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Apples Catalogue 2019
ADAMS PEARMAIN Herefordshire, England 1862 Oct 15 Nov Mar 14 Adams Pearmain is a an old-fashioned late dessert apple, one of the most popular varieties in Victorian England. It has an attractive 'pearmain' shape. This is a fairly dry apple - which is perhaps not regarded as a desirable attribute today. In spite of this it is actually a very enjoyable apple, with a rich aromatic flavour which in apple terms is usually described as Although it had 'shelf appeal' for the Victorian housewife, its autumnal colouring is probably too subdued to compete with the bright young things of the modern supermarket shelves. Perhaps this is part of its appeal; it recalls a bygone era where subtlety of flavour was appreciated - a lovely apple to savour in front of an open fire on a cold winter's day. Tree hardy. Does will in all soils, even clay. AERLIE RED FLESH (Hidden Rose, Mountain Rose) California 1930’s 19 20 20 Cook Oct 20 15 An amazing red fleshed apple, discovered in Aerlie, Oregon, which may be the best of all red fleshed varieties and indeed would be an outstandingly delicious apple no matter what color the flesh is. A choice seedling, Aerlie Red Flesh has a beautiful yellow skin with pale whitish dots, but it is inside that it excels. Deep rose red flesh, juicy, crisp, hard, sugary and richly flavored, ripening late (October) and keeping throughout the winter. The late Conrad Gemmer, an astute observer of apples with 500 varieties in his collection, rated Hidden Rose an outstanding variety of top quality. -
Saison Du Théâtre De La Licorne Scène Conventionnée D'intérêt National Art, Enfance, Jeunesse
CANNES 2020/21 UNE PROGRAMMATION MAIRIE DE CANNES SAISON DU THÉÂTRE DE LA LICORNE SCÈNE CONVENTIONNÉE D'INTÉRÊT NATIONAL ART, ENFANCE, JEUNESSE cannes.com / 1 ÉDITO LES RENCONTRESDE CANNES 2020 LITTÉRAIRES 19, 20 et 21 novembre CINÉMATOGRAPHIQUES 23 au 29 novembre ARTISTIQUES 2 et 3 décembre DÉBATS 4, 5 et 6 décembre Mairi d Cannes - Communicatio - Août 2020 - Août - Communicatio d Cannes Mairi 15x21 rencontresdecannes.indd 1 19/08/2020 14:57 ÉDITO LES LA LICORNE MET EN SCÈNE LE SPECTACLE VIVANT POUR LES FAMILLES ET FÊTE LA CULTURE DE PROXIMITÉ RENCONTRESDE Le Théâtre municipal de La Licorne ouvre Les spectacles présentés cette saison 2020 ses portes à une nouvelle saison artistique 2020-2021 sont autant d’occasions de et culturelle de proximité, qualitative, rencontres pour les familles et la jeunesse CANNES préparée et proposée par la Mairie de de notre ville qui nous permettent de nous Cannes et ses partenaires. élever au-delà de notre condition, de nous arracher à notre humeur du moment, Aller au théâtre est un acte volontaire, de construire des souvenirs qui nous l’expression d’un désir, d’un esprit curieux marqueront. LITTÉRAIRES de découverte, le choix d’accéder à un univers nouveau. Jules Renard écrivait dans son Journal : 19, 20 et 21 novembre « Nous voulons de la vie au théâtre, et du Au théâtre, comme au cinéma, on rit, on théâtre dans la vie ». C’est cette polarité pleure, on applaudit la performance. C’est que nous vous proposons de partager tout tout un public, porté par la magie de ce qui au long de cette année, en compagnie des CINÉMATOGRAPHIQUES se passe sur scène, qui communie à une artistes professionnels, qui se produiront émotion collective. -
APPLE (Fruit Varieties)
E TG/14/9 ORIGINAL: English DATE: 2005-04-06 INTERNATIONAL UNION FOR THE PROTECTION OF NEW VARIETIES OF PLANTS GENEVA * APPLE (Fruit Varieties) UPOV Code: MALUS_DOM (Malus domestica Borkh.) GUIDELINES FOR THE CONDUCT OF TESTS FOR DISTINCTNESS, UNIFORMITY AND STABILITY Alternative Names:* Botanical name English French German Spanish Malus domestica Apple Pommier Apfel Manzano Borkh. The purpose of these guidelines (“Test Guidelines”) is to elaborate the principles contained in the General Introduction (document TG/1/3), and its associated TGP documents, into detailed practical guidance for the harmonized examination of distinctness, uniformity and stability (DUS) and, in particular, to identify appropriate characteristics for the examination of DUS and production of harmonized variety descriptions. ASSOCIATED DOCUMENTS These Test Guidelines should be read in conjunction with the General Introduction and its associated TGP documents. Other associated UPOV documents: TG/163/3 Apple Rootstocks TG/192/1 Ornamental Apple * These names were correct at the time of the introduction of these Test Guidelines but may be revised or updated. [Readers are advised to consult the UPOV Code, which can be found on the UPOV Website (www.upov.int), for the latest information.] i:\orgupov\shared\tg\applefru\tg 14 9 e.doc TG/14/9 Apple, 2005-04-06 - 2 - TABLE OF CONTENTS PAGE 1. SUBJECT OF THESE TEST GUIDELINES..................................................................................................3 2. MATERIAL REQUIRED ...............................................................................................................................3 -
Assessment of Apple Cultivars for Organic Fruit Growing
Agronomy Research 7(Special issue I), 363–368, 2009 Assessment of apple cultivars for organic fruit cultivation J. Lanauskas, A.Valiuškaitė, N. Kviklienė, A. Sasnauskas and N. Uselis Lithuania, Lithuanian Institute of Horticulture, Orchard management department, Kauno 30, LT-54333 Babtai, Kaunas distr., Lithuania; e-mail [email protected] Abstract. In 2005–2008 apple tree cultivars and selections were tested at the Lithuanian Institute of Horticulture in an organic apple tree orchard. Apple trees on rootstock B.396 were spaced at distances of 4 x 2 m; the orchard floor was a cultivated soil. The bioinsecticide Bioshower against aphids was applied once a year, fungicides were not used. Apple trees of cultivars. ‘Pilot’ and ‘Pinova’ were significantly affected by apple scab (Venturia inaequalis Cke. Wint), and ‘Lodel’ – by apple powdery mildew (Podosphaera leucotricha (Ellis et Everh.) Salm). Apple trees of the cultivar. ‘Aldas’ and selection 18501 were the most vigorous. In 2007– 2008 the greatest average yield was from the cultivars ‘Florina’, ‘Rosana’, selections 20,490 and 22,1709.1–14.7 t ha-1. These same cultivars and selections were the most yield efficient. The greatest average fruit weight was from cultivar. ‘Witos’ (272 g), the smallest from the cultivars ‘Pilot’, ‘Pinova’, ‘Goldrush’ and ‘Lodel’ (111–137 g). The highest taste score was from ‘Goldstar’, ‘Rubinola’, ‘Topaz’, ‘Rajka’ and ‘Lodel’ apples. Key words: apple scab, yield, fruit weight, taste INTRODUCTION Technological progress in agriculture and related branches of industry has resulted in an increase in agricultural production. Highlydeveloped countries produce more food than they consume themselves. People concerned about their health have begun to seek more healthy products. -
The Impact of Aenesidemus Upon Fichte and Schopenhauer
Richard Fincham 97 Pli 10 (2000), 96-126. subject from both object and subject and is referred to both".4 Fichte shows that although this may suffice as the first principle of theoretical knowledge, it cannot be the first principle of all philosophy.s Therefore, for Fichte, principles of theoretical knowledge can only be satisfactorily grounded upon the self qua reflective consciousness of Kantian and Reinholdian transcendental idealism once the existence of such reflective The Impact of Aenesidemus upon Fichte and consciousness is itself grounded upon an absolute foundation. It is of Schopenhauer course in response to this perceived requirement that Fichte constructs a system of transcendental idealism which asserts that the self itself conceived of as primordially an absolute self-reverting activity - should RICHARD FINCHAM be the absolute foundation of all philosophy. This article will show why it is that for Fichte, 'reflective consciousness', which for Kant was the ground of all explanation, becomes conceived of as itself requiring explanation. It will be argued Fichte's reconfiguration of Kantian transcendental idealism is motivated that this is due to an engagement with a sceptical attack upon the by an engagement with two specific 'commentaries' upon it. Firstly, transcendental idealism of Kant and Reinhold named after (and Fichte was clearly convinced by Reinhold's complaint that the Critique's supposedly expounded by) the neo-Pyrrhonean sceptic Aenesidemus, principles can only "become universally binding"l by being grounded [I which was published anonymously in 1792, but was later revealed to be upon a universally valid and indubitable "self-explanatory,,2 foundation, the work of G. -
Infinite Thought Truth and the Return to Philosophy
Infinite Thought Truth and the Return to Philosophy ALAIN BADIOU Translated and edited by Oliver Feltham and Justin Clemens Continuum The Tower Building 15 East 26th Street II York Road New York London, SE I 7~X ;\IY 10010 www.continuumbooks.com Editorial material and selection © Oliver Feltharn and Justin Clemens Philosophy and Desire, Philosophy and Film, Philosophy and"the war against terrorism" © Alain Badiou Contents Philosophy andArt, and The Definition of Philosophy © Seuil (from Conditions, 1992) Philosophy and the Death of Communism © Editions de l'Aube (from D'un desastre obscur, 1998) An introduction to Alain Badiou's philosophy English language translations: 'Philosophy and Truth' © Pli; 'Philosophy and Politices' © Radical Philosophy; 'Philosophy and Psychoanalysis' (!:') Ana{ysis; all other English language translations © Continuum I Philosophy and desire 39 2 Philosophy and truth 58 Reprinted 2003 3 Philosophy and politics 69 This paperback edition published 2004 by Continuum 4- Philosophy and psychoanalysis 79 All rights reserved. No part of this publication may be reproduced or 5 Philosophy and art 91 transmitted in any form or by any means, electronic or mechanical 6 Philosophy and cinema 109 including photocopying, recording or any information storage or retrieval system, without prior permission in writing from the publishers. 7 Philosophy and the 'death of communism' 126 8 Philosophy and the 'war against British Library Oatalcgufng-dn-Publicarlon Data terrorism' 141 A catalogue record for this book is available from the British Library 9 The definition of philosophy 165 ISB:\" 0-8264-6724-5 (Hardback) 10 Ontology and politics: an interview with 0-8264-7320-2 (Paperback) Alain Badiou 169 Index of names 195 Typeset by BookEns Ltd, Royston, Herts. -
2020-2021 Season Changes
CONTACT Amanda J. Ely FOR IMMEDIATE RELEASE Director of Audience Development [email protected] 757-627-9545 ext. 3322 VIRGINIA OPERA REVISES SCHEDULE OF 2020–2021 SEASON PRODUCTIONS: OPENER RIGOLETTO CANCELLED; REVISED TRIO OF PERFORMANCE OFFERINGS TO BEGIN FEBRUARY 2021 WITH DOUBLE BILL LA VOIX HUMAINE/GIANNI SCHICCHI TO REPLACE COMPANY DEBUT OF COLD MOUNTAIN; MOZART’S THE MARRIAGE OF FIGARO AS SCHEDULED; AND THE PIRATES OF PENZANCE RESCHEDULED TO APRIL 2021 Virginia Opera makes major changes to offerings and events in continuing response to effects of COVID-19 Hampton Roads, Richmond, Fairfax, VA (June 30, 2020)—Today, Virginia Opera, The Official Opera Company of the Commonwealth of Virginia, announces an overhaul of the company’s previously announced main stage opera schedule for the 2020-2021 “Love is a Battlefield” season due to ongoing effects and circumstances surrounding the COVID-19 pandemic. A number of revisions affecting every facet of the company’s operations both on and off stage were required, including debuting the 2020–2021 Season offerings in February 2021, with an attenuated three-production statewide schedule between February 5, and April 25, 2021. Giuseppe Verdi’s Rigoletto, formerly the company’s lead-off October 2020 production, will not be performed; Gilbert and Sullivan’s The Pirates of Penzance will be rescheduled from November 2020 to April 2021; and the VO season will now begin in February 2021 with the change of a double bill featuring Francis Poulenc’s La Voix Humaine and Giacomo Puccini’s Gianni Schicchi performed in place of Jennifer Higdon and Gene Scheer’s Cold Mountain. -
La Philosophie Du Son Roberto Casati
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Electronique - Institut Jean Nicod La philosophie du son Roberto Casati To cite this version: Roberto Casati. La philosophie du son. Chapter 13 : Bibliographie, 1994. <ijn 00000529> HAL Id: ijn 00000529 http://jeannicod.ccsd.cnrs.fr/ijn 00000529 Submitted on 30 Jul 2004 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. BIBLIOGRAPHIE Almog, J., Perry, J. et Wettstein, H., 1989, Themes from Kaplan, New York, Oxford University Press. Alston, W.P., 1990, "Externalist Theories of Perception", Philoso- phy and Phenomenological Research, 50, 73-97. Anders-Stern, G., 1951, "The Acoustic Stereoscope", Philosophy and Phenomenological Research, 26,238-43. Anscombe, G.E.M., 1965, "The Intentionality of Sensation: À Grammatical Feature", in R.J. Butler, éd., Analytical Phi- losophy, Second Series. Oxford, Basil Blackwell, 158-80. Armstrong, D. M., 1960, Berkeley's Theory of Vision. Melbourne, Melbourne University Press. Armstrong, D.M., 1961, Perception and The Physical World. Lon- don, Routledge and Kegan Paul. Armstrong, D.M., 1962, Bodily Sensations. London, Routledge and Kegan Paul. Armstrong, D.M., 1968, À ~aterialistTheory of the Mind. -
La Voix Humaine: a Technology Time Warp
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 La Voix humaine: A Technology Time Warp Whitney Myers University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.332 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Myers, Whitney, "La Voix humaine: A Technology Time Warp" (2016). Theses and Dissertations--Music. 70. https://uknowledge.uky.edu/music_etds/70 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Arxiv:Cs/9903016V1 [Cs.AI] 24 Mar 1999 .Truhu H Ae Eue“Eiin Orfrt G’ Pr AGM’S to Refer to “Revision” Use We Paper the Throughout 1
Journal of Artificial Intelligence Research 10 (1999) 117-167 Submitted 2/98; published 3/99 Modeling Belief in Dynamic Systems Part II: Revision and Update Nir Friedman [email protected] Institute of Computer Science Hebrew University, Jerusalem, 91904, ISRAEL http://www.cs.huji.ac.il/∼nir Joseph Y. Halpern [email protected] Computer Science Department Cornell University, Ithaca, NY 14853 http://www.cs.cornell.edu/home/halpern Abstract The study of belief change has been an active area in philosophy and AI. In recent years two special cases of belief change, belief revision and belief update, have been studied in detail. In a companion paper (Friedman & Halpern, 1997), we introduce a new framework to model belief change. This framework combines temporal and epistemic modalities with a notion of plausibility, allowing us to examine the change of beliefs over time. In this paper, we show how belief revision and belief update can be captured in our framework. This allows us to compare the assumptions made by each method, and to better understand the principles underlying them. In particular, it shows that Katsuno and Mendelzon’s notion of belief update (Katsuno & Mendelzon, 1991a) depends on several strong assumptions that may limit its applicability in artificial intelligence. Finally, our analysis allow us to identify a notion of minimal change that underlies a broad range of belief change operations including revision and update. 1. Introduction The study of belief change has been an active area in philosophy and artificial intelligence. The focus of this research is to understand how an agent should change her beliefs as a result arXiv:cs/9903016v1 [cs.AI] 24 Mar 1999 of getting new information. -
2018 BAM Next Wave Festival #Bamnextwave
2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts. -
Comment Traduire Une Chanson Populaire Française En Néerlandais ?
Comment traduire une chanson populaire française en néerlandais ? Mémoire de bachelor dans le cadre des études de la Langue et la Culture française , Université d’Utrecht. Michelle Hugens 4212088 Avril 2016 Sous la direction de dr. J. Berns 1 Table des matières 1. Introduction ..................................................................................................................................... 4 2. Théories de traduction de chansons ............................................................................................... 5 2.1. Le pionnier ............................................................................................................................... 5 2.2. Le principe de ´respect´ d´Andrew Kelly ................................................................................. 5 2.2.1. Respectez les rythmes ..................................................................................................... 6 2.2.2. Trouvez et respectez le sens ........................................................................................... 6 2.2.3. Respectez le style ............................................................................................................ 7 2.2.4. Respectez les rimes ......................................................................................................... 7 2.2.5. Respectez le son .............................................................................................................. 7 2.2.6. Respectez le public visé ..................................................................................................