ˈsukroʊs, ˈfrəkˌtoʊs, ənd fər kənˈsəmʃən, wɪθ smɔl ər ˌəndɪˈvɛləpt sidz ənd θɪk ər prɪˈfərd. vərˈnækjələr neɪmz ˈɛdət ðə tri ənd ɪts frut ər noʊn ˈəndər ə vərˈaɪəti əv ˈkɑmən assamese*: ˌbælɪˈniz: bɛŋˈgɑli: bərˈmiz: cebuano*: ˈɪŋlɪʃ:, ˌʤɑvəˈniz: kmɛr: lɔŋ kɔŋg ˌɪndoʊˈniʒən: ˈmeɪleɪ: ˌsɪnəˈliz: ˈfɪləˌpin ˈspænɪʃ: (ˈplʊrəl: (ˈplʊrəl: ˈtægəˌlɑg: taɪ: (fər ðə vərˈaɪəti), (fər ðə vərˈaɪəti) (fər ðə vərˈaɪəti), (fər ðə vərˈaɪəti) viˌɛtnɑˈmis: ˈdiˈeɪ bɑn bɑn ˈlæŋgwɪʤ ˈɛdət ɛl. soʊld ɪn ə bənʧ ɪn ə ˈroʊdˌsaɪd stɔl ɪn soʊld ɪn ə bənʧ ɪn ə ˈroʊdˌsaɪd stɔl ɪn wɛst ðɛr ər ˈnumərəs əv ɛl.. ˈoʊvərˌɔl, ðɛr ər tu meɪn grups əv, ðoʊz neɪmd ənd ðoʊz neɪmd. ðɛr ər ˈɔlsoʊ mɪkst ðoʊz kɔld ˈʤɛnərəli hæv ə lɑrʤ kraʊn, θɪk wɪθ braɪt grin livz, wɪθ ʃɔrt ˈbənʧɪz əv fju frut. ðə ˌɪndəˈvɪʤəwəl frut ər lɑrʤ, ˈʤɛnərəli raʊnd, ənd hæv ˈsəmˈwət θɪk skɪn ðət dɪz nɑt riˈlis sæp wɪn kʊkt. ðə sidz ər smɔl, wɪθ θɪk flɛʃ, ə swit sɛnt, ənd ə swit ər saʊər ˈminˌwaɪl, ðə ˈvɛriənt ˈkɑmənli noʊn ɛz ˈʤɛnərəli həz ˈθɪnər triz, wɪθ ə lɛs dɛns kraʊn kənˈsɪstɪŋ əv dɑrk grin livz ənd stɪf ˈbrænʧɪz. ðə ˈbənʧɪz ər ˈlɔŋgər, ənd iʧ bənʧ hoʊldz bɪtˈwin 15 ənd 25 lɑrʤ, frut. ðə skɪn ɪz θɪn ənd rɪˈlisɪz ə waɪt sæp wɪn kʊkt. ðə flɛʃ ɪz ˈwɔtəri ənd teɪsts swit ənd ɛl. ˌkəltɪˈveɪʃən ɪn ˈmændi angin*, ilir*, ˌkəltɪˈveɪʃən ɪn ˈmændi angin*, ilir*, ɛl. var*. ɪz dɪˈstɪŋgwɪʃt baɪ ɪts ˈhɛri livz, ɛz wɛl ɛz ðə ˈtaɪtli pækt dɑrk ˈjɛloʊ frut ɔn ɪts ˈbənʧɪz. ðə frut tɛndz tɪ bi smɔl, wɪθ θɪn skɪn ənd ˈlɪtəl sæp; ðə skɪn ɪz ˈdɪfəkəlt tɪ riˈmuv. tɪ bi ˈitən, ðə frut ɪz ˈbɪtən ənd ðə flɛʃ səkt θru ðə hoʊl ər rəbd ənˈtɪl ðə skɪn breɪks ənd ðə sidz ər riˈtrivd. ɪn ˌɪndoʊˈniʒə ðə frut həz ˈsɛvərəl neɪmz, ˌɪnˈkludɪŋ, pisitan*, pijetan*, ənd ðə sidz ər ˈrɛlətɪvli lɑrʤ, wɪθ θɪn, saʊər flɛʃ. ˌriprəˈdəkʃən ˈɛdət ðə sidz əv ɛl. ər polyembryonic*, ðə ˈməltəpəl ˈɛmbriˌoʊz rɪˈzəltɪŋ frəm ɛl. ɪz trəˈdɪʃənəli ˌriprəˈdust baɪ ˈsprɛdɪŋ ˈsidlɪŋz, ˈiðər ˈkəltəˌveɪtɪd ər kəˈlɛktəd frəm bɪˈloʊ ðə ɪt həz bɪn sɛd ðət nu ˈsidlɪŋz ˌrikˈwaɪər 20 tɪ 25 jɪrz tɪ bɛr frut, wɪθ ðə ˌpɑsəˈbɪləˌti əv ðə kˈwɑləti biɪŋ ˌhaʊˈɛvər ˈəðər ˈsɔrsəz kwoʊt 12 jɪrz tɪ fərst pərˈdəkʃən frəm sid ənd noʊ ˌvɛriˈeɪʃənz. pərˈdəkʃən ˈɔfən ˈvɛriz frəm jɪr tɪ jɪr, ənd dɪˈpɛndz tɪ səm ɪkˈstɛnt ɔn ˈhævɪŋ ə draɪ ˈpɪriəd tɪ ˌɪnˈdus flaʊərɪŋ. wən ɪgˈzæmpəl əv tɛn triz ɪn ˈkɔstɑ ˈrikə əˈbaʊt tˈwɛntiˌfaɪv jɪrz oʊld prəˈdust ˈdʊrɪŋ faɪv jɪrz ðə ˈfɑloʊɪŋ weɪts əv ˈseɪləbəl fruts: 2008 50 ˈkiˌloʊz, 2009 2000 ˈkiˌloʊz, 2010 1000 ˈkiˌloʊz, 2011 100 ˈkiˌloʊz, 2012 1500 ˈkiˌloʊz. ɪkˈspɛrəmənts ɪn ðə ˈfɪləˌpinz wɪθ ˈgræftɪŋ wɛr tu triz ər ˈplænɪd kloʊz tɪ iʧ ˈəðər ənd ðɛn ˈgræftɪd wɪn wən tɪ tu ˈmitərz tɔl tɪ liv twɪn rut ˈsɪstəmz ɔn ə ˈsɪŋgəl meɪn trəŋk hæv rɪˈzəltɪd ɪn ˈərliər ənd lɛs ɪˈrætɪk frut pərˈdəkʃən. əˈnəðər ˈkɑmən ˈmɛθəd ɪz baɪ ɛr leɪərɪŋ. ˌɔlˈðoʊ ðə ˈprɔˌsɛs rikˈwaɪərz əp tɪ ˈsɛvərəl ðə nu ˈrutɪd tri prəˈdust ɪz ˌɪtˈsɛlf ˈrɛdi tɪ bɛr frut wɪˈθɪn tu jɪrz. triz ˈkəltəˌveɪtɪd wɪθ ðɪs ˈmɛθəd hæv ə haɪ dɛθ ənd ðə groʊθs ər lɛs ðə θərd ˈkɑmən weɪ tɪ ˌriprəˈdus ɛl. ɪz wɪθ ˈgræftɪŋ. ðɪs rɪˈzəlts ɪn ðə nu triz ˈhævɪŋ ðə seɪm ʤəˈnɛtɪk ˌkɛrɪktərˈɪstɪks ɛz ðɛr ˈpɛrənt, ənd biɪŋ ˈrɛdi tɪ bɛr frut wɪˈθɪn 5 tɪ 6 jɪrz. ðə ˈɔfˌsprɪŋ ər ˈrɛlətɪvli ˈstrɔŋgər ðən trænˈsplæntɪd ɪˈkɑləʤi ˈɛdət ɛl. groʊz wɛl ɪn mɪkst agroforests*. ðə plænt, əˈspɛʃəli ðə ˈvɛriənt, prɪˈfərz dæmp, ˈʃeɪdɪd ˈɛriəz. ɪt kən bi groʊn ɪn ðə seɪm ɛz durian*, petai*, ənd jengkol*, ɛz wɛl ɛz ɛl. ɪz groʊn frəm loʊ graʊnz əp tɪ haɪts əv 600 ˈmitərz ft*) əˈbəv si ˈlɛvəl, ɪn ˈɛriəz wɪθ ən ˈævərɪʤ ˈreɪnˌfɔl əv tɪ ˈmɪləˌmitərz 59 tɪ 98 ɪn) ə jɪr. ðə plænt kən groʊ ənd ˈblɑsəm ɪn latosol*, ˈjɛloʊ podzol*, ənd ðə plænt prɪˈfərz sˈlaɪtli əˈsɪdɪk sɔɪl wɪθ gʊd ˈdreɪnɪʤ ənd rɪʧ ɪn məlʧ. ðə ˈvɛriənt ɪz ˈhɑrdiər, ənd kən ˈwɛðər draɪ ˈsizənz wɪθ ə ˈlɪtəl ʃeɪd ənd ðə plænt ˈkænɑt ˈhændəl ɛl. ˈʤɛnərəli bɛrz frut wəns ə jɪr. ðɪs ˈpɪriəd kən ˈvɛri bɪtˈwin ˈɛriəz, bət ˈblumɪŋ ɪz ˈʤɛnərəli ˈæftər ðə bɪˈgɪnɪŋ əv ðə ˈreɪni ˈsizən ənd frut pərˈdəkʃən səm fɔr mənθs ˈleɪtər. ˌdɪstrəˈbjuʃən ˈɛdət wɑz ərˈɪʤənəli ˈneɪtɪv tɪ pəˈnɪnsələr məˈleɪʒə. kən bi faʊnd ɪn ˌsuləˈwɛsi ənd ˈsɛrəwɑk, ˈnɔrðərn ˈbɔrniˌoʊ, ðə neɪm ɪz rɪˈzərvd fər ðə vərˈaɪətiz əv, nɪr ðə saɪz əv gɔlf bɔlz, kleɪmd sˈwitər ənd wɪθ lɛs sæp ɪn ðə pil. ə vərˈaɪəti kɔld ɪkˈspɔrtəd tɪ ˈmeɪnˌlænd məˈleɪʒə frəm ˈtaɪˌlænd (ðɪs vərˈaɪəti ɪz kɔld 'longkong*' taɪ: ɪn ˈtaɪˌlænd) groʊz ˈtaɪtər ɪn ðə ˈkləstərz, ˈgɪvɪŋ ɪt ə ˈfæsətɪd ʃeɪp, ənd ɪz prɪˈfərd baɪ ˈmɛni ˈoʊvər ðə ˈstændərd. wɪˈθɪn ˈmeɪnˌlænd ˈeɪʒə, ðə tri ɪz ˈkəltəˌveɪtɪd ɪn ˈtaɪˌlænd (taɪ:), ˌkæmˈboʊdiə, viˌɛtˈnɑm, ˈɪndiə, ənd məˈleɪʒə. ˈaʊtˈsaɪd ðə ˈriʤən, ɪt həz ˈɔlsoʊ bɪn səkˈsɛsfəli trænˈsplæntɪd ənd ˌɪntrəˈdust tɪ həˈwaɪˌi ənd ˌsʊrəˈnɑm. ɪt groʊz wɛl ɪn ðə ˈwɛtər ˈɛriəz 120 ˈmitərz ər mɔr ˈænjuəl ˈreɪnˌfɔl) əv ˈkɔstɑ ˈrikə, wɛr ɪt ɪz stɪl ˈvɛri rɛr, ˈhævɪŋ bɪn ˌɪntrəˈdust ˈdɛkeɪdz əˈgoʊ baɪ ðə juˈnaɪtɪd frut ˈkəmpəˌni. ə ˈmeɪʤər ˈhɪndrəns tɪ ɪts əkˈsɛptəns simz tɪ bi ðət ɪt ɪz ˈvɛri sloʊ ɪn ˈbɛrɪŋ, sɛd tɪ teɪk 12 jɪrz ər mɔr frəm sid. ˌhaʊˈɛvər, ɛr leɪərɪŋ frəm məˈʧʊr triz, ɛz wɛl ɛz ˈgræftɪŋ, ər sɛd tɪ wərk wɛl ənd ˈproʊdus məʧ ˈjuzɪz ˈɛdət ɛl., ʃoʊɪŋ ðə əraʊnd ðə sid. pild, ʃoʊɪŋ ðə əraʊnd ðə sid. ɛl. ɪz ˈkəltəˌveɪtɪd ˈmeɪnli fər ɪts frut, wɪʧ kən bi ˈitən rɑ. ðə frut kən ˈɔlsoʊ bi ˈbɑtəld ɪn ðə wʊd ɪz hɑrd, θɪk, ˈhɛvi, ənd rɪˈzɪljənt, əˈlaʊɪŋ ɪt tɪ bi juzd ɪn ðə kənˈstrəkʃən əv ˈrʊrəl səm pɑrts əv ðə plænt ər juzd ɪn ˈmeɪkɪŋ trəˈdɪʃənəl ˈmɛdəsən. ðə ˈbɪtər sidz kən bi ˈpaʊndɪd ənd mɪkst wɪθ ˈwɔtər tɪ meɪk ə ənd ˈəlsər ˌmɛdəˈkeɪʃən. ðə bɑrk ɪz juzd tɪ trit ˈdɪsənˌtɛri ənd məˈlɛriə; ðə ˈpaʊdərd bɑrk kən ˈɔlsoʊ bi juzd tɪ trit ˈskɔrpiən stɪŋz. ðə skɪn ɪz juzd tɪ trit ˌdaɪərˈiə, ənd ɪn ðə ˈfɪləˌpinz ðə draɪd skɪn ɪz bərnd ɛz ə məˈskitoʊ ðə skɪn, əˈspɛʃəli əv ðə vərˈaɪəti, kən bi draɪd ənd bərnd ɛz ðə ˈgreɪtəst prəˈdusərz əv ər məˈleɪʒə, ˈtaɪˌlænd, ðə ˈfɪləˌpinz ənd ˌɪndoʊˈniʒə. ðə pərˈdəkʃən ɪz ˈmoʊstli fər ˌɪnˈtərnəl kənˈsəmʃən, ˌɔlˈðoʊ səm ɪz ɪkˈspɔrtəd tɪ ˈsɪŋəˌpɔr, hɔŋ kɔŋg ənd kuˈweɪt. si ˈɔlsoʊ ˈɛdət |
how does a poet represent two distinctly different cultures in their work? how did james berry interpret his experience and those of other that migrated to england in the late into his writing? james berry was born in jamaica in 1924, but moved to england during the wave of immigration from the west indies led by the empire. from a young age berry had an interest in language, and showed an aptitude for spoken word and through writing soon realised he could explore the world from different perspectives. he became part of a new generation of poets who drew inspiration from their country of birth in addition to british culture. this album focuses on a selection of poems from his collection titled songs.
this material forms part of the open university course reading and studying literature. | haʊ dɪz ə poʊət ˌrɛprɪˈzɛnt tu dɪˈstɪŋktli ˈdɪfərənt ˈkəlʧərz ɪn ðɛr wərk? haʊ dɪd ʤeɪmz ˈbɛri ˌɪnˈtərprət hɪz ɪkˈspɪriəns ənd ðoʊz əv ˈəðər ðət ˈmaɪˌgreɪtɪd tɪ ˈɪŋglənd ɪn ðə leɪt ˈɪntu hɪz ˈraɪtɪŋ? ʤeɪmz ˈbɛri wɑz bɔrn ɪn ʤəˈmeɪkə ɪn 1924 bət muvd tɪ ˈɪŋglənd ˈdʊrɪŋ ðə weɪv əv ˌɪməˈgreɪʃən frəm ðə wɛst ˈɪndiz lɛd baɪ ðə ˈɛmpaɪər. frəm ə jəŋ eɪʤ ˈbɛri hæd ən ˈɪntəˌrɛst ɪn ˈlæŋgwɪʤ, ənd ʃoʊd ən ˈæptəˌtud fər ˈspoʊkən wərd ənd θru ˈraɪtɪŋ sun ˈriəˌlaɪzd hi kʊd ɪkˈsplɔr ðə wərld frəm ˈdɪfərənt pərˈspɛktɪvz. hi bɪˈkeɪm pɑrt əv ə nu ˌʤɛnərˈeɪʃən əv poʊəts hu dru ˌɪnspərˈeɪʃən frəm ðɛr ˈkəntri əv bərθ ɪn əˈdɪʃən tɪ ˈbrɪtɪʃ ˈkəlʧər. ðɪs ˈælbəm ˈfoʊkɪsɪz ɔn ə səˈlɛkʃən əv poʊəmz frəm hɪz kəˈlɛkʃən ˈtaɪtəld sɔŋz. ðɪs məˈtɪriəl fɔrmz pɑrt əv ðə ˈoʊpən ˌjunəˈvərsəti kɔrs ˈrɛdɪŋ ənd ˈstədiɪŋ ˈlɪtərəʧər. |
colorado gov. john (d) has hired a washington lobbying firm that represents insurers and other health care industry companies and groups opposed to health care to lobby in favor of his alternative to bernie sanders’ “medicare for all” proposal. the firm was hired by's government office and is slated to receive a total of $210,000 in taxpayer funds from the democratic office budget to lobby on health care after it helped bankroll his election campaign, a spokesperson for's office confirmed wednesday.
according to federal records reviewed by international business times, the colorado governor's office in february hired brownstein hyatt farber schreck a lobbying powerhouse whose lobbyist doug became the chief of staff in 2015 for $17,500 monthly from february 2017 to the same month of 2018., according to the spokesperson for, helped select brownstein hyatt from a pool of bidding lobbying firms, as did lt. gov. donna lynne, a former kaiser permanente executive who launched her gubernatorial campaign early in september, former department of regulatory agencies executive director joe neguse, who kicked off his congressional bid in june, and himself. lynne and served as “the primary points of contact” for brownstein hyatt at the governor's office, according to the firm's lobbying contract, which was obtained by ibt.
the work for the governor has involved lobbying congress, the interior department, the justice department and the environmental protection agency on “issues related to federal spending and national service programs.” brownstein hyatt has also lobbied federal lawmakers on health care on behalf of, and the governor's spokesperson, jacques montgomery, confirmed that the firm has been advocating for's proposed alternative to and health care measures.
in recent weeks,’s administration has approved a 27 percent insurance premium increase for affordable care act (aca) exchanges for next year. at the same time, he has been working with ohio republican gov. john kasich on a plan to stabilize the aca by offering more public money to the private insurance industry. the initiative proposes preserving taxpayer subsidies to insurers and passing a measure to create an additional $15 billion fund to further subsidize private insurers when they cover sicker people.
hickenlooper said the health care initiatives he is working on will not involve proposals for a health care system the kind adopted in many other industrialized nations in which the government is the sole sponsor of universal health care benefits. drugmakers and private health insurers have long opposed because it would put more price pressure on the former and threatens to fully eliminate the business model.
federal filings show that the same specific brownstein hyatt lobbyists working for also are lobbying for insurance, pharmaceutical and health care interests that have traditionally opposed proposals. the lobbying contract between the firm and's office states, using an acronym for the company name, “to the extent there are any potential conflicts that could arise during the period in which represents the office, those will be addressed on a case by case basis if and when they arise.”
brownstein hyatt did not respond to requests for comment from ibt.
clients represented by the eight brownstein hyatt lobbyists registered to lobby for include: insurers blue cross and blue shield association and health plan; drugmakers corp., inc. and marathon pharmaceuticals llc; medical products conglomerate baxter healthcare corp.; health services firms ardent health services and borrego health; and health products conglomerate johnson & johnson services inc. and the trade group consumer healthcare products association.
hickenlooper’s office hired brownstein hyatt to advocate for the interests in washington after the firm and its partners collectively delivered more than $85,000 to groups supporting the democratic election campaigns, according to data from politicalmoneyline.com, the center for responsive politics and the national institute on money in state politics.
that included more than $10,000 to the colorado democratic party; $45,000 to the democratic association and $20,000 to a colorado independent expenditure committee that boosted’s 2014 reelection bid. brownstein hyatt health industry clients, blue cross and were among the big donors as the group supported’s 2014 campaign, as was the drug lobbying group phrma.
during his two gubernatorial campaigns, received more than $10,000 in direct donations from brownstein hyatt lawyers. three of the lawyers were appointed to his 2014 “business leaders for” committee. brownstein hyatt also kicked in at least $10,000 for’s inauguration, and contributed to an organization that fought the unsuccessful 2016 health care ballot initiative in colorado. opposed the measure, as did his lieutenant governor donna lynne, who he appointed to the position from her job as a top executive at the healthcare conglomerate kaiser permanente.
luis toro, the executive director of the nonprofit colorado ethics watch, said that while the hiring of private lobbying firms is common among municipalities, it is practically impossible to avoid some conflict of interest in choosing corporate lobbying firms to advocate for taxpayers.
“i think fair to surmise that whatever pushing is not going to be adverse to the other clients of the lobbyist,” he said. “the lobbyist is not going to undercut their clients by promoting a health care plan from somebody else.”
careful vetting of private lobbyists ahead of their employment by public officials, toro added, was not likely a “feasible” answer, as “pretty much all lobbyists are going to have connections like this.”
“you could have an in-house lobbyist, if you had the budget for it,” he said, citing general concerns related to taxpayer dollars going to private lobbying firms. “i suppose, with whatever spending on these outside lobbyists, you could try to have an in-house lobbyist do the same thing.”
brownstein hyatt is a major player in washington, ranking second among lobbying firms by revenue for the past two years, a status “almost unheard of for a firm,” according to its website. a recent denver post profile noted that norm brownstein who is one of the three founders and is registered to lobby for has been dubbed “our senator” by members of the senate.
this story was updated at 5 pm on wednesday with a response from gov.'s office. | ˌkɑlərˈɑdoʊ gəv. ʤɑn (di) həz haɪərd ə ˈwɔʃɪŋtən ˈlɑbiɪŋ fərm ðət ˌrɛprɪˈzɛnts ˌɪnˈʃʊrərz ənd ˈəðər hɛlθ kɛr ˈɪndəstri ˈkəmpəˌniz ənd grups əˈpoʊzd tɪ hɛlθ kɛr tɪ ˈlɑbi ɪn ˈfeɪvər əv hɪz ɔlˈtərnətɪv tɪ ˈbərni sanders’*’ fər all”*” prəˈpoʊzəl. ðə fərm wɑz haɪərd baɪ ˈgəvərnmənt ˈɔfəs ənd ɪz sˈleɪtɪd tɪ rɪˈsiv ə ˈtoʊtəl əv ɪn ˈtækˌspeɪər fəndz frəm ðə ˌdɛməˈkrætɪk ˈɔfəs ˈbəʤɪt tɪ ˈlɑbi ɔn hɛlθ kɛr ˈæftər ɪt hɛlpt ˈbæŋˌkroʊl hɪz ɪˈlɛkʃən kæmˈpeɪn, ə ˈspoʊkspərsən fər ˈɔfəs kənˈfərmd ˈwɛnzˌdeɪ. əˈkɔrdɪŋ tɪ ˈfɛdərəl ˈrɛkərdz rivˈjud baɪ ˌɪnərˈnæʃənɑl ˈbɪznɪs taɪmz, ðə ˌkɑlərˈɑdoʊ ˈgəvərnərz ˈɔfəs ɪn ˈfɛbruˌɛri haɪərd ˈbraʊnˌstin haɪət ˈfɑrbər ʃrɛk ə ˈlɑbiɪŋ ˈpaʊərˌhaʊs huz ˈlɑbiəst dəg bɪˈkeɪm ðə ʧif əv stæf ɪn 2015 fər ˈmənθli frəm ˈfɛbruˌɛri 2017 tɪ ðə seɪm mənθ əv 2018, əˈkɔrdɪŋ tɪ ðə ˈspoʊkspərsən fər, hɛlpt səˈlɛkt ˈbraʊnˌstin haɪət frəm ə pul əv ˈbɪdɪŋ ˈlɑbiɪŋ fərmz, ɛz dɪd lt*. gəv. ˈdɑnə lɪn, ə ˈfɔrmər ˈkaɪzər ˌpərmɑˈnɛnˌteɪ ɪgˈzɛkjətɪv hu lɔnʧt hər guˌbərnəˈtɔˌriəl kæmˈpeɪn ˈərli ɪn sɛpˈtɛmbər, ˈfɔrmər dɪˈpɑrtmənt əv ˈrɛgjələˌtɔri ˈeɪʤənsiz ɪgˈzɛkjətɪv dɪˈrɛktər ʤoʊ neguse*, hu kɪkt ɔf hɪz kənˈgrɛʃənəl bɪd ɪn ʤun, ənd hɪmˈsɛlf. lɪn ənd sərvd ɛz ˈpraɪˌmɛri pɔɪnts əv contact”*” fər ˈbraʊnˌstin haɪət æt ðə ˈgəvərnərz ˈɔfəs, əˈkɔrdɪŋ tɪ ðə fərmz ˈlɑbiɪŋ ˈkɑnˌtrækt, wɪʧ wɑz əbˈteɪnd baɪ ibt*. ðə wərk fər ðə ˈgəvərnər həz ˌɪnˈvɑlvd ˈlɑbiɪŋ ˈkɑŋgrəs, ðə ˌɪnˈtɪriər dɪˈpɑrtmənt, ðə ˈʤəstɪs dɪˈpɑrtmənt ənd ðə ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən ˈeɪʤənsi ɔn rɪˈleɪtɪd tɪ ˈfɛdərəl ˈspɛndɪŋ ənd ˈnæʃənəl ˈsərvɪs programs.”*.” ˈbraʊnˌstin haɪət həz ˈɔlsoʊ ˈlɑbid ˈfɛdərəl ˈlɔˌmeɪkərz ɔn hɛlθ kɛr ɔn bɪˈhæf əv, ənd ðə ˈgəvərnərz ˈspoʊkspərsən, ʤæk mɑntˈgəmri, kənˈfərmd ðət ðə fərm həz bɪn ˈædvəˌkeɪtɪŋ fər prəˈpoʊzd ɔlˈtərnətɪv tɪ ənd hɛlθ kɛr ˈmɛʒərz. ɪn ˈrisənt wiks, ædˌmɪnɪˈstreɪʃən həz əˈpruvd ə 27 pərˈsɛnt ˌɪnˈʃʊrəns ˈprimiəm ˌɪnˈkris fər əˈfɔrdəbəl kɛr ækt (ˈækə) ɪksˈʧeɪnʤɪz fər nɛkst jɪr. æt ðə seɪm taɪm, hi həz bɪn ˈwərkɪŋ wɪθ oʊˈhaɪoʊ rɪˈpəblɪkən gəv. ʤɑn ˈkɑsɪʧ ɔn ə plæn tɪ ˈsteɪbəˌlaɪz ðə ˈækə baɪ ˈɔfərɪŋ mɔr ˈpəblɪk ˈməni tɪ ðə ˈpraɪvət ˌɪnˈʃʊrəns ˈɪndəstri. ðə ˌɪˈnɪʃətɪv prəˈpoʊzɪz prɪˈzərvɪŋ ˈtækˌspeɪər ˈsəbsɪdiz tɪ ˌɪnˈʃʊrərz ənd ˈpæsɪŋ ə ˈmɛʒər tɪ kriˈeɪt ən əˈdɪʃənəl 15 ˈbɪljən fənd tɪ ˈfərðər ˈsəbsɪˌdaɪz ˈpraɪvət ˌɪnˈʃʊrərz wɪn ðeɪ ˈkəvər ˈsɪkər ˈpipəl. sɛd ðə hɛlθ kɛr ˌɪˈnɪʃətɪvz hi ɪz ˈwərkɪŋ ɔn wɪl nɑt ˌɪnˈvɑlv prəˈpoʊzəlz fər ə hɛlθ kɛr ˈsɪstəm ðə kaɪnd əˈdɑptəd ɪn ˈmɛni ˈəðər ˌɪnˈdəstriəˌlaɪzd ˈneɪʃənz ɪn wɪʧ ðə ˈgəvərnmənt ɪz ðə soʊl ˈspɑnsər əv ˌjunəˈvərsəl hɛlθ kɛr ˈbɛnəfɪts. ˈdrəgˌmeɪkərz ənd ˈpraɪvət hɛlθ ˌɪnˈʃʊrərz hæv lɔŋ əˈpoʊzd bɪˈkəz ɪt wʊd pʊt mɔr praɪs ˈprɛʃər ɔn ðə ˈfɔrmər ənd θˈrɛtənz tɪ ˈfʊli ɪˈlɪməˌneɪt ðə ˈbɪznɪs ˈmɑdəl. ˈfɛdərəl ˈfaɪlɪŋz ʃoʊ ðət ðə seɪm spɪˈsɪfɪk ˈbraʊnˌstin haɪət ˈlɑbiɪsts ˈwərkɪŋ fər ˈɔlsoʊ ər ˈlɑbiɪŋ fər ˌɪnˈʃʊrəns, ˌfɑrməˈsutɪkəl ənd hɛlθ kɛr ˈɪntərɪsts ðət hæv trəˈdɪʃənəli əˈpoʊzd prəˈpoʊzəlz. ðə ˈlɑbiɪŋ ˈkɑnˌtrækt bɪtˈwin ðə fərm ənd ˈɔfəs steɪts, ˈjuzɪŋ ən ˈækrənɪm fər ðə ˈkəmpəˌni neɪm, ðə ɪkˈstɛnt ðɛr ər ˈɛni pəˈtɛnʃəl ˈkɑnflɪkts ðət kʊd əraɪz ˈdʊrɪŋ ðə ˈpɪriəd ɪn wɪʧ ˌrɛprɪˈzɛnts ðə ˈɔfəs, ðoʊz wɪl bi əˈdrɛst ɔn ə keɪs baɪ keɪs ˈbeɪsɪs ɪf ənd wɪn ðeɪ arise.”*.” ˈbraʊnˌstin haɪət dɪd nɑt rɪˈspɑnd tɪ rɪkˈwɛsts fər ˈkɑmɛnt frəm ibt*. klaɪənts ˌrɛprɪˈzɛnɪd baɪ ðə eɪt ˈbraʊnˌstin haɪət ˈlɑbiɪsts ˈrɛʤɪstərd tɪ ˈlɑbi fər ˌɪnˈklud: ˌɪnˈʃʊrərz blu krɔs ənd blu ʃild əˌsoʊʃiˈeɪʃən ənd hɛlθ plæn; ˈdrəgˌmeɪkərz ˈkɔrpərˈeɪʃən., ɪŋk. ənd ˈmɛrəˌθɑn ˌfɑrməˈsutɪkəlz llc*; ˈmɛdɪkəl ˈprɑdəkts kənˈglɑmərət ˈbækstər ˈhɛlθˌkɛr ˈkɔrpərˈeɪʃən.; hɛlθ ˈsərvɪsɪz fərmz ˈɑrdənt hɛlθ ˈsərvɪsɪz ənd bɔˈrɛgoʊ hɛlθ; ənd hɛlθ ˈprɑdəkts kənˈglɑmərət ˈʤɑnsən ˈʤɑnsən ˈsərvɪsɪz ɪŋk. ənd ðə treɪd grup kənˈsumər ˈhɛlθˌkɛr ˈprɑdəkts əˌsoʊʃiˈeɪʃən. ˈɔfəs haɪərd ˈbraʊnˌstin haɪət tɪ ˈædvəˌkeɪt fər ðə ˈɪntərɪsts ɪn ˈwɔʃɪŋtən ˈæftər ðə fərm ənd ɪts ˈpɑrtnərz kəˈlɛktɪvli dɪˈlɪvərd mɔr ðən tɪ grups səˈpɔrtɪŋ ðə ˌdɛməˈkrætɪk ɪˈlɛkʃən kæmˈpeɪnz, əˈkɔrdɪŋ tɪ ˈdætə frəm politicalmoneyline.com*, ðə ˈsɛnər fər rɪˈspɑnsɪv ˈpɑləˌtɪks ənd ðə ˈnæʃənəl ˈɪnstɪˌtut ɔn ˈməni ɪn steɪt ˈpɑləˌtɪks. ðət ˌɪnˈkludɪd mɔr ðən tɪ ðə ˌkɑlərˈɑdoʊ ˌdɛməˈkrætɪk ˈpɑrti; tɪ ðə ˌdɛməˈkrætɪk əˌsoʊʃiˈeɪʃən ənd tɪ ə ˌkɑlərˈɑdoʊ ˌɪndɪˈpɛndənt ɪkˈspɛndɪʧər kəˈmɪti ðət ˈbustɪd 2014 riɪˈlɛkʃən bɪd. ˈbraʊnˌstin haɪət hɛlθ ˈɪndəstri klaɪənts, blu krɔs ənd wər əˈməŋ ðə bɪg ˈdoʊnərz ɛz ðə grup səˈpɔrtɪd 2014 kæmˈpeɪn, ɛz wɑz ðə drəg ˈlɑbiɪŋ grup phrma*. ˈdʊrɪŋ hɪz tu guˌbərnəˈtɔˌriəl kæmˈpeɪnz, rɪˈsivd mɔr ðən ɪn dɪˈrɛkt doʊˈneɪʃənz frəm ˈbraʊnˌstin haɪət ˈlɔjərz. θri əv ðə ˈlɔjərz wər əˈpɔɪntɪd tɪ hɪz 2014 ˈlidərz fər hickenlooper”*” kəˈmɪti. ˈbraʊnˌstin haɪət ˈɔlsoʊ kɪkt ɪn æt list fər ˌɪˌnɔgjəˈreɪʃən, ənd kənˈtrɪbjutɪd tɪ ən ˌɔrgənəˈzeɪʃən ðət fɔt ðə ˌənsəkˈsɛsfəl 2016 hɛlθ kɛr ˈbælət ˌɪˈnɪʃətɪv ɪn ˌkɑlərˈɑdoʊ. əˈpoʊzd ðə ˈmɛʒər, ɛz dɪd hɪz luˈtɛnənt ˈgəvərnər ˈdɑnə lɪn, hu hi əˈpɔɪntɪd tɪ ðə pəˈzɪʃən frəm hər ʤɑb ɛz ə tɔp ɪgˈzɛkjətɪv æt ðə ˈhɛlθˌkɛr kənˈglɑmərət ˈkaɪzər ˌpərmɑˈnɛnˌteɪ. luis ˈtɔroʊ, ðə ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə nɑnˈprɑfət ˌkɑlərˈɑdoʊ ˈɛθɪks wɔʧ, sɛd ðət waɪl ðə ˈhaɪrɪŋ əv ˈpraɪvət ˈlɑbiɪŋ fərmz ɪz ˈkɑmən əˈməŋ mˌjunɪsəˈpælɪtiz, ɪt ɪz ˈpræktɪkəli ˌɪmˈpɑsəbəl tɪ əˈvɔɪd səm ˈkɑnflɪkt əv ˈɪntəˌrɛst ɪn ˈʧuzɪŋ ˈkɔrpərət ˈlɑbiɪŋ fərmz tɪ ˈædvəˌkeɪt fər ˈtækˌspeɪərz. θɪŋk fɛr tɪ sərˈmaɪz ðət ˌwəˈtɛvər ˈpʊʃɪŋ ɪz nɑt goʊɪŋ tɪ bi ˌædˈvərs tɪ ðə ˈəðər klaɪənts əv ðə lobbyist,”*,” hi sɛd. ˈlɑbiəst ɪz nɑt goʊɪŋ tɪ ˈəndərˌkət ðɛr klaɪənts baɪ prəˈmoʊtɪŋ ə hɛlθ kɛr plæn frəm ˈsəmˌbɑdi else.”*.” ˈkɛrfəl ˈvɛtɪŋ əv ˈpraɪvət ˈlɑbiɪsts əˈhɛd əv ðɛr ɪmˈplɔɪmənt baɪ ˈpəblɪk əˈfɪʃəlz, ˈtɔroʊ ˈædɪd, wɑz nɑt ˈlaɪkli ə ““feasible”*” ˈænsər, ɛz məʧ ɔl ˈlɑbiɪsts ər goʊɪŋ tɪ hæv kəˈnɛkʃənz laɪk this.”*.” kʊd hæv ən ˌɪnˈhaʊs ˈlɑbiəst, ɪf ju hæd ðə ˈbəʤɪt fər it,”*,” hi sɛd, ˈsaɪtɪŋ ˈʤɛnərəl kənˈsərnz rɪˈleɪtɪd tɪ ˈtækˌspeɪər ˈdɔlərz goʊɪŋ tɪ ˈpraɪvət ˈlɑbiɪŋ fərmz. səˈpoʊz, wɪθ ˌwəˈtɛvər ˈspɛndɪŋ ɔn ðiz ˈaʊtˈsaɪd ˈlɑbiɪsts, ju kʊd traɪ tɪ hæv ən ˌɪnˈhaʊs ˈlɑbiəst du ðə seɪm thing.”*.” ˈbraʊnˌstin haɪət ɪz ə ˈmeɪʤər pleɪər ɪn ˈwɔʃɪŋtən, ˈræŋkɪŋ ˈsɛkənd əˈməŋ ˈlɑbiɪŋ fərmz baɪ ˈrɛvəˌnu fər ðə pæst tu jɪrz, ə ˈstætəs ənˈhərd əv fər ə firm,”*,” əˈkɔrdɪŋ tɪ ɪts ˈwɛbˌsaɪt. ə ˈrisənt ˈdɛnvər poʊst ˈproʊˌfaɪl ˈnoʊtɪd ðət nɔrm ˈbraʊnˌstin hu ɪz wən əv ðə θri ˈfaʊndərz ənd ɪz ˈrɛʤɪstərd tɪ ˈlɑbi fər həz bɪn dəbd senator”*” baɪ ˈmɛmbərz əv ðə ˈsɛnɪt. ðɪs ˈstɔri wɑz ˈəpˌdeɪtɪd æt 5 piɛm ɔn ˈwɛnzˌdeɪ wɪθ ə rɪˈspɑns frəm gəv. ˈɔfəs. |
earlier today, assemblyman sean ryan, who has been a leading proponent of downgrading the expressway, made an announcement that additional traffic calming measures would commence soon enough.
after meeting with phil eng, the chief engineer at the department of transportation (dot), it was decided that the speed limit would remain permanently in place. along with the change in speed, ryan has proposed that the classification of the roadway be changed from a principal arterial expressway to an urban minor arterial. the change must be met with federal approval.
in the meantime, the dot will be moving forward with interim traffic calming measures and studies that include the addition of traffic lights, crosswalks, speed bumps, and of the roadway. these will all help to contribute to the permanent downgrading, from a high speed thoroughfare into a slower moving boulevard. the dot will be looking into commencing additional traffic studies this summer.
assemblyman sean ryan said “while our goal is to see the downgraded to a parkway, we must first take interim steps to adjust traffic to the new speed limit. the dot understands this issue, will move expeditiously to implement these traffic calming measures. i thank the dot for agreeing to move forward and study where the traffic calming measures will be placed, in order to maximize their effectiveness. after we are done with the interim actions, we must devote our attention to converting the expressway into a parkway. the dot will need to present a plan to make that happen, and i will stay on top of this to ensure that a plan is presented to the community as quickly as possible. once again, i would like to thank governor cuomo and his team for working so diligently to improve safety on the.”
a traffic circle was taken off the table where parkside meets the 190. it would be great to see the dot reexamine the possibility of bringing the circle back into play now that so many other traffic calming measures are in place. the traffic circle could be dedicated to the memory of the young boy who lost his life, and the family that suffered such a tremendous loss.
lead image: ryan was joined by buffalo common council member michael locurto, justin booth, executive director of buffalo, amber small, executive director of the parkside community association, michael deluca, chair of the parkside community association traffic committee, kerri machemer, founder of parents for a safe delaware park community, stephanie crockatt, executive director of the buffalo parks conservancy, and brian dold, landscape designer at the buffalo parks conservancy. | ˈərliər təˈdeɪ, əˈsɛmbliˌmæn ʃɔn raɪən, hu həz bɪn ə ˈlidɪŋ prəˈpoʊnənt əv ˈdaʊnˈgreɪdɪŋ ðə ɪkˈsprɛsˌweɪ, meɪd ən əˈnaʊnsmɛnt ðət əˈdɪʃənəl ˈtræfɪk ˈkɑmɪŋ ˈmɛʒərz wʊd kəˈmɛns sun ɪˈnəf. ˈæftər ˈmitɪŋ wɪθ fɪl ɛŋ, ðə ʧif ˈɛnʤəˈnɪr æt ðə dɪˈpɑrtmənt əv ˌtrænspərˈteɪʃən (dɑt), ɪt wɑz ˌdɪˈsaɪdɪd ðət ðə spid ˈlɪmət wʊd rɪˈmeɪn ˈpərmɑˌnɛnˌtli ɪn pleɪs. əˈlɔŋ wɪθ ðə ʧeɪnʤ ɪn spid, raɪən həz prəˈpoʊzd ðət ðə ˌklæsəfəˈkeɪʃən əv ðə ˈroʊdˌweɪ bi ʧeɪnʤd frəm ə ˈprɪnsəpəl ɑrˈtɪriəl ɪkˈsprɛsˌweɪ tɪ ən ˈərbən ˈmaɪnər ɑrˈtɪriəl. ðə ʧeɪnʤ məst bi mɛt wɪθ ˈfɛdərəl əˈpruvəl. ɪn ðə ˈminˌtaɪm, ðə dɑt wɪl bi ˈmuvɪŋ ˈfɔrwərd wɪθ ˈɪnərəm ˈtræfɪk ˈkɑmɪŋ ˈmɛʒərz ənd ˈstədiz ðət ˌɪnˈklud ðə əˈdɪʃən əv ˈtræfɪk laɪts, ˈkrɑsˌwɑks, spid bəmps, ənd əv ðə ˈroʊdˌweɪ. ðiz wɪl ɔl hɛlp tɪ kənˈtrɪbjut tɪ ðə ˈpərmɑˌnɛnt ˈdaʊnˈgreɪdɪŋ, frəm ə haɪ spid ˈθəroʊˌfɛr ˈɪntu ə sloʊər ˈmuvɪŋ ˈbʊləˌvɑrd. ðə dɑt wɪl bi ˈlʊkɪŋ ˈɪntu kəˈmɛnsɪŋ əˈdɪʃənəl ˈtræfɪk ˈstədiz ðɪs ˈsəmər. əˈsɛmbliˌmæn ʃɔn raɪən sɛd ɑr goʊl ɪz tɪ si ðə ˈdaʊnˈgreɪdəd tɪ ə ˈpɑrkˌweɪ, wi məst fərst teɪk ˈɪnərəm stɛps tɪ əˈʤəst ˈtræfɪk tɪ ðə nu spid ˈlɪmət. ðə dɑt ˌəndərˈstændz ðɪs ˈɪʃu, wɪl muv ˌɛkspəˈdɪʃəsli tɪ ˈɪmpləmənt ðiz ˈtræfɪk ˈkɑmɪŋ ˈmɛʒərz. aɪ θæŋk ðə dɑt fər əˈgriɪŋ tɪ muv ˈfɔrwərd ənd ˈstədi wɛr ðə ˈtræfɪk ˈkɑmɪŋ ˈmɛʒərz wɪl bi pleɪst, ɪn ˈɔrdər tɪ ˈmæksəˌmaɪz ðɛr ˈifɛktɪvnəs. ˈæftər wi ər dən wɪθ ðə ˈɪnərəm ˈækʃənz, wi məst dɪˈvoʊt ɑr əˈtɛnʃən tɪ kənˈvərtɪŋ ðə ɪkˈsprɛsˌweɪ ˈɪntu ə ˈpɑrkˌweɪ. ðə dɑt wɪl nid tɪ ˈprɛzənt ə plæn tɪ meɪk ðət ˈhæpən, ənd aɪ wɪl steɪ ɔn tɔp əv ðɪs tɪ ɪnˈʃʊr ðət ə plæn ɪz pərˈzɛnəd tɪ ðə kəmˈjunɪti ɛz kˈwɪkli ɛz ˈpɑsəbəl. wəns əˈgɛn, aɪ wʊd laɪk tɪ θæŋk ˈgəvərnər kˈwoʊmoʊ ənd hɪz tim fər ˈwərkɪŋ soʊ ˈdɪləʤəntli tɪ ˌɪmˈpruv ˈseɪfti ɔn ðə scajaquada.”*.” ə ˈtræfɪk ˈsərkəl wɑz ˈteɪkən ɔf ðə ˈteɪbəl wɛr ˈpɑrkˌsaɪd mits ðə 190 ɪt wʊd bi greɪt tɪ si ðə dɑt riɛgˈzæmən ðə ˌpɑsəˈbɪləˌti əv ˈbrɪŋɪŋ ðə ˈsərkəl bæk ˈɪntu pleɪ naʊ ðət soʊ ˈmɛni ˈəðər ˈtræfɪk ˈkɑmɪŋ ˈmɛʒərz ər ɪn pleɪs. ðə ˈtræfɪk ˈsərkəl kʊd bi ˈdɛdəkeɪtəd tɪ ðə ˈmɛməri əv ðə jəŋ bɔɪ hu lɔst hɪz laɪf, ənd ðə ˈfæməli ðət ˈsəfərd səʧ ə trɪˈmɛndəs lɔs. lɛd ˈɪmɪʤ: raɪən wɑz ʤɔɪnd baɪ ˈbəfəˌloʊ ˈkɑmən ˈkaʊnsəl ˈmɛmbər ˈmaɪkəl loʊˈkʊrtoʊ, ˈʤəstɪn buθ, ɪgˈzɛkjətɪv dɪˈrɛktər əv ˈbəfəˌloʊ, ˈæmbər smɔl, ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə ˈpɑrkˌsaɪd kəmˈjunɪti əˌsoʊʃiˈeɪʃən, ˈmaɪkəl dɪˈlukə, ʧɛr əv ðə ˈpɑrkˌsaɪd kəmˈjunɪti əˌsoʊʃiˈeɪʃən ˈtræfɪk kəˈmɪti, ˈkɛri machemer*, ˈfaʊndər əv ˈpɛrənts fər ə seɪf ˈdɛləˌwɛr pɑrk kəmˈjunɪti, ˈstɛfəni crockatt*, ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə ˈbəfəˌloʊ pɑrks kənˈsərvənsi, ənd braɪən doʊld, ˈlænˌskeɪp dɪˈzaɪnər æt ðə ˈbəfəˌloʊ pɑrks kənˈsərvənsi. |
rep. jerry nadler (d-ny) told news on thursday night on the floor of the democratic national convention in philadelphia that the party officials who brought up bernie religion should be fired.
late last week, internal democratic national committee (dnc) emails released by showed that party officials had colluded to assist former secretary of state hillary clinton and keep sen. sanders (i-vt) from winning the nomination.
one email, from dnc chief financial officer brad marshall, discussed using religion against him. sanders is jewish, but marshall presumed he was an atheist, and the apparent intent was to expose that among conservative voters.
the email read:
it might may no difference, but for and can we get someone to ask his belief. does he believe in a god. he had skated on saying he has a jewish heritage. i think i read he is an atheist. this could make several points difference with my peeps. my southern baptist peeps would draw a big difference between a jew and an atheist.
as news noted, the email was sent to several senior officials, including ceo amy dacey, who replied “amen.” (marshall has since apologized publicly.)
“my reaction was that was terrible,” nadler told news. “whoever did that ought to be fired.”
however, nadler was at pains to defend the dnc itself.
“on the other hand, what mentioning is the dnc do that. that was a private email within the dnc. so somebody makes a recommendation, ‘we ought to do this,’ somebody else says, ‘knock it off’ we know who that was but it done.”
new dnc chair donna brazile told katie couric of yahoo! news this week that marshall would not be fired over the incident:
when i read email, and known him for 20 years, i called him and said, “brad that was wrong, inappropriate.” i apologized to the sanders people immediately on saturday morning. in fact, i took an earlier train because i wanted to nip that in the bud. going to handle all of these situations, but i want have some standards. not throwing anybody under the bus. i want to have touch standards, the same standards that basically forced me to resign in the dukakis campaign back in 1988 going to give everybody an opportunity to do the right thing, but i will not tolerate this within the democratic party or any institution involved in.
nadler, who represents a district with a significant jewish population, added that if the dnc officials responsible were not fired, they should have to explain “how they could say such a thing.”
former dnc chair rep. debbie wasserman schultz (d-fl) resigned earlier this week over the scandal.
joel b. pollak is senior at news. his new book, see no evil: 19 hard truths the left handle, is available from regnery through amazon. follow him on twitter at @joelpollak. | rɛpriˈzɛtətɪv. ˈʤɛri ˈneɪdələr (d-ny*) toʊld nuz ɔn ˈθərzˌdeɪ naɪt ɔn ðə flɔr əv ðə ˌdɛməˈkrætɪk ˈnæʃənəl kənˈvɛnʃən ɪn ˌfɪləˈdɛlfiə ðət ðə ˈpɑrti əˈfɪʃəlz hu brɔt əp ˈbərni rɪˈlɪʤən ʃʊd bi faɪərd. leɪt læst wik, ˌɪnˈtərnəl ˌdɛməˈkrætɪk ˈnæʃənəl kəˈmɪti (ˈdiˌɛnˌsi) iˈmeɪlz riˈlist baɪ ʃoʊd ðət ˈpɑrti əˈfɪʃəlz hæd kəˈludɪd tɪ əˈsɪst ˈfɔrmər ˈsɛkrəˌtɛri əv steɪt ˈhɪləri ˈklɪntən ənd kip sɛn. ˈsændərz (i-vt*) frəm ˈwɪnɪŋ ðə ˌnɑməˈneɪʃən. wən iˈmeɪl, frəm ˈdiˌɛnˌsi ʧif ˌfaɪˈnænʃəl ˈɔfɪsər bræd ˈmɑrʃəl, dɪˈskəst ˈjuzɪŋ rɪˈlɪʤən əˈgɛnst ɪm. ˈsændərz ɪz ʤuɪʃ, bət ˈmɑrʃəl prɪˈzumd hi wɑz ən ˈeɪθiəst, ənd ðə əˈpɛrənt ˌɪnˈtɛnt wɑz tɪ ɪkˈspoʊz ðət əˈməŋ kənˈsərvətɪv ˈvoʊtərz. ðə iˈmeɪl rɛd: ɪt maɪt meɪ noʊ ˈdɪfərəns, bət fər ənd kən wi gɪt ˈsəmˌwən tɪ æsk hɪz bɪˈlif. dɪz hi bɪˈliv ɪn ə gɑd. hi hæd ˈskeɪtɪd ɔn seɪɪŋ hi həz ə ʤuɪʃ ˈhɛrɪtɪʤ. aɪ θɪŋk aɪ rɛd hi ɪz ən ˈeɪθiəst. ðɪs kʊd meɪk ˈsɛvərəl pɔɪnts ˈdɪfərəns wɪθ maɪ pips. maɪ ˈsəðərn ˈbæptɪst pips wʊd drɔ ə bɪg ˈdɪfərəns bɪtˈwin ə ʤu ənd ən ˈeɪθiəst. ɛz nuz ˈnoʊtɪd, ðə iˈmeɪl wɑz sɛnt tɪ ˈsɛvərəl ˈsinjər əˈfɪʃəlz, ˌɪnˈkludɪŋ ˈsiˌiˈoʊ ˈeɪmi ˈdeɪsi, hu rɪˈplaɪd ““amen.”*.” (ˈmɑrʃəl həz sɪns əˈpɑləˌʤaɪzd ˈpəblɪkli.) riˈækʃən wɑz ðət wɑz terrible,”*,” ˈneɪdələr toʊld nuz. dɪd ðət ɔt tɪ bi fired.”*.” ˌhaʊˈɛvər, ˈneɪdələr wɑz æt peɪnz tɪ dɪˈfɛnd ðə ˈdiˌɛnˌsi ˌɪtˈsɛlf. ðə ˈəðər hænd, wət ˈmɛnʃənɪŋ ɪz ðə ˈdiˌɛnˌsi du ðət. ðət wɑz ə ˈpraɪvət iˈmeɪl wɪˈθɪn ðə ˈdiˌɛnˌsi. soʊ ˈsəmˌbɑdi meɪks ə ˌrɛkəmənˈdeɪʃən, ɔt tɪ du this,’*,’ ˈsəmˌbɑdi ɛls sɪz, ɪt off’*’ wi noʊ hu ðət wɑz bət ɪt done.”*.” nu ˈdiˌɛnˌsi ʧɛr ˈdɑnə ˈbrɑzaɪl toʊld ˈkeɪti ˈkɔrɪk əv ˈjɑˌhu! nuz ðɪs wik ðət ˈmɑrʃəl wʊd nɑt bi faɪərd ˈoʊvər ðə ˈɪnsədənt: wɪn aɪ rɛd iˈmeɪl, ənd noʊn ɪm fər 20 jɪrz, aɪ kɔld ɪm ənd sɛd, ðət wɑz rɔŋ, inappropriate.”*.” aɪ əˈpɑləˌʤaɪzd tɪ ðə ˈsændərz ˈpipəl ˌɪˈmiˌdiətli ɔn ˈsæˌtɪˌdeɪ ˈmɔrnɪŋ. ɪn fækt, aɪ tʊk ən ˈərliər treɪn bɪˈkəz aɪ ˈwɔntɪd tɪ nɪp ðət ɪn ðə bəd. goʊɪŋ tɪ ˈhændəl ɔl əv ðiz ˌsɪʧuˈeɪʃənz, bət aɪ wɔnt hæv səm ˈstændərdz. nɑt θroʊɪŋ ˈɛnibədi ˈəndər ðə bəs. aɪ wɔnt tɪ hæv təʧ ˈstændərdz, ðə seɪm ˈstændərdz ðət ˈbeɪsɪkli fɔrst mi tɪ rɪˈzaɪn ɪn ðə duˈkɑkɪs kæmˈpeɪn bæk ɪn 1988 goʊɪŋ tɪ gɪv ˈɛvriˌbɑdi ən ˌɑpərˈtunəti tɪ du ðə raɪt θɪŋ, bət aɪ wɪl nɑt ˈtɑlərˌeɪt ðɪs wɪˈθɪn ðə ˌdɛməˈkrætɪk ˈpɑrti ər ˈɛni ˌɪnstɪˈtuʃən ˌɪnˈvɑlvd ɪn. ˈneɪdələr, hu ˌrɛprɪˈzɛnts ə ˈdɪstrɪkt wɪθ ə sɪgˈnɪfɪkənt ʤuɪʃ ˌpɑpjəˈleɪʃən, ˈædɪd ðət ɪf ðə ˈdiˌɛnˌsi əˈfɪʃəlz riˈspɑnsəbəl wər nɑt faɪərd, ðeɪ ʃʊd hæv tɪ ɪkˈspleɪn ðeɪ kʊd seɪ səʧ ə thing.”*.” ˈfɔrmər ˈdiˌɛnˌsi ʧɛr rɛpriˈzɛtətɪv. ˈdɛbi ˈwɑsərmən ʃʊlts (d-fl*) rɪˈzaɪnd ˈərliər ðɪs wik ˈoʊvər ðə ˈskændəl. ʤoʊəl bi. ˈpɑlək ɪz ˈsinjər æt nuz. hɪz nu bʊk, si noʊ ˈivəl: 19 hɑrd truθs ðə lɛft ˈhændəl, ɪz əˈveɪləbəl frəm ˈrɛgnəri θru ˈæməˌzɑn. ˈfɑloʊ ɪm ɔn tˈwɪtər æt @joelpollak*. |
and now my recap and review of the disc from this classic tv series. once again produced by alain and this is directed by david cove with mark evan schwartz listed as screenwriter.
the theme of this disc, as evidenced by the title, is dreams. the alien crew dream, and so emmanuelle decides to teach them about dreams, and how you can explore sexual fantasies in them. so while she sleeps on a special table in the spaceship, the (paul michael robinson) and the crew gather around her and use their special devices to monitor her dreams, and what we see acted out on screen.
first, emmanuelle dreams of going to some big castle, and settles into her room. raymond (reginald chevalier) and cara (debra k. beatty) are already there when she arrives, and then pierre (brad nick’ell) and demian) show up. then two other female crewmembers, jay (lori morrissey) and gee (holly hollywood aka stacey mobley), arrive. and when emmanuelle hears a noise in the room next to hers, she looks in and sees theo (timothy di pri) and a woman (i catch her name) naked on the bed. later that night she looks out her window and see raymond and cara having sex in an outdoor hot tub. our first full sex scene of the disc, about 9 minutes into it, and pretty hot (again notable for being an interracial sex scene, which is rare in), and also give the real raymond and cara some idea up on the ship. in a flashback we get a replay of a sex scene from a lesson in love where emmanuelle had sex in a dark room with a man (carl ferro), but we see much. then emmanuelle takes a shower, and treated to lingering of nude body. meanwhile, emmanuelle has a crystal ball that she found somewhere, and while in the shower a male genie (andre lemay) appears out of it. he introduces himself to emmanuelle, and she names him gene.
that night a big at the castle, with all the couples from earlier eating at the table. and emmanuelle inadvertently makes a wish that results in everyone getting naked and having sex on the table (pierre and, raymond and cara, jay and gee, theo and that woman ) while she and gene watch. an interesting scene, but hard to concentrate on any one couple as the camera pans around the table.
later, gene tells emmanuelle of his very first “master” centuries ago in the middle east. a man named kareem who has a harem filled with multiple wives, the youngest and one who loves him the most is (played by krista). all he seems to do is lay around in his fancy tent while his other wives (played by the various women who are from the alien crew) massage him or some of them do a sexy dance for him and strip. there are 3 different scenes, including one in a bath, where he is in bed with all of the other wives at once. for some reason, lead to believe that in considered the ugly duckling of the wives (which is hard to believe when you see krista in her outfit), the wives make fun of her and kareem her. we get a scene where one of the wives (i know which actress it is) gets naked an masturbates while tasha secretly watches her. where gene reveals himself to her and offers to grant her deepest wish, which is to be to have kareem to himself. when tries to join in with kareem and the other wives, she gets frustrated and wishes that all the other wives would go away and tries to have sex with kareem one on one, but not satisfied being with just one woman, so it go well.
then we get another hot scene of raymond and cara having sex on the spaceship, after getting turned on from watching dreams. the finale dream sequence has emmanuelle as herself, back in the middle east, meeting a mysterious man that is supposed to be her “dream lover,” who turns out to be, and they have sex in one of the tents. a very hot scene. the emmanuelle finally wakes up, and the crew disperses, leaving her alone with, and they kiss.
not as much krista as previous volumes, but what we got here was fantastic. another great disc. five stars
emmanuelle in space the complete collection | ənd naʊ maɪ ˈriˌkæp ənd ˌrivˈju əv ðə dɪsk frəm ðɪs ˈklæsɪk ˌtɛləˈvɪʒən ˈsɪriz. wəns əˈgɛn prəˈdust baɪ əˈleɪn ənd ðɪs ɪz dɪˈrɛktɪd baɪ ˈdeɪvɪd koʊv wɪθ mɑrk ˈɛvən ʃwɔrts ˈlɪstɪd ɛz ˈskrinˌraɪtər. ðə θim əv ðɪs dɪsk, ɛz ˈɛvɪdənst baɪ ðə ˈtaɪtəl, ɪz drimz. ðə ˈeɪliən kru drim, ənd soʊ ɪˈmɑnuˌɛl ˌdɪˈsaɪdz tɪ tiʧ ðɛm əˈbaʊt drimz, ənd haʊ ju kən ɪkˈsplɔr ˈsɛkʃuəl ˈfænəsiz ɪn ðɛm. soʊ waɪl ʃi slips ɔn ə ˈspɛʃəl ˈteɪbəl ɪn ðə ˈspeɪsˌʃɪp, ðə (pɔl ˈmaɪkəl ˈrɑbənsən) ənd ðə kru ˈgæðər əraʊnd hər ənd juz ðɛr ˈspɛʃəl dɪˈvaɪsɪz tɪ ˈmɑnətər hər drimz, ənd wət wi si ˈæktɪd aʊt ɔn skrin. fərst, ɪˈmɑnuˌɛl drimz əv goʊɪŋ tɪ səm bɪg ˈkæsəl, ənd ˈsɛtəlz ˈɪntu hər rum. ˈreɪmənd (ˈrɛʤənəld ˌʃɛvəˈlɪr) ənd ˈkɛrə (ˈdɛbrə keɪ. ˈbiti) ər ɔˈrɛdi ðɛr wɪn ʃi əraɪvz, ənd ðɛn piɛr (bræd nick’ell*) ənd demian*) ʃoʊ əp. ðɛn tu ˈəðər ˈfiˌmeɪl crewmembers*, ʤeɪ (ˈlɔri ˈmɔrɪsi) ənd ʤi (ˈhɑli ˈhɑliˌwʊd ˈɑkə ˈsteɪsi ˈmoʊbli), əraɪv. ənd wɪn ɪˈmɑnuˌɛl hirz ə nɔɪz ɪn ðə rum nɛkst tɪ hərz, ʃi lʊks ɪn ənd siz ˈθioʊ (ˈtɪməθi di pri) ənd ə ˈwʊmən (aɪ kæʧ hər neɪm) ˈneɪkəd ɔn ðə bɛd. ˈleɪtər ðət naɪt ʃi lʊks aʊt hər ˈwɪndoʊ ənd si ˈreɪmənd ənd ˈkɛrə ˈhævɪŋ sɛks ɪn ən ˈaʊtˌdɔr hɑt təb. ɑr fərst fʊl sɛks sin əv ðə dɪsk, əˈbaʊt 9 ˈmɪnəts ˈɪntu ɪt, ənd ˈprɪti hɑt (əˈgɛn ˈnoʊtəbəl fər biɪŋ ən ˌɪntərˈreɪʃəl sɛks sin, wɪʧ ɪz rɛr ɪn), ənd ˈɔlsoʊ gɪv ðə ril ˈreɪmənd ənd ˈkɛrə səm aɪˈdiə əp ɔn ðə ʃɪp. ɪn ə ˈflæʃˌbæk wi gɪt ə riˈpleɪ əv ə sɛks sin frəm ə ˈlɛsən ɪn ləv wɛr ɪˈmɑnuˌɛl hæd sɛks ɪn ə dɑrk rum wɪθ ə mæn (kɑrl ˈfɛroʊ), bət wi si məʧ. ðɛn ɪˈmɑnuˌɛl teɪks ə ʃaʊər, ənd ˈtritɪd tɪ ˈlɪŋgərɪŋ əv nud ˈbɑdi. ˈminˌwaɪl, ɪˈmɑnuˌɛl həz ə ˈkrɪstəl bɔl ðət ʃi faʊnd ˈsəmˌwɛr, ənd waɪl ɪn ðə ʃaʊər ə meɪl ˈʤini (ˈɑnˌdreɪ ˈlɛmeɪ) əˈpɪrz aʊt əv ɪt. hi ˌɪntrəˈdusɪz hɪmˈsɛlf tɪ ɪˈmɑnuˌɛl, ənd ʃi neɪmz ɪm ʤin. ðət naɪt ə bɪg æt ðə ˈkæsəl, wɪθ ɔl ðə ˈkəpəlz frəm ˈərliər ˈitɪŋ æt ðə ˈteɪbəl. ənd ɪˈmɑnuˌɛl ˌɪnədˈvərtəntli meɪks ə wɪʃ ðət rɪˈzəlts ɪn ˈɛvriˌwən ˈgɪtɪŋ ˈneɪkəd ənd ˈhævɪŋ sɛks ɔn ðə ˈteɪbəl (piɛr ənd, ˈreɪmənd ənd ˈkɛrə, ʤeɪ ənd ʤi, ˈθioʊ ənd ðət ˈwʊmən waɪl ʃi ənd ʤin wɔʧ. ən ˈɪntəˌrɛstɪŋ sin, bət hɑrd tɪ ˈkɑnsənˌtreɪt ɔn ˈɛni wən ˈkəpəl ɛz ðə ˈkæmərə pænz əraʊnd ðə ˈteɪbəl. ˈleɪtər, ʤin tɛlz ɪˈmɑnuˌɛl əv hɪz ˈvɛri fərst ““master”*” ˈsɛnʧəriz əˈgoʊ ɪn ðə ˈmɪdəl ist. ə mæn neɪmd kərˈim hu həz ə ˈhɛrəm fɪld wɪθ ˈməltəpəl waɪvz, ðə ˈjəŋgəst ənd wən hu ləvz ɪm ðə moʊst ɪz (pleɪd baɪ ˈkrɪstə). ɔl hi simz tɪ du ɪz leɪ əraʊnd ɪn hɪz ˈfænsi tɛnt waɪl hɪz ˈəðər waɪvz (pleɪd baɪ ðə ˈvɛriəs ˈwɪmən hu ər frəm ðə ˈeɪliən kru) məˈsɑʒ ɪm ər səm əv ðɛm du ə ˈsɛksi dæns fər ɪm ənd strɪp. ðɛr ər 3 ˈdɪfərənt sinz, ˌɪnˈkludɪŋ wən ɪn ə bæθ, wɛr hi ɪz ɪn bɛd wɪθ ɔl əv ðə ˈəðər waɪvz æt wəns. fər səm ˈrizən, lɛd tɪ bɪˈliv ðət ɪn kənˈsɪdərd ðə ˈəgli ˈdəklɪŋ əv ðə waɪvz (wɪʧ ɪz hɑrd tɪ bɪˈliv wɪn ju si ˈkrɪstə ɪn hər ˈaʊtˌfɪt), ðə waɪvz meɪk fən əv hər ənd kərˈim hər. wi gɪt ə sin wɛr wən əv ðə waɪvz (aɪ noʊ wɪʧ ˈæktrəs ɪt ɪz) gɪts ˈneɪkəd ən ˈmæstərˌbeɪts waɪl ˈtæʃə ˈsikrɪtli ˈwɑʧɪz hər. wɛr ʤin rɪˈvilz hɪmˈsɛlf tɪ hər ənd ˈɔfərz tɪ grænt hər ˈdipəst wɪʃ, wɪʧ ɪz tɪ bi tɪ hæv kərˈim tɪ hɪmˈsɛlf. wɪn traɪz tɪ ʤɔɪn ɪn wɪθ kərˈim ənd ðə ˈəðər waɪvz, ʃi gɪts ˈfrəˌstreɪtəd ənd ˈwɪʃɪz ðət ɔl ðə ˈəðər waɪvz wʊd goʊ əˈweɪ ənd traɪz tɪ hæv sɛks wɪθ kərˈim wən ɔn wən, bət nɑt ˈsætɪsˌfaɪd biɪŋ wɪθ ʤɪst wən ˈwʊmən, soʊ ɪt goʊ wɛl. ðɛn wi gɪt əˈnəðər hɑt sin əv ˈreɪmənd ənd ˈkɛrə ˈhævɪŋ sɛks ɔn ðə ˈspeɪsˌʃɪp, ˈæftər ˈgɪtɪŋ tərnd ɔn frəm ˈwɑʧɪŋ drimz. ðə fəˈnæli drim ˈsikwəns həz ɪˈmɑnuˌɛl ɛz hərˈsɛlf, bæk ɪn ðə ˈmɪdəl ist, ˈmitɪŋ ə mɪˈstɪriəs mæn ðət ɪz səˈpoʊzd tɪ bi hər lover,”*,” hu tərnz aʊt tɪ bi, ənd ðeɪ hæv sɛks ɪn wən əv ðə tɛnts. ə ˈvɛri hɑt sin. ðə ɪˈmɑnuˌɛl ˈfaɪnəli weɪks əp, ənd ðə kru disperses*, ˈlivɪŋ hər əˈloʊn wɪθ, ənd ðeɪ kɪs. nɑt ɛz məʧ ˈkrɪstə ɛz ˈpriviəs ˈvɑljumz, bət wət wi gɑt hir wɑz fænˈtæstɪk. əˈnəðər greɪt dɪsk. faɪv stɑrz ɪˈmɑnuˌɛl ɪn speɪs ðə kəmˈplit kəˈlɛkʃən |
rozz williams’ art is impressive to say the least. in fact, highly sought after and incredibly rare. his collage work was much in the manner of dalí, man ray and the surrealistic artists of the with his (or nightmarish?) compositions. each mixed media piece is highly detailed and intricate, a small world that tells tragic stories about time, death and decay. below are some examples of his artwork as artist, actor and director with the undeniable influence of surrealism.
neue
mixed media collage
(the term “neue” translates to “new objectivity” an art movement in the early as a reaction against expressionism.)
“untitled”
mixed media collage
untitled
mixed media collage
“o humano”
mixed media collage on wood
untitled, 1993
mixed media collage
(the original can be found at hollywood forever cemetery in the chapel columbarium.)
the book the art of williams: from christian death to death, edited by nico b. and published in 1999, is the best option to see more of’s artwork. a item as it includes sketches, lyrics and photos as well. you can pick it up on amazon and ebay for a good chunk of change but worth it, without a doubt.
the book side-by-side to’s original collage.
self portrait with eggs (walking away from the dying world), 1996
mixed media collage
(you can purchase it here.)
nico b. not only put together the art of williams but also the 1999 short film, pig with, which was his final artistic endeavor before his suicide on april 1, 1999. with the soundtrack composed by premature ejaculation (aka), pig is a experimental horror film full of sadist and religious metaphors that spans 23 minutes in black and white. i am further reminded of the surrealistic movie un chien from 1929 by luis and dalí which runs for 21 minutes and focuses on disjointed scenes that are sometimes horrific and nightmare-induced.
lethal amounts was lucky enough to procure some original self portrait polaroids that were taken from test shots for pig (and can be found on the cover of premature wound of exit album). you can see the mask in the posthumous short film 1334, an eerie ghost story familiar to himself.
you can purchase these and other williams polaroids here.
special thanks to gallery + analogue unreality autopsy.
– harriman | rozz* williams’*’ ɑrt ɪz ˌɪmˈprɛsɪv tɪ seɪ ðə list. ɪn fækt, ˈhaɪli sɔt ˈæftər ənd ˌɪnˈkrɛdəbli rɛr. hɪz kəˈlɑʒ wərk wɑz məʧ ɪn ðə ˈmænər əv dalí*í, mæn reɪ ənd ðə sərˌiˈlɪstɪk ˈɑrtɪsts əv ðə wɪθ hɪz (ər ˈnaɪtˌmɛrɪʃ?) ˌkɑmpəˈzɪʃənz. iʧ mɪkst ˈmidiə pis ɪz ˈhaɪli dɪˈteɪld ənd ˈɪntrəkət, ə smɔl wərld ðət tɛlz ˈtræʤɪk ˈstɔriz əˈbaʊt taɪm, dɛθ ənd dɪˈkeɪ. bɪˈloʊ ər səm ɪgˈzæmpəlz əv hɪz ˈɑrtˌwərk ɛz ˈɑrtɪst, ˈæktər ənd dɪˈrɛktər wɪθ ðə ˌəndɪˈnaɪəbəl ˈɪnfluəns əv sərˈiəˌlɪzəm. nui mɪkst ˈmidiə kəˈlɑʒ (ðə tərm sachlichkeit”*” ˈtrænsˌleɪts tɪ objectivity”*” ən ɑrt ˈmuvmənt ɪn ðə ˈərli ɛz ə riˈækʃən əˈgɛnst ɪkˈsprɛʃəˌnɪzəm.) ““untitled”*” mɪkst ˈmidiə kəˈlɑʒ mɪkst ˈmidiə kəˈlɑʒ humano”*” mɪkst ˈmidiə kəˈlɑʒ ɔn wʊd, 1993 mɪkst ˈmidiə kəˈlɑʒ (ðə ərˈɪʤənəl kən bi faʊnd æt ˈhɑliˌwʊd fərˈɛvər ˈsɛmɪˌtɛri ɪn ðə ˈʧæpəl columbarium*.) ðə bʊk ðə ɑrt əv ˈwɪljəmz: frəm ˈkrɪsʧɪn dɛθ tɪ dɛθ, ˈɛdɪtɪd baɪ ˈnikoʊ bi. ənd ˈpəblɪʃt ɪn 1999 ɪz ðə bɛst ˈɔpʃən tɪ si mɔr əv ˈɑrtˌwərk. ə ˈaɪtəm ɛz ɪt ˌɪnˈkludz ˈskɛʧɪz, ˈlɪrɪks ənd ˈfoʊˌtoʊz ɛz wɛl. ju kən pɪk ɪt əp ɔn ˈæməˌzɑn ənd ˈiˌbeɪ fər ə gʊd ʧəŋk əv ʧeɪnʤ bət wərθ ɪt, wɪˈθaʊt ə daʊt. ðə bʊk ˈsaɪdbaɪˈsaɪd tɪ ərˈɪʤənəl kəˈlɑʒ. sɛlf ˈpɔrtrət wɪθ ɛgz (ˈwɔkɪŋ əˈweɪ frəm ðə daɪɪŋ wərld), 1996 mɪkst ˈmidiə kəˈlɑʒ (ju kən ˈpərʧəs ɪt hir.) ˈnikoʊ bi. nɑt ˈoʊnli pʊt təˈgɛðər ðə ɑrt əv ˈwɪljəmz bət ˈɔlsoʊ ðə 1999 ʃɔrt fɪlm, pɪg wɪθ, wɪʧ wɑz hɪz ˈfaɪnəl ɑrˈtɪstɪk ɪnˈdɛvər ˌbiˈfɔr hɪz ˈsuɪˌsaɪd ɔn ˈeɪprəl 1 1999 wɪθ ðə ˈsaʊnˌtræk kəmˈpoʊzd baɪ ˌpriməˈʧʊr iˌʤækjuˈleɪʃən (ˈɑkə), pɪg ɪz ə ɪkˌspɛrɪˈmɛntəl ˈhɔrər fɪlm fʊl əv ˈseɪdəst ənd rɪˈlɪʤəs ˈmɛtəfɔrz ðət spænz 23 ˈmɪnəts ɪn blæk ənd waɪt. aɪ æm ˈfərðər riˈmaɪndɪd əv ðə sərˌiˈlɪstɪk ˈmuvi ˈjuˈɛn ʧɛn frəm 1929 baɪ luis ənd dalí*í wɪʧ rənz fər 21 ˈmɪnəts ənd ˈfoʊkɪsɪz ɔn dɪsˈʤɔɪntɪd sinz ðət ər ˈsəmˌtaɪmz hɔˈrɪfɪk ənd nightmare-induced*. ˈliθəl əˈmaʊnts wɑz ˈləki ɪˈnəf tɪ proʊˈkjʊr səm ərˈɪʤənəl sɛlf ˈpɔrtrət ˈpoʊlərˌɔɪdz ðət wər ˈteɪkən frəm tɛst ʃɑts fər pɪg (ənd kən bi faʊnd ɔn ðə ˈkəvər əv ˌpriməˈʧʊr wund əv ˈɛksət ˈælbəm). ju kən si ðə mæsk ɪn ðə ˈpɑsʧʊməs ʃɔrt fɪlm 1334 ən ˈɪri goʊst ˈstɔri fəˈmɪljər tɪ hɪmˈsɛlf. ju kən ˈpərʧəs ðiz ənd ˈəðər ˈwɪljəmz ˈpoʊlərˌɔɪdz hir. ˈspɛʃəl θæŋks tɪ ˈgæləri ˈænəˌlɔg ˌənriˈæləti ˈɔˌtɑpsi. ˈhɛrɪmən |
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