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International prizes for lifetime achievement are typically bestowed at exclusive ceremonies in world capitals: the Nobel Prizes in Stockholm and Oslo, the Lasker Award in New York and the Shaw Prize in Hong Kong, to name a few.
The Kyoto Prize is the only major award with two celebrations in two different hemispheres. Each year, three Kyoto Prize laureates receive their formal honors in Kyoto, Japan. Then they travel to San Diego to deliver free lectures where the public is invited to pose questions and high school students are treated as guests of honor.
San Diego's role as a global prize venue continues next week when the newest Kyoto Prize laureates arrive on March 11 to lead the 2013 Kyoto Prize Symposium, a three-day salute to the transformative power of ingenuity. As members of the symposium's board of directors, we take great pride in this regional badge of honor, and we look forward to an inspirational exchange of ideas and perspectives.
San Diego was chosen as the symposium's host city by Dr. Kazuo Inamori, founder of global telecom giant Kyocera Corp. Dr. Inamori led a new wave of foreign direct investment in 1971 when he opened a high-tech factory in San Diego to support the U.S. semiconductor industry, creating the first Japanese-capitalized manufacturing plant in California. In 1984, he turned to philanthropy, establishing the nonprofit Inamori Foundation and the Kyoto Prizes to recognize landmark contributions to society in Advanced Technology, Basic Science and Art and Philosophy.
Like the visionaries who launched our biotech and wireless industries, Dr. Inamori has devoted his life to the pursuit of innovation and progress. In 2010, he pledged to revive the bankrupt Japan Airlines as its new CEO. The carrier is now recognized among the world's most profitable airlines, and at age 81, Dr. Inamori was named Japan's best business leader of 2012.
Kyoto Prize laureates share that passion for breakthrough achievement, as this year's honorees demonstrate:
Dr. Ivan Sutherland, widely considered "the father of computer graphics," is the recipient of the Kyoto Prize in Advanced Technology and will speak at San Diego State University on Wednesday, March 13, at 10 a.m. Dr. Sutherland helped launch the information age with his creation of Sketchpad in 1963, and he is now exploring new ways to make computers faster while consuming less power.
Dr. Yoshinori Ohsumi, a pioneer in the study of cell regeneration and recipient of the Kyoto Prize in Basic Sciences, will speak at UC San Diego on Wednesday, March 13, at 3:30 p.m. Dr. Ohsumi launched the field of autophagy research in the 1960s, and his work is opening new avenues in understanding Alzheimer's disease, cancer and other debilitating disorders.
Professor Gayatri Chakravorty Spivak, a leader in the academic discipline of "postcolonialism" and recipient of the Kyoto Prize in Arts and Philosophy, will speak at the University of San Diego on Thursday, March 14, at 10:30 a.m. Professor Spivak has been an eloquent champion of the rights of the economically dispossessed, and she has advanced global literacy by opening primary schools in some of India's poorest regions.
These new laureates join an illustrious roster of 90 Kyoto Prize recipients to date. Seven have won Nobel Prizes, including Dr. Shinya Yamanaka, who won the 2012 Nobel Prize in Physiology or Medicine just 18 months after his Kyoto Prize Symposium lecture here on stem-cell science. And San Diego is home to such Kyoto Prize laureates as Dr. Walter Munk of the Scripps Institution of Oceanography and Dr. Sydney Brenner, also a Nobel laureate.
Current and past Kyoto Prize laureates will join Dr. Inamori at the March 12 gala to open the 2013 Kyoto Prize Symposium. But the real stars of that evening celebration will be San Diego's three university-bound high school seniors who have received 2013 Kyoto Prize Symposium scholarships funded by local donors.
As in years past, presentations by the three young San Diegans – Alwin Hui of Scripps Ranch High School and Hannah Bell and Taimur Rehan of Canyon Crest Academy – and Kyoto Prize recipients from Tijuana will be the high point of the program. By supporting their education, this community is investing in its own future as a leader of global innovation, and we all will benefit from those dividends.


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We get over 25% of our reference questions through chat and the number grows every year. I spend a lot of time guiding students to the right library databases and brainstorming keywords with them. Besides the library's general chat box, instructors often refer students to our respective My Librarian chat boxes. Unless it's a quick question, I generally operate under the "teach them to fish" approach. So I do a lot of the "Click on this…click on that. Why don't you try this…" method.
I know some libraries use screen sharing apps to hone in and make sure students are getting the info they need. However, these apps often lead to end-user issues. Some people find it helpful. Others find it creepy. Students just want an answer–or a starting point.
Instead, I've come to rely on the ability to share permanent URLs of search results from our library databases. After the student has had a chance to search with me, I share the permanent URL for the search results on my computer screen to make sure the student is in the right spot. At my current workplace, our two largest database providers are EBSCO and Proquest.
Sharing permanent URLs of EBSCO searches is easy. On the search results page, just click on: Share >>> Use Permalink. Copy and paste the URL into your library's chat box. The URL should be going through your library's proxy server.
In Proquest, the option to share search results is a bit hidden, but still useful. In fact, at first glance I thought it wasn't possible. However, the good folks at Proquest pointed me in the right direction. At the top of the page, click on: Recent Searches.
Select: Actions >>> Get link. Copy and paste the URL into your library's chat box. The URL should be going through your library's proxy server.
Providing the permanent URL gives students a good starting point and a well-formulated search strategy to build upon.

subset: commoncrawl


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True Sidereal Astrology ~ Daily Horoscope Wednesday March 21st, 2018
True Sidereal Astrology ~ Daily Horoscope Wednesday March 21st, 2018
The daily horoscope for this March 21st, 2018 has the Moon in Aries shifting into Taurus. The theme of the day is around initiative, courage, and action. Then themes around our resources, enjoying abundance, and connecting to Earth take the forefront. The Crescent phase of the lunar month suggests a time of slowly getting things moving this week. Please see video for full details. – True sidereal astrology uses the real size and location of the constellations.
For more info see: http://masteringthezodiac.com/#learnmore – True Sidereal Sun Signs: (Based on the midpoint between constellations. If you are within three days of another sign you may want to watch that sign as well, since you are a blend of both.) Aries (Apr 21 — May 12) Taurus: (May 13 — Jun 19) Gemini (Jun 20 — Jul 16) Cancer (Jul 17 — Aug 6) Leo (Aug 7 — Sep 14) Virgo (Sep 15 — Nov 3) Libra (Nov 4 — Nov 22) Scorpio (Nov 23 — Dec 6) Ophiuchus (Dec 7 — Dec 18) Sagittarius (Dec 19 — Jan 19) Capricorn (Jan 20 — Feb 13) Aquarius (Feb 14 — Mar 9) Pisces (Mar 10 — Apr 20) To find your sidereal moon and ascendant use the sidereal birth-chart calculator here: http://masteringthezodiac.com/siderea… – Daily Horoscopes: https://www.youtube.com/playlist?list… Weekly Horoscopes: https://www.youtube.com/playlist?list… – Official Site: http://masteringthezodiac.com Live/MP3 Readings: http://masteringthezodiac.com/sessions Sidereal Astrology Course: http://masteringthezodiac.com/1-1-cou… Sidereal Astrology Software: http://masteringthezodiac.com/siderea… Questions: email@example.com – Produced by Athen Chimenti Intro Music by http://www.bensound.com
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Because no one reads the newspaper, and SportsCenter's anchors are too perky for this early in the morning, Deadspin combs the best of the broadsheets and internets to bring you everything you need to know to start your day.
•A couple days ago, Jay Feely Tweeted this: "As good as Roy Halladay has pitched this yr for Phillies, it's almost impossible for him to pitch as well as Cliff Lee in playoffs last yr". That's funny, I recall Cliff Lee giving up at least one hit last year.
•Not that Lee was too shabby, shutting down the Rays. I blame DJ Kitty.
•The Twins lost their tenth consecutive playoff game to the Yankees, with Francisco Liriano being slightly shakier than CC Sabathia. Sabathia's uniform was a tribute to the old Metrodome baggie in right field.
•Clinton Portis is out 4-to-6 weeks with a groin separation. I guess that's only 52 packages now.
•Brent Musberger opines that pro sports could, and possibly should allow athletes to use steroids. Why not? Then each player's lab technicians become kind of like the equivalent of a driver's pit crew. The head chemists for successful players become highly sought after, and will jump around in free agency. You think I'm joking, but I may have just described the future of sports.
•Here's a gentleman who was very excited about the Rams' win on Sunday. Drunk on booze and victory, but mostly booze, he wants to dance. If you listen closely, you can hear the sound of his dance partner's skull cracking open.
(Screengrab via the essential 30fps)
Oh, what's the point. You're not even reading. You just want to look at penis on the Internet.


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Hot dam: Should it stay or should it go?
Picture a lazy summer day, floating on an inner tube in the mill pond on the Rivanna. Life doesn't get much better than that– unless you're Sally Shad trying to get up the river to spawn before your whole species is extinct, and a dam is in the way.
Okay, make that a lazy summer day, and you're canoeing down the Rivanna. Life doesn't get much betteruntil you come to the Woolen Mills dam. Finding there's no easy portage, you curse as you struggle to get your canoe around the dam and continue your journey downstream. Then, like Sally Shad, you may start to wonder, why is that dam still there?
Certainly it's not to generate power. Current environmental wisdom even dictates that dams are bad for the health of rivers and the fish that spawn in them. But what happens when the dam in question is an integral part of the history and fabric of a neighborhood?
Such is the dilemma facing the Woolen Mills neighborhood. The crumbling community landmark still provides an idyllic Rivanna River setting that hasn't changed much since the early 19th century and that many are loathe to lose no matter how many American shad must be sacrificed to maintain the status quo.
On the other side of the dam, so to speak, is the Rivanna Conservation Society, which is investigating the feasibility of getting rid of the dam in part or in whole, and gathering heavy-duty environmental support to do so.
The person who ultimately will make the decision is owner Presley Thach, whose father bought Woolen Mills in 1964 and who has steadfastly professed to be neither for nor against the idea of breaching the dam since it was first broached with him.
Jason Halbert of the Rivanna Conservation Society is spearheading the effort to dismantle the dam. Halbert's impeccable environmental credentials include employment with the now-defunct green-leaning W. Alton Jones Foundation and now its offspring, the Oak Hill Fund. Even among greens, says a former coworker, Halbert is known for his ecological devotion: He's the kind of guy who stops on a stroll around the dam to pick up a discarded plastic milk jug.
And he's rounded up some impressive supporters: The Chesapeake Bay Foundation, the local League of Women Voters, the Department of Game and Inland Fisheries, the Nature Conservancy, and the Thomas Jefferson Chapter of Trout Unlimited all favor a study on breaching the dam.
What prompted him to take on the Woolen Mills' sacred cow? Halbert lists a number of motives: improving the health of the river, recreational opportunities, and the community's connection with the Rivanna.
Perhaps most importantly, it's the American shad that drives Halbert. "They are a fascinating fish, and I admit I'm consumed by a certain mysteriousness that surrounds the fish, partly because they were an integral part of human and animal life here for millennia, and most people have never even eaten or seen one," he says.
Halbert compares the American shad (Latin name: Alosa sapidissima, which means "most delicious" or "most tasty") to the American chestnut. "They're both Appalachian icons, if you ask me, and they're largely extirpated from their original range completely due to human interference."
Like salmon, their better-known Pacific brethren, Virginia's native fish live out their days in the ocean, and then are compelled by their genes to make what's often a last, dying trek back upstream to spawn.
In 1999, the Department of Game and Inland Fisheries released more than a million of the endangered shad into the Rivanna River at Crofton Landing, about 10 miles below the dam. Between 2004 and 2007, they're scheduled to return from the Atlantic to make their journey up the James and then the Rivanna. Some of the survivors from that long haul will run smack into the Woolen Mills dam.
To breach, or not to breach...
Last spring, Halbert's vision for a dam-free river was granted an audience with the Woolen Mills Neighborhood Association. However, at the meeting, held in the old Woolen Mills Chapel, Halbert was placed last on the agenda, and he was introduced as a Belmont resident– signs that could signal that his project will face an upstream swim, or worse: that he's "not from around here."
Halbert likes to quote former Secretary of the Interior Bruce Babbitt about this country's 75,000 dams: Since the signing of the Declaration of Independence, America has, on average, constructed a dam a day.
But now that trend has turned. In November, Portland General Electric announced it was dismantling two dams in Oregon. While the two dams produce 10 megawatts, a drop in the 2,000-megawatt bucket of electricity PGE generates, they're both fully functioning hydroelectric dams.
Other dam-keepers are looking at less destructive although arguably less effectivemeasures, such as fish ladders. In 1999, the Virginia Department of Game and Inland Fisheries opened a $1.5 million fish ladder at Bosher's Dam on the James River above Richmond, the first time spawning fish were able to swim past the dam since 1823, according to the department.
Halbert says the idea of dam breaching is nothing new. In 1987, Virginia signed on to the Chesapeake Bay Agreement with the goal of opening the state's 415 miles of spawning habitats to migratory fish.
The Bosher's Dam Fishway opened 138 miles of that goal. And the breaching of Woolen Mills dam would open up not only the 3.4 miles to the South Fork Dam, but also the 13 miles of the North Fork Rivanna to total another 22 miles for the American shad, which once ruled Virginia's rivers.
Why is the shad important other than as the draw for politicos at the annual Shad Planking?
"Shad are our salmon," says Halbert. "We've been preventing them from doing their thing for almost 200 years."
For settlers to Virginia, shad was the other white meat. Shad once "amounted to half a hog crop for the entire population of the basin of the James," claims a Virginia Commission of Fisheries 1875 annual report.
The James teemed with shad, as well as with stripers, herring, sturgeon, and eel. "In the spring of the year, herrings come up in such abundance... to spawn, that it is almost impossible to ride through without treading on them," wrote Robert Beverley in 1705.
During the 1700s, as fish populations dwindled, colonists passed laws requiring the removal of obstructions or construction of fish passages, according to Virginia Wildlife magazine, which comments, "Surely a society that can send men to the moon and bring them back, can send fish up a river."
Halbert cites economic reasons for tearing down the dam. In July of this year, legislation went into effect in Virginia that requires annual inspections of dams, after which they must be repaired or face fines.
"It costs far less to remove the dam once than repair it," he says. The dam, built in 1830, is eroding and losing stone blocks.
Halbert points to the top blocks on the dam. "Notice that they're dry, and the stones underneath are wet," he instructs. "That mean it's leaking, and that loosens the stones underneath." He predicts the dam eventually will collapse.
And then there are the safety concerns. The dramatic beauty of the dam cannot help but attract people, and periodically someone is injured on it. In August 2001, a woman fell off and broke her ankle. Unsurprisingly, alcohol is often involved.
Pat Punch has another reason for wanting to see the dam down: "I'd like to canoe down the river, and right now, it's a real pain to portage around." He says Albemarle County is working on a new landing at Pen Park. "With the dam out, it would be a heck of a lot more fun to go to Milton," without having to stop at the dam and carry a boat around it.
And Punch, who's also a member of the Rivanna Conservation Society, thinks portage at the dam is hazardous. Besides having to climb over rocks and through poison ivy carrying a heavy canoe loaded with gear up a steep embankment and then down again, "There's always the possibility of snags or tripping."
What about the dam's historic significance? "The purpose was to provide power to Woolen Mills," says Punch. "It's outlived that. Just because it's old doesn't mean it should stay there."
Punch is sympathetic to "those poor fish," too.
"The shad really want to go upstream," he says. "Canoeists really want to go downstream. The dam is in the middle blocking the river for both groups."
Not in my backyard
Three historic brick duplexes line the end of East Market Street. Since 1982, realtor Roger Voisinet has lived in one of them. He says it was built in the 1830s and used to house the manager of the Woolen Mills.
For Voisinet, the loss of the dam, which makes the Rivanna River lake-like at his back yard, would be a "catastrophe."
Vosinet attended the neighborhood meeting where "some guy who seems to think it's his business gave a talk," he says. Voisinet calls Halbert's slide show "disingenuous," and adds, "I was too mad to say anything at the meeting."
If the dam is torn down, he foresees his backyard as a large, wide stretch of mud where nothing will grow.
Halbert says that would be only temporary. Landscaping would be included in any cost projections for breaching or partially breaching the dam, and with active plantings in the rich bottomland soil, it'd be green in a year, Halbert predicts.
With the river no longer a barrier, Voisinet also fears a loss of privacy and security from people walking through his yard.
"My house has taken the brunt of the public's desire to park trailers" and use the river for boating, he says. "Everyone acts like fishermen and canoeists are so great," but to Voisinet, they're "pretty bad neighbors."
"I've been picking up litter for 20 years," he says, and in the 1980s, vandalism was a problem.
Voisinet points out historic aspects of the dam, which was built in 1830 to power what would become Charlottesville's first major industry.
"This whole neighborhood owes its existence to the Woolen Mills dam," says Voisinet. He wonders what's next– tearing down the Woolen Mills Chapel to put in low-income housing?
Ed Lay, UVA professor of architecture and author of The Architecture of Jefferson Country, agrees with Voisinet.
"There's a visual environment these environmentalists need to think about."
Neither the dam nor the mill is a registered Virginia historic landmark, although an archivist at the Virginia Department of Historic Resources says they should be. Woolen Mills was proposed as a historic district in 1983, but nothing happened with that. And the city has protected four buildings in Woolen Mills, including the chapel, with a historic designation.
Lay notes that notes that the dam is the last remnant of the original mill and that aesthetic considerations have merit. "Historically, it's always easier to tear down something than fix it," he says. "Once it's gone, it's gone. That's sad."
Lay asks about a fish ladder, and in fact, there is one across the river on the side owned by State Farm Insurance. The only problem, according to Halbert, is that it doesn't work. "Shad can't jump," he explains.
Another in the dam preservation camp is Pete Runge, an amateur historian with the Virginia Canals and Navigation Society. He opposes the dam being breached. But if it's done, "It needs to be done properly," says Runge, with an archaeologist present. He's certain all sorts of artifacts lie at the base of the 170-year-old dam, perhaps even the foundation of an earlier dam.
"I'd be astounded if there weren't sunken boats" at the dam's foundation, he predicts.
Even though he's a kayaker, Runge thinks portaging around the dam is easy, and he'd prefer to see the dam left, or better yet, fixed up. "For the cost both monetary and cultural, breaching it seems a bit much."
How have other Woolen Mills residents responded to the idea of breaching the dam? "It's not really any of their business," Voisinet says, but "one person snidely told me I'd have to find another place to go swimming."
One resident who favors a dam-less neighborhood and who requests his name not be used, describes Woolen Mills as a hotbed of Democrats, known for their environmental tendencies. "But Democrats feel differently about environmental issues when they lose their own personal paddling pond," he chortles.
However, Halbert doesn't think it's that easy. "I don't assume anybody is going to jump on board because they're an environmentalist."
Like Halbert, Kay Slaughter also sports impeccable environmental credentials. A former (Democratic) Charlottesville mayor who works at the Southern Environmental Law Center, the Woolen Mills resident is well aware that there's a national trend to remove dams. But the idea of breaching the Woolen Mills dam is one "I haven't jumped up to embrace," she says.
"In fact, you've got another dam upstream at the Rivanna Reservoir," she notes. "It's not like you're returning the river to its natural environment."
She acknowledges some sympathy to the idea of dam breaching, but she also has sympathy for the several landowners whose property will be affected. "It hasn't been shown why it should be done," she says.
Mixed reviews
UVA student (and occasional Hook contributor) Wesley Hottot has shot two films featuring the Woolen Mills dam. "From a filmic perspective," he says, the idea of dismantling the dam is "tragic."
He says the water on the lower side of the dam is like a creek, and calls the stagnant, green water above the dam "primordial" in its beauty when the light hits the algae.
"It's a really nice, naturally decrepit area," he says. "Even if you're not photographing it, it's a nice place to find solace."
Hottot wouldn't go so far as to swim in the waters around the dam. "It's gross," he says. When he once fell into the river, his skin was "slimy" when he got out.
And while fully admitting he knows nothing about the environmental issues, it seems to Hottot that the river needs to be moving. "If they need to take apart the dam to make the river more viable, I'm for it."
"It's imaginable the benefits would outweigh three people having their own swimming hole," says another Woolen Mills resident, who does not want his name used. This homeowner says the clouds of mosquitoes in the 'hood are "like a tundra," and thinks a downed dam would help that.
Democratic City Council candidate Alexandria Searls also lives in Woolen Mills. She calls the dam "photographically popular." As for breaching it, she needs to know more. Is the dam safe? How much land and privacy would property owners like Voisinet lose? What would it do for the river?
"I would support a study," she says.
Actually, that's what Halbert is working toward. In July, he was awarded a $15,000 grant from the National Oceanic and Atmospheric Administration in partnership with the American Rivers organization.
Early in December, he'll get word on a couple of other grant applications that would provide the $25,000 to $30,000 needed to hire an engineering and design firm to do a study to see if a partial breach of the dam is feasible. "Without the money in place, it's premature" to go beyond that, and unless he gets the additional grants, the first $15,000 must be returned, he says.
Down at the end of Market Street at the old Woolen Mills building that now houses his moving and storage company, Presley Thach, who owns the dam and who will decide its fate, is keeping his cards close to his vest. "I'm very open minded," he says.
Even before Halbert talked to the neighborhood association, Thach predicted the opposition of neighbors, particularly those whose property is adjacent to the river.
"We've given permission to perform the study," he says but not for the demolition.
Halbert is almost two years into lobbying for breaching the dam, and it could be another year until it's time for Thach to make a decision. Meanwhile, Halbert keeps Thach posted on the progress.
One question Thach can't answer is who would pay for the demolition.
"I don't intend to pay for it," Thach says. That would leave Halbert to scrounge up more funding if Thach consents.
Does Halbert think neighborhood opposition will influence Thach? "Sure, if tons of people are against it," he answers. However, he's confident the arguments to do it are strong.
"It fits in with the state's plans for the health of rivers and fisheries," he explains. "It just makes sense."
And while some Woolen Mills residents may not agree, "This isn't some crusade," says Halbert. "Really, what we've done is raise a lot of questions. Now we need to answer them and address concerns."
Presley Thach has a question. "Have you looked at the dam recently?" he asks. "It's in disrepair and falling apart." And whatever decision he makes, that's a fact of life that's not likely to change for this ancient structure.


text: Possibilities UnLimited ASUS Turbo33 technology, which works with Intel® Turbo Boost technology to greatly improve performance. All-day computing with over 10 hours of battery life* Powerful audio entertainment with Altec Lansing® speakers and SRS Premium Sound™ Beautiful brushed aluminum cover and fingerprint-free matte black metallic palm rest Shop Modal header UnLimited Performance with ASUS Turbo33 Technology It's hard to believe that a notebook so slim can pack a potent processing punch, but that's exactly what the ASUS UL80Jt does. This is thanks to groundbreaking ASUS Turbo33, which works in tandem with Intel® Turbo Boost Technology to enhance system performance by up to 33%—making light work of demanding tasks such as video playback. Only ASUS Turbo33 is able to unleash the full power of 1066MHz RAM, leaving competing notebooks—which are limited to 800MHz performance—in its dust. When going full-bore isn't necessary, Turbo33 can be disabled with a simple press of a dedicated button. This added flexibility is made even better by the new generation of Intel® Core processors, now featured in the new UL80Jt. UnLimited Graphics Performance and Energy Conservation With the ASUS UL80Jt, smooth, detailed graphics and lengthy battery life are no longer incompatible expectations. That's because it is equipped with NVIDIA Optimus technology that automatically chooses the best graphics processor for running a given application—either a discrete NVIDIA G310M GPU or an integrated Intel® GMA HD chip—delivering outstanding performance while also providing great battery life. UnLimited Style Under an inch thick—measuring only 14.8mm at its thinnest point—the ASUS UL80Jt makes a new statement in style. Despite its unparalleled slimness, the notebook is surprisingly robust due to its hardy-yet-feather light brushed aluminum lid and aluminum alloy structure. A fingerprint-resistant matte black metallic palm rest and anti-dust chiclet keyboard add to the unmitigated grace and glamour. UnLimited Computing on the Go Designed for all-day computing, the UL80Jt is capable of delivering over 10 hours of battery life* with the help of ASUS exclusive Power4Gear, an intelligent power management tool that allows you to tailor the deployment of power on the fly to suit specific tasks. Adjusting the notebook's power consumption is incredibly easy—simply select one of four modes and Power4Gear will perform the necessary optimizations.* With an 8-cell 5600mAh battery.** Subject to system specifications and usage. UnLimited Audio Entertainment The ASUS UL80Jt features a pair of downward-firing Altec Lansing® speakers located at the base of the notebook that bounce audio off any surface to amplify volume by 30% compared to speakers found on conventional notebooks. In addition, SRS Premium Sound™ enables the UL80Jt's high definition speakers to deliver a thoroughly compelling virtual surround audio experience.


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With government officials advising against "nonessential" travel to Mexico because of the swine flu outbreak, several customers called E-Z Travel & Cruise Vacations Monday to change their plans.
With government officials advising against "nonessential" travel to Mexico because of the swine flu outbreak, several customers called E-Z Travel & Cruise Vacations Monday to change their plans.
"They're choosing Jamaica or other Caribbean vacations," manager Veronika Markgraf said. "With the economy right now, there are good deals wherever you want to go."
The U.S. Centers for Disease Control and Prevention issued an advisory Monday discouraging leisure travel to Mexico. But many U.S. airlines and travel companies are waiving rebooking fees, allowing travelers to delay their trips or possibly choose other destinations.
It's another hit for the leisure travel industry, which has seen a decline in business with the recession.
Cindy Nicolosi, owner of Travel Leaders — formerly Carlson Wagonlit Travel — in Roscoe, said several customers are keeping their travel plans because they wouldn't be able to rebook for the same discounts later in the year.
One of Nicolosi's travel consultants, Patti Reuter, still plans to leave for Mexico Thursday. "Go with caution," she said, "and you would do that no matter where you went."
But it's not just leisure travel that's being affected.
Caterpillar Inc., which has multiple facilities in Mexico, is restricting travel to that country because of the outbreak.
"In the interest of our employees' health and safety, Caterpillar has notified its employees of a travel restriction for Mexico due to the outbreak of swine flu. Any exception would require approval at the officer level," the company said in a news release.
Caterpillar has six manufacturing plants in Mexico along with other facilities, including parts distributions centers and solar turbine facilities.
Thomas V. Bona can be reached at (815) 987-1343 or email@example.com. The Peoria Journal Star contributed to this report.
Most companies waiving fees
Airlines and vacation companies are generally waiving their change fees for passengers with travel booked to Mexico through at least May 6. Passengers can book later flights, but will have to do so in the next week. In some cases, they can book to a different destination — subject to paying any fare difference — or receive a refund in travel vouchers. Check with your airline, vacation company or travel agent.


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I had a couple of people (Readerville and Nithin) leave me suggestions in response to last week's post on Beginnings, but this one was already on its way! I mean, it was the obvious next question….
What are your favourite final sentences from books? Is there a book that you liked specially because of its last sentence? Or a book, perhaps that you didn't like but still remember simply because of the last line?
Homer : But I am confused. Is this a happy ending or a sad ending?
Marge : It's an ending. That's enough.
I feel the same way, Marge. I don't really remember any last lines of books except:
"After all tomorrow is another day." -Gone With the Wind. Scarlett was always putting off thinking about the bad stuff until tomorrow, right up to the end.
I don't know what else there is to say. I don't even remember endings, let alone last lines. It's the stuff in the middle that I remember most. I do know this: romances have happy endings, Thomas Hardy endings are always depressing, Margaret Attwood makes you wonder about the cruelty of the human race and Charles Dickens wraps it all up in a neat little package.
What about you?


text:
Re: QBDB thread
Posted: Thu Jul 09, 2009 11:58 am
Humorous Search Result wrote: These complexes can isomerize via the Ray-Dutt twist or the Bailar twist, and when they possess certain sets of equivalent ligands, they can be described as facial or meridonal. In this geometry, the d orbitals split into two groups the eg and t2g set, with the dxy, dyz, and dxz orbitals lower in energy. Werner studied transition metal complexes with this geometry, and EDTA adopts it around a chelated magnesium ion. Copper II complexes with this shape also commonly undergo a lengthening of the bonds along their z-axis due to orbital degeneracy via the Jahn-Teller effect. FTP, name this geometry adopted by sulfur hexafluoride and other complexes with six ligands and no lone pairs, according to VSEPR.
Answer: Paul LeRoy Bustill Robeson Sr.


text:
Pekka Rinne made 28 saves for his fifth shutout of the season, Francis Bouillon scored at 4:28 of the third period, and the Nashville Predators beat the Dallas Stars 2-0 on Thursday night to grab back control of their playoff slot with their third win in four games.
With the win and Detroit losing 2-1 to New Jersey, Nashville moved back into fourth in the Western Conference, a point a head of the Red Wings. Now the Predators need only wrap up the regular season Saturday night at Colorado with a win to start the playoffs at home and finish ahead of Detroit for the first time in franchise history.
Patric Hornqvist had an assist and clinched the win with a goal with 2 minutes left.
The Stars lost their fourth straight in being eliminated. The Stars came in ninth and needed at least a point, but the loss allowed Los Angeles and Phoenix to clinch berths and put San Jose on the verge.


text:
Sinners Tee
by OBZZ
All Small Victory shirts are unisex and printed on Gildan Premium for what we feel is the best fit and style.
Check out the sizing guide below before ordering.
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Sad Clip Of The Week: Baby Born With Open Heart Outside Of Their Body!
Baby born with open heart. Submitted by shamsu
Please click the "Report" button below if the video on this page is not working properly.
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text:
While Colorado oil production has reached its highest level since 1961, Morgan County's share of the boom is not large.
Over the three years encompassing 2010-12, Morgan County produced 325,765 barrels of oil, according to a Colorado Oil and Gas Conservation Commission report. A map of the oil permits shows only a few near the western border of the county.
COGCC's initial calculation of total oil produced in 2012 exceeds 48 million barrels. This represents a 24 percent increase over 2011 which itself saw a 20 percent increase over oil produced in 2010.
The lion's share of that oil production came from Weld County. Last year, it produced about 36 million barrels of oil. Over the past three years, it produced more than 83 million barrels.
Logan County produced almost twice as much oil as Morgan County over the past three years at 649,717 barrels, but that was still small compared to other neighbors.
Lincoln County produced about 1.15 million barrels of oil over the past three years.
Washington County produced about 1.5 million barrels of oil.
Colorado has experienced a steady increase in the volume of both gas and oil, with oil increasing since 1999 and gas increasing since 1990, COGCC says.
However, the major period of growth has come over the past five years.
The growth in oil production can be attributed primarily to the giant Wattenberg Field in the Denver Basin just north and east of the Denver metropolitan area, COGCC says. Operators there are combining improving technologies in horizontal drilling and hydraulic fracturing to increase production from the Niobrara Formation.
Even though Morgan County has not benefited as much from oil being pumped out of the ground, local manufacturers and oil field companies have done well by providing service to the oil fields.
For more detailed county data year-by-year since 1999, visit this link on the COGCC Web site: http://cogcc.state.co.us/COGCCReports/


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Artwork description:
Extra-fine oils, natural resins and Sennelier highest-quality pigments, in universally prepared 100% cotton canvas. tautly stretched on a plain nordic pine frame, two layers of varnish protecting the artwork against dust and UV.
Signed on the back.
Certificate of Authenticity included.
Please note: in context images are not exactly to scale and are for illustration purposes only.
Please contact me if you have any questions.
Victor de Melo © 2016 All rights reserved.
My process of creating abstract expressionist-inspired paintings is a complicated layering of pigment using impasto, scumbles, and glazes.
Imagine. Have a dream. Be free. These are the most important elements in my work.
Each time I begin a painting, I am curious myself to see what will happen, and it is always a surprise. I'm fascinated by any number of ways of seeing from pure, detached observation, to total abstraction. I love to discover beauty and significance in subjects that might normally go unappreciated.
With my abstract work I try to contribute, in my own modest way, to the beauty, harmony, and general goodness of our existence.
The theme I most often revisit is the idea of an incomplete narrative, where something has happened or is about to happen, an 'in-between' moment, exploring the morphological similarities found in nature amongst discordant worlds and fields, including organic, topographic, cartographic, botanic, and geologic.
I like to think of my paintings as poetic, pure, and transparent with an element of mystery and depth for the viewer.
Materials used:
oils, natural resins, pigments, varnish
Oil painting by Victor de Melo
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This artwork is sold by Victor de Melo from Portugal


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84 hours
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Presented by: Paul Mettler, Leonard Matheson, Kevin Wilk, Sandy Burkart, Carole Bernstein Lewis, Neal Pratt, Waleed Al-Oboudi, David Magee, Robert E. Mangine, Shirley Sahrmann, James Porterfield, Carl DeRosa, Beverly Biondi, Anne Moscony, Cornelia von Lersner-Benson, David Butler, Peter Leininger, Jerome Danoff, Jenny McConnell, Leslie Allison, Richard Jackson, James W. KingThis incredible offer allows students a full year of access to the Basic Tier Medical Library at less than 1/5 the price. That's over 20 courses worth over $1500 if sold separately! Learn More
Over 100 hours
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Presented by: Anne Moscony, Beverly Biondi, Brian Folk, Brian Mulligan, Carl DeRosa, Carole Bernstein Lewis, Cornelia von Lersner-Benson, David Butler, David Magee, David Mikos, Don Reordan, Frank Gargano, James Porterfield, James W. King, Jenny McConnell, Jerome Danoff, Julie Paolino, Kevin Wilk, Leonard Matheson, Leslie Allison, Neal Pratt, Paul Mettler, Peter Leininger, Rafael Escamilla, Richard Crowell, Richard Jackson, Robert E. Mangine, Sandy Burkart, Shirley Sahrmann, Waleed Al-OboudiMore than 100 credit hours which includes the Mulligan Concept (MCTA) Library, the Basic Tier Library, The Diagnosis and Treatment of the Upper and Lower Quadrants by Brian Mulligan and Kevin Wilk, and MORE! Learn More
4 hours
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Presented by: Jerome Danoff, Peter LeiningerReview of anatomical structures in the lower extremity with primary emphasis on the knee joint and muscles of the thigh and leg. Learn More


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Five Congress themes explained
28 August 2012 | Audio
Listen here to a series of interviews in which IUCN experts explain the five Congress themes.
Nature+ climate: Nature-based solutions for climate change
Nature+ food: Nature-based solutions to food security.
Nature+ development: Nature-based solutions to economic and social development
Nature+ people & governance: Effective and equitable governance of nature's use
Nature+ life: Valuing and conserving nature


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Tempo Social
Print version ISSN 0103-2070
Tempo soc. vol.4 no.se São Paulo 2008
Inventing order catholic intellectuals in Brazil
A invenção da ordem: Intelectuais católicos no Brasil
Fernando Antonio Pinheiro Filho
Translated by Anthony Doyle
Translation from Tempo Social, São Paulo, v.19, n.1, p.33-49, June 2007.
The work investigates the social genesis and characteristics of the emergence of an intellectual experience directly linked to the propagation of Catholic doctrine, which took shape in Brazil between the 1920s and 1940s. The analysis centres on the activity of the Dom Vital Centre and the magazine A Ordem, entities which expressed the political and cultural militancy of Jackson de Figueiredo, the movement's main lay leader. The text then looks to comprehend the approximation of artists and literary figures who incorporated Catholicism as both the theme and form of their productions within modernist circles, basing its analysis of the trajectory of the triad formed by Ismael Nery, Jorge de Lima and Murilo Mendes, who succeeded in including their production in the period's most dynamic pole of artistic activity.
Keywords: Catholicism; The Ordem magazine; Brazilian literature; Mystical poetry.
O trabalho investiga a gênese social e as características da emergência de uma experiência intelectual diretamente ligada à propagação da doutrina católica, que se configurou no Brasil entre as décadas de 1920 e 1940. A análise centra-se na atividade do Centro Dom Vital e da revista A Ordem, órgãos que expressam a militância política e cultural de Jackson de Figueiredo, principal líder laico do movimento. Em seguida, procura compreender como se dá a aproximação de artistas e literatos que incorporam o catolicismo como tema e forma de suas produções no interior dos círculos modernistas, a partir da análise da trajetória da tríade formada por Ismael Nery, Jorge de Lima e Murilo Mendes, que lograram inscrever sua produção no pólo mais dinâmico das realizações do período.
Palavras-chave: Catolicismo; Revista Ordem; Literatura brasileira; Poesia mística.
I want to call you by your earthly name, but have forgotten it.
Jorge de Lima, Anunciação e encontro de Mira-Celi
Given the transmission of the colonial legacy that made Catholicism the nation's dominant religion, the contingent of artists, writers, philosophers and other producers from the intellectual domain with a Catholic education multiplied and came to pervade each and every stage in the formation of spheres of symbolic production. Many of these individuals located their work within this field of influence and assumed their religious affiliations as an important aspect of their intellectual and artistic identities. Others, however, went further still, making Catholicism the main generator of their work and motivation for interceding in aesthetic and political debates. Unlike the first-mentioned category, the latter's presence in space and time was not diffuse, but rather constituted a group properly speaking, that is, a number of individuals endowed with a collective charisma that allowed reciprocal recognition, and who acted in a programmatic manner based on a set of shared beliefs and values. It is in precisely this stricter acceptation that the present text refers to the Catholic intellectuals who emerged on the Brazilian cultural scene in the late 20s and whose relevant impact resonated therein until the late 40s.
In order to better qualify this group we can divide it into two factions, both based in Rio de Janeiro. First is that galvanized by Jackson de Figueiredo and Alceu Amoroso Lima around the Dom Vital Centre and the magazine A Ordem; a group of a more political bent, for whom religion features as the desired foundation for social organization under the banner of order, the precise meaning of which we shall trace forthwith. Second, the triad composed by the artist Ismael Nery and the poets Murilo Mendes and Jorge de Lima, who would make of Catholicism their artistic-literary theme and form, thus garnering support for a positioning in the artistic field. The aim of this paper is to characterize morphologically these two factions and the socio-historical conditions that enabled their development, and to analyze the symbolic bases of their approximation, which, as we shall see, is somewhat surprising given the differences between their individual aesthetic frameworks and forms of artistic practice. The argument will strive to show that "order" in all the semantic plasticity that implies had its prophets and its aesthetes, confronting the respective contradictions these designations entail (prophets who, far from brandishing a counter-establishment heresy, wove together a religious discourse delivered by and to the layman with a view to reinforcing the orthodoxy; people who, like magicians, transmogrified the theme of order into that of eternity, incorporating it into a formally inventive language with no direct allegiance to the tradition, at least as understood and used by its first exponents) and the social arrangement that not only allowed it to emerge, but which also prescribed the limits of its impact.
The prophets of order
In his entry on Catholicism in Brazil for the Enciclopédia Delta-Larousse (cf. Lima, 1967, pp. 1848-1873), Alceu Amoroso Lima divided its history into three periods: first, the catechesis and formation of Christian consciousness, which lasted until Independence; second, an intermediary period marked by regalism and the decadence of the Christian spirit, with the subordination of the Church to the State; and, third, beginning in the early decades of the 20th Century, a phase of revitalization of Christian precepts among the elite and the struggle to spread Church orthodoxy, riven from the State, throughout the various social classes. From 1922 on, there would be a "growing flurry of Catholic expansion among the intellectual elites" (Idem, p. 1871), the biggest in history, such that "it would be impossible to identify, at any prior time, a similar number of Catholics among top-ranking thinkers, writers, historians, professors, etc." (Idem, p. 1871). By way of corroborating his thesis, he enumerates a cast that helps map the field. We shall follow his original classification:
Theology and Philosophy: Fr. Leonel Franca, Jackson de Figueiredo, Alexandre Correia, Fr. Teixeira Leite Penido, Almeida Magalhães, Ubaldo Puppi, dom Estevão Bittencourt, Friar Pedro Secondi, Friar Boaventura, Fr. Ávila, Henrique Hargreaves.
History and Journalism: Felício dos Santos, Perilo Gomes, Jônatas Serrano, Oliveira Viana, Hamilton Nogueira, Pedro Calmon, Francisco Sá Filho, Vilhena de Moraes, Juarez Távora, Luiz Delgado, Hildebrando Leal, Almir Madeira, Américo Lacombe, Hélio Viana, Edgard da Mata Machado, Nilo Pereira, Fernando Carneiro, Daniel de Carvalho, Heráclito Sobral Pinto, Hildebrando Accioly, Affonso Pena Júnior, Alfredo Valadão, Hélio Tornaghi, Francisco Mangabeira, Celestino Basílio, Altino Arantes.
Literature and the Humanities: Antônio de Alcântara Machado, Durval de Moraes, Jorge de Lima, Paulo Setúbal, Tasso da Silveira, Augusto Frederico Schmidt, Gustavo Corção, Cassiano Ricardo, Plínio Salgado, Murilo Araújo, José Américo de Almeida, José Lins do Rêgo, Andrade Muricy, Murilo Mendes, Otávio de Faria, Alphonsus de Guimarães Filho, Peregrino Júnior, Carlos Lacerda, Carolina Nabuco, Adalgisa Nery, Lúcia Benedetti, Henriqueta Lisboa, Roberto Alvim Correia, dom Marcos de Araújo Barbosa, dom Helder Câmara, Antônio Calado, Mário Matos, Adonias Filho, Odilo Costa Filho, Osman Lins, Gladstone Chaves de Mello, Sílvio Elia, Clóvis Monteiro, Fr. Augusto Magne, Fr. João Mohana, José Rafael de Meneses, João Etienne Filho, José Paulo Moreira da Fonseca.
Sciences: Raimundo Bandeira, Nerval de Gouveia, Carlos Chagas Filho, Joaquim da Costa Ribeiro, Paulo Sá, Francisco Magalhães Gomes, Brito Velho, Luís Cintra do Prado, Rui Coutinho, Fernando Carneiro (cf. Idem, pp. 1871-72).
The reader will note that the list far exceeds the group we intend to address here. Compiled in the late 60s by one of its founding figures, it is not exempt from a certain retrospective illusion and desire to prolong the movement's prime by some decades. It includes names that do not fit the definition to which I referred. What really matters for the purposes of this paper is the inaugural moment of this movement, attributed to Jackson de Figueiredo's conversion to Catholicism in 1916. Figueiredo was the leader of the conservative Catholic reaction inspired by 19th-century European anti-revolutionary thought, the founder of A Ordem magazine and the Dom Vital Centre, pivotal institutions in the development and dissemination of his message and at the helm of which he was succeeded by Alceu Amoroso Lima after his death in 1928. We shall endeavour to trace the careers of these two figures, the meaning of their decisive works during the period and the place this select group had within a society undergoing socio-political reorganization and marked by the new cultural dealings of the leading groups.
A reasoned sentimental summa
It was in these terms that Jackson de Figueiredo (1891-1928) referred to his legacy shortly before his death. Expressive terms in more ways than one, recalling at once the synthesis he attributed to the Catholic doctrine and his own oeuvre and militancy, whilst bequeathing to his disciples clues as to the paths they should take on behalf of one who had nurtured a keen awareness of the implications of his position as an exemplary leader, in which capacity he strove for the conversion of souls to religion and its cause. His own experience as a convert gave him sufficient authority on the matter: many are the passages (either in his letters or in the recollections of friends) in which Jackson recalled his bohemian years as a law student in Bahia, a time when he boasted a disbelief fostered by an education in a Protestant school in his native Aracaju, where he would be initiated into a materialism and evolutionism later conjoined with the "scientific positivism" of the Recife School, converging upon his first intellectual guide, Nietzsche. In what follows we shall see how these are some of the doctrines subsumed under the tag of "naturalism", which Alceu Amoroso Lima saw as a synthesis of the modern intellectual trends to be combated.
Yet the young man who arrived in Rio de Janeiro in 1914, already the author of two books of poetry, published in Sergipe and Bahia (in which he declared himself an atheist whose only religion was friendship), was on-course for a spiritual crisis that would lead him to religion, a development to some degree instigated by his friendship with Farias Brito, his readings of Pascal and contact with the Pastoral letter of the Archbishop Sebastião Leme (1916).1 With no means of his own, patronage by an admiral uncle and Dias de Barros, congressman for Sergipe, assured him a job as debate reviewer at the Federal Congress that would tide him over while he looked for a position in the press, which would eventually become the main outlet for the ideas already forming in his mind. As his political position is not entirely intelligible without recourse to the metaphysical/religious speculation upon which it was based, it would be useful to outline the system developed in his two studies on Farias Brito (Algumas reflexões sobre a filosofia de Farias Brito [Some reflections on the philosophy of Farias Brito], 1916, and A questão social na filosofia de Farias Brito [The social question in the philosophy of Farias Brito], 1919) and in the book that would prove the theological cornerstone of his entire doctrine, Pascal e a inquietação moderna ([Pascal and modern disquietude] 1922)2. Another reason for doing so lies in the fact that, as I see it, the consistency of this grounding as a discourse well-adapted to its diffuse social demand was fundamental to the consolidation of his leadership not to mention its resonance with the aesthetic problems with which the Catholic artists were then grappling.
The works of Farias Brito served Jackson as a sort of spiritualist apprenticeship in Roman Catholicism. What immediately appeals is the criticism of Bergsonian rationalism, opening space for intuition and inner life as an antidote to the ideas of the 1870s generation, immediately associated with Tobias Barreto, Sylvio Romero and the "Recife School", all of whom degenerated into agnosticism and scepticism. This new spiritualist feeling was already present in his symbolist poetry (it is worth remembering that the poet Pedro Kilkerry was a classmate of Jackson's on his law course in Bahia), but it was the systemization represented by Farias Brito that best served as a guide on his intellectual journey toward Truth and Being. Spiritualist philosophy teaches that no access to Being (absolute unity) is to be gained from the fragmented notions of reason; only the experience of suffering can restore this totality - unattainable through concepts - to the interiority of consciousness. Knowledge begins with pain and only later avails of the operations of intelligence, and whilst authentic truth should be rational in form, it derives from intimate contact with the self through the agency of suffering. It was on this particular point that Catholic theology came to the fore, providing the very template of suffering: God incarnate and suffering on the cross is the true source of access to the self. If the Calvary of Christ becomes a mirror of human life, as the life of reason, valorised by the quest for truth, existential angst and tragic freedom become the nostalgic reflection of a state of plenitude lost in the Fall.
According to Pascal, the Fall, as essentially inexplicable, is precisely the dogma that ought to be accepted without discussion, as to deny it renders everything else inexplicable. If, up to this point, Jackson is a commentator whose philosophical erudition is beyond dispute, his most personal contribution and central to his political conceptions consists in assimilating this Adamic pre-Fall state into a vertically hierarchised order (God/Man; the self-sufficient and the dependent, according to Pascal) whose only possible historical transposition is the Church/Society relationship. In other words, the structure of the church is the earthly reflection of the celestial order and hierarchical balance between this institution and the rest of society is the mode of life-organization that corresponds to the true being of man and things (including social things). Curbing the anarchy of modern-day life therefore depends on one's capacity to live the inner life as a person, not just as an individual a purely biological entity, and therefore one condemned to slavish determinism by the carnal passions. A new sociability needs to resume the formation of people who are free to want order (and the good as its consequence) and capable of experiencing deep within a pain analogous to that of Christ.
Jackson de Figueiredo's political platform therefore consisted in organizing this spiritual elite encumbered with the (theo)logical right to conduct the national life. His express goal was to create institutions after the cult of order [and its correlates in hierarchy and authority] that could prepare a new front-line equipped to intervene, in the name of Catholicism and in absolute consonance with the directives of Church, on all levels of Brazilian life. It is symptomatic that the atheist who declared friendship his only religion should now refer to his group as "my little church", an ecumenical community of men free to submit to the order whence irradiates that same imperative toward submission. This intent came to concrete fruition in the foundation of the magazine A Ordem in 1921 and of the Centro Dom Vital the following year, two vehicles for the formation and divulgation of the group's message and from whose nucleus would derive political actions considered more urgent by the minute if the real order of society were to be brought in-line with that lost order, the only historical equivalent of which was the idealized vision of a Brazilian tradition that places all its emphasis on the role of the Catholic religion as a constitutor of national unity. Jackson's theses are faithful renditions of the conservative anti-revolutionary European thought of the 19th Century (of whose exponents Joseph de Maistre is perhaps the most often cited by Jackson) and was in full consonance with the more right-leaning political movements of the early decades of the 20th, which railed against everything "revolutionary", in other words, against the modern social configuration that destroyed the erstwhile harmony. Restoring order therefore meant restoring the natural distance (and inequality) between men, which entailed reinforcing its keystone ideas of authority and hierarchy, a latent evocation of a medieval nostalgia, but one that fed the social mindset with the staple foods of family values, chivalric nobility, the small land holding, the non-urban rhythms of life and of community living, to use the terms of Francisco Iglesias3.
It should come as no surprise that, for Figueiredo, the revolutionary enemies spanned both the liberals and the communists; whether in the Europe of his inspiration or in the Brazil before his very eyes. His impassioned discourse set forth in articles in the magazine, in lectures and courses at the Centre, in his books and journal papers, identified and vigorously attacked the seeds of revolt. Tenentismo (a political movement that sought to deliver civil administrative posts into the hands of young military officers) was fingered because it subverted the hierarchy of the military (the institution that was supposed to safeguard it), influenced by the positivism that prevailed at the Military Academy, and because it threatened to upset the balance between the social classes. The same charge was levelled against working class demands, while the industrial elite was frowned upon for the materialism that distanced it from the Catholic project. His defence of the regimes of Bernardes and Epitácio Pessoa does not imply any enthusiasm for the accord among the elites of the Old Republic, but merely a defence of the prevailing political order, which, far from ideal, but at least preferable to disorder, deserved tacit support. Viewing the political movement of the period as a mere challenge to authority, the Catholic reaction seems to have offered some relief to the petit bourgeoisie in the face of the unrest caused by rising social groups. The clamour for order reawakened that social mindset to which I referred earlier, a symbolic substratum for the social existence of sectors that felt threatened by the growth of the working class and the bourgeoisie that had hijacked the internal market then gathering momentum.
The scope and force of the Catholic reaction commanded by Jackson at this time can be explained by the powerful repercussions of a discourse that rallied latent demands for social legitimization on behalf of certain sectors, even if (and to the extent of which) they were unconscious of this distinction. In fact, the diffusion of a Catholic thought that spoke in its own name had no precedent in the history of the nation, corroborating, in political terms, Leme's diagnosis. The Catholicism revived by the coordination of the Dom Vital Centre was not organized into a political party (by orientation of the Church and against Jackson's own wishes). The direct taking of power mattered less than ensuring that the organization of the State and society in all sectors of life should occur in compliance with Catholic precepts as understood by the new elite then being schooled4. Yet their sphere of action was no longer limited to the preparation of these burgeoning elites. It was necessary to convince society in general that the nation, as a Catholic nation, could not be governed by non-Catholics. The Centre's message had to reach the masses, and this was precisely the intent behind the institutional initiatives listed in the last text note, the Eucharistic Congresses of the day and other key initiatives, such as the construction of the Christ the Redeemer Statue (inaugurated in 1931) and the adoption of Our Lady of Aparecida as the patron saint of Brazil (that same year).
Such lines of action were clearly designed to combat popular brands of Catholicism with little time for ecclesiastical hierarchy in their devotion to the saints. Jackson's work had already rejected rites devoid of orthodox content and the gestural formalism that failed to touch the conscience. At that same time the Church was accentuating the importance of the Eucharist as a sacrament that, representing unity and communion, should be the centrepiece of the restored faith. Later we shall see how ideas of unity, essence and the flight of time, crystallized in Jackson's works as a politically effective discourse, would reverberate as expressive material among Catholic artists. For the time being, suffice it to underscore that his activity enabled a new intellectual experience, lending voice and visibility to those toiling in the name of the vision of a Catholic world. In this sense, it would perhaps be no exaggeration to attribute to his group the invention of the Catholic intellectual. Note that this experience implied a certain isolation from other initiatives in the intellectual field such as the eagerness to found institutions of one's own -, holding stronger attraction for the occupants of positions out of step with the symbolic production. In short, the Catholic reaction led to the invention of a forum and a mode by which to take a stance on issues, even within the national sphere, that were not directly levied at competitors in the religious market (which held little weight as yet, at least in comparison with the anarchic devotion of vernacular Catholicism). The message issued by the Dom Vital Centre was therefore a hybrid cultural product directed toward many spheres of social life, circulating a set of ideas that were tantamount to "bus" concepts. This characteristic explains its power of diffusion, reaching even the artistic and literary worlds, which would operate the transubstantiations of "order" we shall address further on. It also explains the transitory nature of its effect, as if to demonstrate the impossibility of being everywhere at once (it is worth remembering that, with the second post-war period, political conservativism was undermined by an ideological shift toward the left by the Centre's leadership).
And so, prior to analyzing the artistic output that picked up on these emanating signals, we must first understand them more thoroughly in the context of the group's aesthetic concepts, especially in relation to the development of modernism. Alceu Amoroso Lima, Jackson's immediate successor, took it upon himself to broadcast these signals, establishing in his own critical work a Catholic standard of literary appraisal.
After Availability
An overview of Jackson's work would not be complete without mention of the conversion of Alceu Amoroso Lima in 1929. Born in Rio de Janeiro in 1893, he graduated in law in 1913, departing for Europe that same year to study under Bergson at the Collège de France. Once back in Brazil, in 1919, he took to literary criticism under the pseudonym Tristão de Athayde, writing literary columns for the Rio press. Over the course of the next ten years he achieved renown in the as yet predominantly dilettante world of literary criticism by rejecting the impressionist, off-hand style of chronicle-like commentary that approached the work less as language than as a platform for generic ramblings on the issues of the day. A key moment in this professional stance was his drubbing of one of the heavyweights of this impressionist criticism, Agripino Grieco, whose work he described as "vulgar and hollow eloquence", "gentle conversation for cultured men", the antidote to which would be his own "critical expressionism", which boosted objectivity by reining in intuition, thus making space for analysis of the genuinely literary elements of the work. His criticism tended to veer toward the aesthetic; a step franchised by his intellectual edge over his competitors, and took modernism as its subject. The attention paid to this innovative new trend is a corollary to the predominance of the aesthetic dimension in his work at the time. However, becoming the critic of modernism, a role for which he with the exception of the authors themselves was best prepared when it came to discussing the modernist innovation on the level of language, did not mean that he adhered completely to the group's aesthetic (and political) project. Still too tightly bound to the cultural constellation represented by a passadista adulation of the authors of the past to incorporate their radical break with Parnassian rhetoric, his criticism led to a "tempered modernism", to use the expression of Antonio Candido (cf. Lafetá, 2000)5.
Upon his conversion, and therefore his wholesale adherence to the cause of "order", his aesthetic positions underwent a smooth shift in parallel with his politico-ideological revisions. Fundamentally, Lima found himself subordinating the aesthetic value of a literary work to its moral function, in accordance with the doctrine of Jackson de Figueiredo, who discarded the notion of beauty for beauty's sake; art only achieves true beauty by being moral and therefore Catholic -, given that evil is incapable of producing beauty. The movement of 1922 was summarily rejected by Jackson because it subverted the principle of authority, which was cause in itself for its disqualification, as there can be no reconstruction if not founded upon order as its origin and destination. Hence, for Jackson, the modernists expressed only reckless anarchy and therefore had to be combated. Lima, who had made his name from a form of criticism that focused on literary language, which made him the right man to gauge the meaning of the movement, had to resolve a contradiction that would ultimately see him abandon criticism and relegate literature to the background. Between 1929 and 1941, only five of the twenty-three works he published dealt with literature, largely supplanted by religion in its politico-social refractions. So while he lost standing as a professional critic, he rose within the Dom Vital Centre and to the presidency of the Catholic Action, becoming leader of the movement after Jackson's death.
In his own words, embracing the Catholic cause entailed an "adieus to availability", an expression used as the title of a letter addressed to Sérgio Buarque de Holanda in 1929, in which he explained his decision at length, adding that it would imply an "awakening from the anti-dogmatic dream" (Lima, 1969). We already know the dogma to be affirmed, and it showed no divergences from the directives established by Jackson. Lima captures its essence in the fight against naturalism (an umbrella term that spanned Marxism, psychoanalysis, evolutionary theory and every other form of materialism), which he felt was leading Brazil astray of its Catholic roots, with re-Christianization being the only alternative to revolution. Literature was to be a weapon in this battle, and it earned instrumental status: if it does not serve the goal of moral honing, it degenerates into frivolous diversion. "Art for art's sake" may serve men in a situation of availability, but it lacked religious legitimacy, and that was the only kind that mattered, so much so that it became his sole criteria for literary quality and the selection of authors deemed worthy of his attention, which would explain Lima's connection with the spiritualist poets, a group that formed around the magazines Terra do Sol and Festa throughout the 30s and which was spearheaded by the likes of Tasso da Silveira, Augusto Frederico Schmidt and Cecília Meireles, practitioners of a modernism that was somewhat attenuated in terms of linguistic innovation, but firmly present on the religious front. Indeed, it shed similar light on his regard for the Catholic novels of Octavio de Faria, Lúcio Cardoso and Cornélio Pena authors who had links to the Dom Vital Centre and featured in literary discussions in the magazine A Ordem.
Connected with the Catholic reaction and its institutional organs, the group formed by the poets Jorge de Lima and Murilo Mendes and by the artist Ismael Nery occupies a special place on the horizon discussed so far, for the following reasons.
A Catholic Aesthetic
The Catholic militancy of the Dom Vital Centre under Alceu Amoroso Lima ended up attracting Murilo Mendes and Jorge Lima, recent converts to Catholicism, who began to contribute to the magazine A Ordem. The conversion of the two poets was due to Ismael Nery (1900-1934)6, who practiced a mystical Catholicism whose aesthetic doctrine, essentialism, conceived as a mental discipline for transcending time and accident, would have a huge impact on the work of both, as well as underpinning Nery's own pictorial production by rendering explicit the invisible essential forms in terrestrial manifestations. Nery emerged as an analogue to the leadership exercised by Jackson (and later by Lima), assuming the structural role of prophet in the triad, even literally speaking, albeit with some important divergences from these two leaders, especially in the sense he imposed upon religious experience and its political consequences. As a result, we can safely say that the value of this group's output far exceeds anything hitherto inspired by the Catholic movement, thanks to the relative distance they kept from it, but also because they knew how to make a genuinely literary treatment of the Catholic problematic. The watershed in this sense was the 1935 volume of poetry Tempo e eternidade (Time and Eternity), co-written by Lima and Mendes and envisaging the "restoration of poetry in Christ". In this work, the appeals to the eternal that are echoed in the notion of Order and filtered through the bracketing of historical time in favour of the essence, as professed by Nery, gave rise to a mystical poetry composed in Modernist metre that posited a less alternative position in relation to the poles of literary consecration, thus reverting their relative disadvantage in relation to the leading lights in the artistic and literary world.
According to Roger Bastide (1997)8, Jorge de Lima's work7 reveals a shift from religious to mystic poetry. The first phase refers to his incorporation of the cult of saints and other themes from popular Catholicism as elements of regional devotion; mysticism, in the strict sense (described by Bastide as the quest for supreme unity through the fusion of the soul with the divine), would only find more polished expression in his later poetry, though it was prefigured as early as the 30s, especially in Tempo e eternidade and A túnica inconsútil (The Seamless Tunic - 1938). On the other hand, the work of Murilo Mendes (1901-1975)9 already tended toward mysticism right from the emergence of Catholicism in his writing, particularly in Tempo e eternidade. The key to understanding this work is, I propose, the authors' assimilation of the doctrine and apostolate of the recently deceased Ismael Nery, to whom the book was dedicated. In his "Recordações de Ismael Nery" (Memories of Ismael Nery), a collection of articles published in the O Estado de S. Paulo and em Letras e artes in 1948, in which Murilo Mendes celebrated his friend's memory, this influx is addressed in the following terms:
Ismael restored the notion of God to our spirit, or rather, he gave it artistic, affective and philosophical bases, especially by approaching the Church, man and everyday life as continuations of Christ's Incarnation. At the same time as the ideal of God Incarnate began to circulate with more familiarity in our daily lives, it imposed upon us all the understanding of the extra-temporal roots of the concept. Ismael would spend hours and hours recovering God from the sidelines, to which he had been consigned by scientific intolerance and didactic concerns, whilst accentuating the eternal origins in which he moves freely. In fact, the Incarnation of Christ is the dawning of eternity in time. And Christ appears before us restored to his true stature as revealed in the New Testament; this was a powerful vitiation of the concept of Christ devised in the 19th Century - the "meek Nazarene", the philanthropist, the social reformer, the moralist. Christ arose to us as the everyday companion of man, his guide through time and eternity. [...] Christ came to us as the highest artist, the creator of a whole style of life. Of course, the concept of religion was likewise altered: we began to sense its deep-set connections with life, rather than the fatal detachment that had hitherto prevailed in a deformed culture lost somewhere between two categories (Mendes, 1996, p. 43).
Murilo Mendes attributed to Nery the circulation of the idea of God grounded within art. We have seen the extent to which the diffusion of "Christ's Incarnation", prolonged in the Church, resurging from the "marginal status" imposed by "scientific intolerance", depended on the work begun by Jackson de Figueiredo and his group, to whose magazine, as mentioned earlier, Mendes and Lima were contributors, mostly writing on Nery and essentialism10. Yet the approximation between intellectuals with more direct ties to the Dom Vital Centre and the fraction of Catholic artists that could assume that epithet thanks to the conditions they afforded them was not based on ideological adherence, but on a partial confluence of perspective that depended on the possibility of transforming the conception of politics and society posited by the Centre into a genuinely literary problem. The idea of order, with all that is most fixed within it and its appeal to perfection, when temporalized, results in the notion of eternity. On the other hand, the bracketing of time, the abandonment of accident in favour of essence, the shifting of empirical multiplicity toward the deepest unity of the all, imported from Nery's doctrine, became fundamental references in the Catholic poetry of Murilo Mendes and Jorge de Lima. Responding in the magazine O Jornal in 1945 as to what he meant in Tempo e eternidade when he proposed "restoring poetry in Christ", Lima said:
It was basically this: after Poemas escolhidos, published in 1932, I began to feel dissatisfied with my poetry and started looking for new solutions. I started leaning more toward a genre of poetry different to the one I had been practicing up till then, something with a more mystical base. As I had no ties to any school, I felt free to undertake the desired renewal, having already arrived at the conclusion that the best grounds on which to do so would be through a poetry restored in Christ, the highest Poetry, the highest truth, our very destiny, and there was a tradition to draw from, not regional or national, but the most universal of all traditions, the Biblical [tradition]. It so happened that, at a lecture with Murilo Mendes, I saw that he felt the same yearning. During another conversation, that distich simply came. We put it on the frontispiece of Tempo e eternidade. [...] After the book co-written with Murilo, I published A túnica inconsútil, which is nothing other than the tunic of Christ himself, the only one that can't be divided (Lima, 1997, pp. 45-46).
This passage is expressive in detailing the reasons behind this exclusively literary change of course, a decision made possible by the lack of "ties to any school", by the fact that he had already accepted the identification between Christ, poetry and truth, and, fundamentally, because he could write under the aegis of the universal, exactly at a time when the most dynamic strand of national modernism was subordinating linguistic invention to a treatment of national problems. When Lima thought in these terms in 1945, he had the benefit of a certain hindsight that positioned him as an innovator in the literary field of the 30s. Based on that, the invention of the place he and Murilo Mendes came to occupy with the publication of their jointly written book was only possible thanks to their ability to create solutions on the level of language that were equal to the conceptual repertoire they incorporated. By way of an example, one could mention the use of Catholic communion as a metaphor for unity in dispersion (the same Christ is God both fragmented and whole in each host, as Bastide so aptly reminds us), so present in Murilo Mendes; or Jorge de Lima's explanation of the title of his next book: the tunic of God is seamless, mystical effusion transcends time and space, rendering illusory all the subdivisions experienced on the terrestrial plane.
On this note, we shall return to my main line of argument, seeking to underscore the possible unity.
Aesthetic Form and Social Form
The consolidation of the religion-centred discourse operated by Jackson de Figueiredo and his group sought to span the totality of the social world and it attained, especially through the work of Murilo Mendes, Jorge de Lima and Ismael Nery, a very particular refraction in which it reached the sphere of the arts. Despite the largely political differences between these two factions (the ultra conservatism of the movement's initial creed under Jackson did not carry over into the work of this trio, distanced as it was from the imperative of direct intervention in society), underpinning them is a shared perception of time and society that saw the group run counter to the growing drive toward autonomy and differentiation that beset the development of the intellectual field. It was the counter-revolutionary mindset of the writings of Louis de Bonald and Joseph de Maistre that best expressed this theologico-metaphysical backlash against science, combined with a call to faith and the glorification of the past, which implied a reassessment of the concept of society, no longer viewed as groups of interdependent individuals, but, once again as in the period preceding the flurry of secular social theories -, as a generic totality marked by the Fall and its historical ramifications, as such dependent on Divine providence. As a consequence, the prerogative of analysis of the social world swung back to religious thought, and its goal became a hierarchised corps immersed in a static temporality whose perfection is disturbed by history. This was the perception converted into poetic language that set its exponents apart in relation to their modernist competitors.
Otherwise put, the formation of the Catholic intellectual field throughout the 1920s and 30s resulted in the transfigured incorporation of "order" into the artistic/literary field, an operation conducted by authors whose careers drove the Catholic movement ahead in the dispute for the specific authority in question, and for the renown they felt they deserved one might recall Jorge de Lima's many unsuccessful bids for membership of the Brazilian Academy of Letters -, but which distanced them from a whole host of social proprieties. We have seen how the Catholic theodicy constructed by Jackson and co. successfully transformed into a sociodicy, taking root as the legitimizing discourse of the raison d'être of certain social sectors whose decline was implied in the new oligarchic pact and in the general circumstances of the period's transformations. The Catholic authors and artists worked a second transmutation of order, translating it into the language of aesthetic disputes, making Catholicism a genuinely literary language capable of plotting the coordinates for a niche of its own invention, in which its appeal to the mystical could counterbalance the tendency to plumb the historical problems related to the formation of the nation.
Bibliographical References
Amaral, Aracy. (1984), Ismael Nery 50 anos depois. São Paulo, MAC-USP.
Andrade, Fábio de Souza. (1997), O engenheiro noturno. São Paulo, Edusp.
Bastide, Roger. (1997), Poetas do Brasil. São Paulo, Edusp.
Bosi, Alfredo. (1994), História concisa da literatura brasileira. São Paulo, Cultrix.
Bourdieu, Pierre. (1991), As regras da arte. São Paulo, Cia. das Letras.
Candido, Antonio. (1985), Literatura e sociedade. São Paulo, Companhia Editora Nacional.
Centro Dom Vital. (1929), Jackson de Figueiredo. In Memoriam. Rio de Janeiro, Centro Dom Vital.
Castello, José Aderaldo. (1999), A literatura brasileira, origens e unidade. São Paulo, Edusp.
Dias, Romualdo. (1996), Imagens de ordem. São Paulo, Editora da Unesp.
Figueiredo, Jackson de. (s.d.), Correspondência. Rio de Janeiro, A.B.C.
_____. (1916), Algumas reflexões sobre a filosofia de Farias Brito. Rio de Janeiro, Revista dos Tribunais.
_____. (1919), A questão social na filosofia de Farias Brito. Rio de Janeiro, Revista dos Tribunais.
_____. (1922), Pascal e a inquietação moderna. Rio de Janeiro, Annuario do Brasil.
_____. (1929), "Dolorosas interrogações". In: Jackson de Figueiredo. In Memoriam. Rio de Janeiro, Centro Dom Vital.
Heilbron, Johan. (2006), Naissance de la sociologie. Paris, Agone.
Holanda, Sérgio Buarque de. (1996), O espírito e a letra. São Paulo, Cia. das Letras.
Iglesias, Francisco. (1962), "Estudo sobre o pensamento reacionário: Jackson de Figueiredo". Revista Brasileira de Ciências Sociais, II (2), jul.
Lafetá, João Luiz. (2000), 1930: a crítica e o modernismo. São Paulo, Editora 34.
Lima, Alceu Amoroso. (1950), Manhãs de São Lourenço. Rio de Janeiro, Agir.
_____. (1967), "Síntese da evolução do catolicismo no Brasil". In: Enciclopédia Delta Larousse. Rio de Janeiro, Editora Delta, pp. 1848-1873.
_____. (1969), Adeus à disponibilidade e outros adeuses. Rio de Janeiro, Agir.
_____. (1971), Companheiros de viagem. Rio de Janeiro, José Olympio.
Lima, Jorge de. (1997), Poesia completa. Rio de Janeiro, Nova Aguilar.
Mendes, Murilo. (1994), Poesia completa e prosa. Rio de Janeiro, Nova Aguilar.
_____. (1996), Recordações de Ismael Nery. São Paulo, Edusp.
Miceli, Sergio. (1988), A elite eclesiástica brasileira. Rio de Janeiro, Bertrand Brasil.
_____. (2001), Intelectuais à brasileira. São Paulo, Cia. das Letras.
Nogueira, Hamilton. (1976), Jackson de Figueiredo. São Paulo, Edições Loyola.
A Ordem. Órgão do Centro Dom Vital. Issues: 4, Dec, 1229; 49, Mar, 1934; 50, Apr, 1934; 55, Sept, 1934; 59, Jan, 1935; 62, Apr, 1935; Jan, 1936; Feb, 1937; Apr, 1937; Jun, 1937; Jul, 1937; Jan, 1938; Nov, 1938.
Paulino, Ana Maria. (1995), Jorge de Lima. São Paulo, Edusp.
Rodrigues, Cândido Moreira. (2005), A Ordem: uma revista de intelectuais católicos (1934-1945). São Paulo, Autêntica/Fapesp.
1. Sebastião Leme (1882- 1942), archbishop transferred from Olinda to Rio de Janeiro in 1921. His Pastoral Letter of Greetings to the Archdiocese of Olinda called upon lay Catholics to rally to the task of re-Christianizing Brazil and had a definitive impact on Jackson's transition toward Catholicism. Jackson would return to this document, published in Rio de Janeiro in 1918, in the last letter written before his death, in which he would bemoan the fact that nothing had changed in the last ten years and that Leme's diagnosis remained as apt as ever: "we are a majority that does not act, a strangled majority. The Brazil we see, the Brazil-Nation, does not belong to us, but to the minority. To us Catholics is merely granted the right to live" (apud Figueiredo, 1929). Leme is therefore a stark presence in Figueiredo's career from start to finish, and he followed his orientations closely.
2. Here, I am following Barreto Filho's line in his introduction to the correspondence between Jackson and Alceu (cf. Jackson, s.d.). Dated to 1938, the text has the advantage of being penned by someone close to events, which despite resulting in a somewhat laudatory tone, significant in itself avoided any anachronism in relation to the meanings of the concepts broached.
3. See the argument put forward by Iglesias (1962).
4. Archbishop Leme's Pastoral Action and the Church hierarchy, allied with the Catholic lay group concentrated at the Centre, would scatter their activities across the 1930s: The Catholic Electoral League was created in 1932 to support candidates in the 1933/34 elections; the Catholic University Action had been striving to concert student culture since 1929; in 1932, the Catholic Institute of Superior Studies took a step forward in combating pedagogical anarchy; that same year, the National Catholic Workers Confederation planned the organization of unions to stave off the communist threat. For more on this, see Dias (1996). All of these initiatives originated at the Dom Vital Centre, commanded during the period by Alceu Amoroso Lima.
5. Not only the suggestion by Candido cited in the preface to the book, but also the general direction of the analysis follows the indications of the author on this topic.
6. Born in Belém (PA), he moved to Rio de Janeiro in 1909. While still a boy, he joined the Third Order of Saint Francis, in whose habit he insisted on being buried. After graduating from the Escola Nacional de Belas Artes, he completed his studies in Paris during the 1920s, including a stint at the Julian Academy. Back in Rio in 1921, he was appointed draughtsman at the Architecture and Topography section of the National Heritage Department of the Treasury, where he met Murilo Mendes. He married the writer Adalgisa Noel Ferreira in 1922. Upon his return from a second European stay, during which he made contact with the surrealists, he held exhibitions in his hometown of Belém, in 1928, and, over the course of the following five years, in São Paulo and Rio de Janeiro.
7. Born into a traditional milling family in the backlands of Alagoas, he moved to Rio de Janeiro in 1930, already a graduate in medicine, married and with political experience as a state deputy for Maceió (1915). In literature, he had completed the transition from Parnassian diction, for which he had earned the epithet "the prince of Alagoan poets", to modernism. Throughout the 1930s he consolidated a poetic language in which, according to Bastide (1997), expression mattered less than the appeal to mystical adventure, in a style that sought to translate the Divine reflection into everyday language.
8. On this topic, my analysis follows closely the argument put forward by Bastide in the second-last part of his "Estudos sobre a poesia religiosa brasileira".
9. The son of a civil servant in Juiz de Fora (MG), he debuted as a modernist poet in 1930, marrying surrealist procedures mastered the previous decade. In 1921, now based in Rio de Janeiro, he was working as an archivist at the Treasury Department when he met Ismael Nery, henceforth a pivotal figure in his life. His friend's death in 1934 sparked the religious crisis at the heart of Tempo e eternidade. From that point on, the mystical Catholic theme would remain a constant in his poetry, even in work produced in Italy, where he moved in 1957 as a lecturer at the University of Rome, and remained until his death.
10. Hence the eulogy published by Jorge de Lima and the summary of essentialism penned by Murilo Mendes for the September 1935 edition of A Ordem.


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Nokia plans to unveil another Windows Phone, codenamed EOS this year, according to sources familiar with company plans. The Verge has learned that the device is set to include a similar sensor to which is found on the Nokia 808 PureView. The optics upgrade would further advance Nokia's imaging technology, as well as provide yet another high-end Lumia Windows Phone for consumers.
As well as the bump in specifications for the camera, EOS will also sport an aluminium body, rather than the polycarbonate owners have come to love since the Lumia 800. It's also believed AT&T will be stocking the device later this year. The aluminium body is also to be sported by the Lumia 920 successor, codenamed Catwalk. It's a hint at where Nokia will be taking the Lumia line of Windows Phones with regards to look and feel.
Nokia has previously teased at "more to come" with its imaging capabilities in Windows Phone. Juha Alakarhu, head of imaging technologies of Nokia, had the following to say on the future of PureView in the blog post:
"I think it's important to underscore that PureView doesn't mean any specific technology. It's the latest and greatest in imaging. When you buy a Nokia phone with PureView, you are getting our highest quality imaging innovation. Nokia 808 PureView solved the problem of zooming and sharpness, and for Nokia Lumia 920, it was low light."
While it's yet to be known exactly how the company plans to show off its advances in camera technology, EOS certainly appears to be a viable candidate. The Lumia 920 isn't a slouch by any means and the camera has been in the spotlight more so than the platform the device runs on, but a high-end Windows Phone with a similar shooter to the 808 PureView is a desire many have shared.
What are your thoughts on the Nokia EOS?
Source: The Verge; thanks, corsica, for the tip!
Minecraft Dungeons: Best Rogue / Assassin / Ninja-style Build Guide
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It had to happen: the grotesque Mr Creosote from Monty Python's Meaning of Life has inspired a new 'waffer' thin mint.
Styled as "perfect for when you can't eat another thing", the slim, mint-filled chocolate confection may not cause your strained stomach to detonate in a blast of half-digested dinner, but you can have a chuckle as you recollect the hilarious movie sketch.
But the real laugh will be on you, for splashing out eight quid on a box of these cash-in chocs, of which there are just 36 in the box. That's 22p a pop - rather more than the 7.4p Tesco, for one, wants for each of its "luxurious Belgian milk chocolate squares".
It'll be the Pythons 'minting it' when their fans splash out on a box or three of these.
The pricey Python mints are available now from Firebox.com. ®
Sponsored: How to simplify data protection on Amazon Web Services


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Thursday, May 22, 2008
#20- Is asexuality radical? Interview with KL Periera
A pretty awesome interview with KL Pereira, the reporter for Bitch magazine who recently wrote an article on asexuality. We discuss everything from radical feminism to hot asexuals to gender neutrality.
Posted by DJ DJ at 1:04 AM 3 comments:
Labels: podcast, sex_positive
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