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Fenollosa, Pound and the Chinese Character

In 1954 Ezra Pound published his translation of the third of the Chinese Classics under the title "The Classic Anthology Defined by Confucius." (Harvard University Press) It was immediately recognized that these translations, or "translucences", as some call them, stood in a different category from the numerous ones that had preceded. Richard Wilbur is quoted on the dust-jacket as naming Ezra Pound "the first translator of our age." I.A. Richards salutes "Mr. Pound at his best." Achilles Fang, in the Introduction to the volume, notes that "Pound now emerges as a Confucian poet."

There is here an intriguing element of mystery. Pound is not a professional student of the Chinese language, like Legge, Giles, Waley, Karlgren, and others who have tried their hand at translating the Book of Odes into English. We do find the dust-jacket proclaiming that "Pound's translation ... is the culmination of forty years of Chinese study," but it is doubtful whether Pound himself would wish to make that statement. We shall see that he expressly disassociates himself from "scholarship", which he is likely to view as smothering the art of translation, rather than making a contribution to it. The question that we pose may then be stated as follows: Does the superiority of Pound's translation lie in the end-product, the superior style and poetic quality of his English, or does it lie at the source, a deeper penetration into the mind and art of the Chinese poet who furnishes the raw material for the translation? An answer to this question is of interest to all who study Chinese, whether for finding their own pleasure therein, or for giving pleasure to others through translation.

It does not appear that Pound has anywhere offered an exposition of his method in translating Chinese. There is no doubt, however, that he has been continuously stimulated by a short essay entitled "The Chinese Written Character as a Medium for Poetry", composed in the main by the late Ernest Fenollosa. Pound received the manuscript of this essay after the author's death in 1908. He edited it, and in some introductory paragraphs dated 1918 described it as "a study of the fundamentals of all aesthetics." According to "A Preliminary Checklist of the Writings of Ezra Pound" by John Edwards (New Haven, 1953) the essay was first published by Pound in 1920 (No. 26). It was republished by him in 1936 (No. 52) as the first issue of a projected "Ideogramic Series" which seems not to have been continued. In the preliminary Note to Pound's translation of "The Analects" that appeared in the Hudson Review in 1950 (No. 635) the essay is referred to in the following paragraph: "During the past half-century (since Legge's studies) a good deal of light has been shed on the subject by Fenollosa (Written Character as a Medium for Poetry). Frobenius (Erlebte Erdteile) and Karlgren (studies of sacrificial bone inscriptions)." We may not be justified in saying that Pound learned from Fenollosa how to translate Chinese, but we are certainly justified in assuming that he held him in high regard. And this leads us naturally to an examination of the latter's ideas.

Fenollosa's essay is a small mass of confusion. Within the limits of forty-four pages he gallops determinedly in various directions, tilting at the unoffending windmills. This follows, perhaps inevitably, from the fact that one of them is logic. On pages 61, 64, 75, 76, 77, 78 (I refer to the edition in the Square Dollar Series, 1951) he thrusts his random spear at logic that "has abused the language," logic that "deals in abstractions," logic that establishes "classifications." These are but preliminary skirmishes, for the central sin of logic, as it relates to Fenollosa's various theses, is that it has spawned "grammar". It is hard, at this time, to determine where the camp of his enemies lay, since he never names them, but he attributes to "professional grammarians" definitions of the sentence (60-61) and formulations of the copulative (63-65) that seem highly repugnant, at least to him. It is noteworthy that, fifty years later in 1958, the same quixotic tournaments persist. Fenollosa was not clear whether the grammarian was one who described how a language operated or one who prescribed how it should operate. His conceived enemy was the latter, just as it is the nemesis of every would-be writer from sixth grade through freshman college composition who feels himself worsted in contest with a grade-dispensing authority that penalizes every deviation from its own established norm. In so far as Fenollosa was fighting to protect poetry from what he viewed as the stifling palm of a grammarian's commandment, one may sympathize full-heartedly with him. But in our age this issue is a corpse, and the palm is lifeless. No linguist or grammarian elects himself a dictator, nor is he antagonistic to poets. Contrariwise, their functions complement -- the one to create, the other to record.

Having eased himself of his rancor toward prescriptive grammarians, if such there were, Fenollosa moves happily in his essay to the post of descriptive grammarian of Chinese. Whereupon many curious things happen. Fenollosa claims the sentence form to be "forced upon primitive men by nature itself." (p. 62) This form "consists of three necessary words," (p. 63) the agent, the act, and the receiver, in that order. So "the form of the Chinese transitive sentence, and of the English, exactly corresponds to this universal form of action in nature." As an example: "Farmer--pounds--rice." Fenollosa's prose at this point is exceptionally eloquent, and well worth reading. Since nature is not static, but in constant flux, its movement is an unending transfer of power from one point to another. The essence of this movement lies in the transfer, but the transfer is not possible without two terminals. A transitive sentence, --actor, action, receiver--"brings language close to things, and in its strong reliance on verbs it erects all speech into a kind of dramatic poetry."

It should be noted that what has chiefly happened here is the substitution of Nature for the sixth-grade schoolmarm, and that Fenollosa has relapsed into the role of prescriptive grammarian, however much he may detest it. As a symbol of authority, Nature may be more awesome or more sympatisch than the minion of the Board of Education, but in principle we have the same thing. Sentences must contain a subject, verb, and object, in that order, not because Miss Cherivitsky says so, but because Nature has so ordained. Try to beat that! It is highly ironic that the oriental language with which Fenollosa was best acquainted was Japanese, which disobeys these laws of Nature. The three "necessary" elements are expressed in Japanese in the perverse order of subject, object, verb. In two cavalier sentences Fenollosa disengages himself from this embarrassment. Japanese, and some other languages, can behave differently because they have "little tags and word-endings." (p. 63) And with this denouement of a shift back to the descriptive, the curtain comes down on the comedy. Japanese words do have little tags and word-endings. And the skeleton word-order is subject, object verb. But unless Nature deliberately contrived outlandishness for the Japanese and Germans and others whom we have sought in recent decades to confound, there is little left of that universal order.

After settling the natural form of the sentence, Fenollosa discusses parts of speech, and introduces the topic with two brilliant sentences that place him still in this particular regard ahead of our time. His statement is: "Every written Chinese word is properly ... an underlying word, and yet it is not abstract. It is not exclusive of parts of speech, but comprehensive; not something which is neither a noun, verb, or adjective, but something which is all of them at once and at all times." (p. 68) If Fenollosa had had the linguistic training to work out the implications of that statement, or if anyone of us now had the ability, a new descriptive grammar of Chinese could be initiated. Scholars, and grammarians as well, who deal with written Chinese, expecially [sic] poetry, are quite persuaded to follow Fenollosa in the view that parts of speech do not exist. But it is difficult to describe, perhaps even to imagine, such a linguistic condition in terms of another language like English where word-classes are still of some importance. Fenollosa hints that Chinese, unlike English, has "a common word underlying at once the verb 'shine', the adjective 'bright' and the noun 'sun'." (p. 68) Pound, in a very perceptive note, suggests that English could use 'to shine' (verb), 'shining' (adjective), and 'the shine' (noun). It might prove awkward to apply this on a thorough-going scale in English, but at any rate we have a true and fruitful line of thought.

Fenollosa characteristically shifts position as soon as he has taken it. "One of the most interesting facts about the Chinese language is that in it we can see not only the forms of sentences, but literally the parts of speech growing up, budding forth one from another." At that he proceeds to discuss Chinese nouns, verbs, adjectives, pronouns, and even prepositions and conjunctions, with the purpose of showing that all other classes are derived from verbs. Having acted alternately as descriptive and prescriptive grammarian, Fenollosa here assumes the role of historical grammarian. The question whether at any particular period, say the period of T'ang poetry, written Chinese has or has not parts of speech is one to be settled by a descriptive process. If it is found to have parts of speech, then the fact that these arose at some remote period by differentiation from a single class of verbs is quite irrelevant. It would be of historical interest to discover the stage in time at which all elements of the Chinese written language were verbs, but this is not possible, first, because there can be no definition of what constitutes a verb in classical Chinese, and second, because we have no recorded texts in which there is not already a highly differentiated class of grammatical particles.

Such theses of Fenollosa, and others that we shall omit from discussion,--theses tossed out in confusion and self-contradiction, --are designed to preach the simple principle that strong transitive verbs add vigor and vitality to poetry. If this was a new principle in Fenollosa's time, he must be given credit for its forceful presentation, but it is hard to see why it was necessary to shore it up with questionable Chinese props. Fenollosa states that "the great number of these [Chinese] ideographic roots carry in them a verbal idea of action ... a large number of the primitive Chinese characters ... are shorthand pictures of actions or processes." (p. 59) "In translating Chinese, verse especially, we must hold as closely as possible to the concrete force of the original, eschewing adjectives, nouns, and intransitive forms wherever we can, and seeking instead strong and individual verbs." (p. 65-6). If the poetic principle is solid, its application need not be limited to translation from the Chinese, but should be fundamental in all poetic creation or translation alike. But, of course, if Chinese in its own structure relies heavily on strong transitive verbs, --and this has been a central theme, --then it makes more than usual demands on the translator so to represent it. And with no trace of humor Fenollosa presents us with a typical line of Chinese poetry "MOON - RAYS - LIKE - PURE - SNOW." (p. 56) Of the five words three are indisputable nouns, one is an adjective, and the fifth, 'like', is not much more than a variation of the copula. There is no verb in the lot, let alone a "strong individual verb." But the line is typical.

We have now reached a point of despair. The complete Chinese poem of twenty syllables will be reproduced later, when it will be found that eleven of the twenty are defined as nouns, three as adjectives, two as copulative variants, one as intransitive verb, two as of doubtful classification, and only one, 'admire', as a transitive verb with fairly low dynamics. A paraphrase of the whole poem, which appears to be the joint effort of Fenollosa and Pound, reads as follows: (p. 86)

     The moon's snow falls on the plum trees;
     Its boughs are full of bright stars.
     We can admire the bright turning disc;
     The garden high above there, casts its
        pearls to our weeds.

There are perhaps two places where the "strong verbal action" shows through: 'falls on' and 'casts'. Unfortunately, neither one has any counterpart in the Chinese original. 'Admire' is a pretty wistful sort of verb. 'Turning' is intransitive. 'Full of' is properly a passive. (Being poet neither by inclination nor training I ask in childish wonder why the second line as English is not rendered. "Bright stars fill its boughs". And I return to this question later.) On the other hand we have ten nouns and three adjectives. Then the notion that Chinese poetry is overloaded with strong transitive verbs, and that its translation requires use of strong transitive verbs, is, to put it mildly, shot to hell. But if the thesis has failed of support in the arguments so far adduced, it is possible that it may be substantiated through a consideration of the Chinese written character. This is the reason for the title of the Essay, and to this subject we now turn.

We have already quoted Fenollosa's remark that "a large number of the primitive Chinese characters are shorthand pictures of actions or processes." He goes on to say, "but this concrete verb quality, both in nature and in the Chinese signs, becomes far more striking and poetic when we pass from such simple original pictures to compounds." (p. 59) The facts behind these statements are the following. The Chinese unit of writing is a "graph" or "character." In printed texts all characters occupy equal space and appear equally independent, though they vary greatly in complexity from a single stroke to a conglomeration of thirty or more. Many of the simpler characters can be described in such a way as to show pictorial origin still recognizable despite change or distortion. Such forms, of which Chalmers in 1882 compiled a list of 300, are sometimes called "primitives." Another list that comes early to the attention of the student of Chinese consists of the 214 "radicals " or "keys " by which characters are generally arranged in dictionaries. Eighty percent of these are made up of eight strokes or less. The pictorial significance of many of these forms is a matter of debate that has been somewhat clarified in recent decades through the archaeological discoveries of inscribed shells and bones dating from as early as 1400 B.C. Apart from these, chief reliance has been placed on an etymological dictionary compiled around 100 A.D., in which 9353 characters were listed and analyzed with respect to their original shapes and meanings. Contrary to impressions current among westerners, only 364, or 3.9 percent of the characters, could at that time be traced to a pictorial origin.

Simple forms, as may be expected, recur in the more complex characters. Thus in a dictionary of less than 8000 characters the pictograph for 'mouth' is found as "key" in 378, and probably occurs, in one way or another, in 500 more. The pictograph for 'tree' has about the same distribution. Quite contrary to Fenollosa's view, the vast majority of the primitives whose pictorial origin is determinable are pictures of objects, and are translatable as nouns. Since the number of primitives is small, it follows that most Chinese characters appear as composites. The percentage in the etymological dictionary mentioned was 94.8. Nothing then seems simpler to the western mind than that, given the meanings of a few hundred primitives, the meaning of a composite is derivable from the sum of its parts. Once this view is adopted, the reading and translation of Chinese becomes a game that any number can play, and with infinite variety. For the association of a fish, an eye, and a roof, can suggest different things to different people. (That is why the Rohrschach tests are effective.) The odds against the meaning of a character being equal to the sum of the meanings of its parts are about fifty to one. But the two-percent chance seems sufficient to keep the game going and the players happy.

We are fortunate to have a complete record of such a game, played by Fenollosa and Pound as partners, and appended to the Essay on pages 84 and 85. This record is reproduced below. The Chinese text is a poem in four lines of five syllables each. The English words in capitals, except for two mistakes, are dictionary definitions, while below them are the analyses that should in theory produce the definitions.

The results of the analysis shown above cannot but be disappointing to those who have read Fenollosa's essay in hope and expectation. There is hardly a case where the dictionary meaning of a character shows any intelligible dependence on the meanings of the parts. And this despite the best efforts of the players to twist meanings to that end, an enthusiasm that has led in many cases to misreading or misinterpretation, as shown in the following notes:

1 2 3 4 5
6 7 8 9 10
11 12 13 14 15
16 17 18 19 20
  1. Correct. This is the only simple pictograph out of the twenty.
  2. The element at lower right is a pictograph of a bird, but there is no justification for equating this with 'flying'. There is, to be sure, an association of ideas.
  3. The elements 'woman' and 'mouth' are present, but it is not apparent how these suggest the meaning 'like'.
  4. The right hand part has nothing to do with sky except as it may describe its color. The word for which it stands can be rendered into English only by a periphrasis 'the color of nature'. In the spectrum it is blue, green, or even black.
  5. The upper part is rain. The lower, as it stands, is pictographic for 'hand'. The graph for 'broom' contains this element, but so do many other graphs which might equally well be suggested.
  6. On the contemporary level the right-hand part is unanalyzable. There is no element 'crooked', nor 'female breast, but it does include the graph 'mother'. The relation of all this to the meaning 'plum' is, in any case, mysterious.
  7. The element at lower right may easily be confused with 'spoon', but here it represents a man turned in the opposite direction from the normal.
  8. The right-hand element stands for 'by means of' or 'in order to', never 'try'. It is hard to see how this adds up to 'resemble'.
  9. The elements are all correctly identified.
  10. The graph in the text has been wrongly written. When corrected to the graph for 'star' it will consist of 'sun' and 'grow'.
  11. The two strokes here additional to 'mouth' are not 'hook', but a sign of exclamation.
  12. The element described as 'fire' is, in its present form, 'rice'. There is nothing identifiable as 'girl', while 'descending through two' is pictographic for two men back to back. Corrected analysis would hardly lead to 'admire (be in love with)'.
  13. This graph is not analyzable on the contemporary level.
  14. The meaning of this graph is 'mirror'. The elements have been correctly identified, but their total relevance is obscure.
  15. The upper right-hand part is not another 'carriage', but is supposed to be pictographic for 'yoked ox'.
  16. The meaning 'blend' is not represented here. There is an element 'shed' (a building) and an element 'court'.
  17. This is an indicative graph for 'top'.
  18. As the graph now looks it is 'king' and a dot, but it is not clear why this should mean 'jewel'.
  19. The meaning 'weeds' for this graph is the result of some misunderstanding. The upper element is 'grass' and the lower 'square', while the whole means 'fragrant'.
  20. The upper half of this graph stands for a musical instrument consisting of suspended stones. The lower half is made up of 'sun' under 'grain', not 'tree'.

[Fenollosa left the notes unfinished; I am proceeding in ignorance and by conjecture. The primitive pictures were "squared" at a certain time. E.P.]

bright + feathers
woman mouth sun + azure sky rain + broom
cloud roof or cloth over falling drops
sun disc with the moon's horns Bright, vide note on p. 42. Upper right, abbreaviated picture of wings; lower, bird=to fly. Both F. and Morrison note that it is short tailed bird Sky possibly containing tent idea. Author has dodged a "pure" containing sun + broom Sweeping motion of snow; broom-like appearance of snow
tree + crooked
female breast
man + spoon under plants abbreviation, man + try = sun + knife
probably actual representation of blossoms.
Flowers at height of man's head. Two forms of character in F.'s two copies
does what it can toward Bright here going to origin: fire over moving legs of a man
(be in love with)
heart +
girl +
descending through two
gold + to erect
legs (running)
carriage + carriage
tenth of cubit
I suppose it might even be fish-pole or sheltered corner Present form resembles king and gem; but archaic might be balance and melting-pots (?) Bent knuckle or bent object revolving round pivot
to blend + pace, in midst of court king and dot plants
Note: plain man + dot = dog I.e. growing things that must be destroyed Specifically given in Morrison as fragrance from a distance. M. and F. seem to differ as to significance of sun under growing tree (cause of fragrance)

What then is wrong here? For something must be frightfully wrong. Just a complete misunderstanding of what Chinese characters are, how they were created, and how they function as speech symbols. A few illustrations may make this clear:

3. The third character of the poem is divisible into a pictograph 'woman' on the left and a pictograph 'mouth' on the right. At the earliest times that we know the word for 'woman' was nyo, and the word for 'like' happened also to be nyo, or something very close to it. Scribes then began by writing the pictograph 'woman' to represent phonetically the word 'like', leaving context to determine which was meant. This process is familiar to every child as rebus-writing, in which the picture of a stick of wood stands for 'would', or the picture of a bee plus the number four makes up 'before'. In Chinese a refinement was introduced by adding the sign for 'mouth', which in scores of characters gives a signal to be interpreted as follows: This character represents the sound nyo, which is, of course, the word for 'woman'. But in this case I mean the sound nyo that is not 'woman', and you will recognize it as the word 'like'.

7. The lower half of this stands for the sound hwa and hence the word for 'transformation' 'metamorphosis'. The word for 'flower' in archaic times was hhwa (voiced h as initial), and was written with a very different character. Sometime later there came into the language a word for 'flower', hwa, whether by dialect mixture or a sound shift we do not know. But scribes represented it phonetically with their existing character for 'metamorphosis', and later, for the sake of clarity, added above it the symbol for vegetation which was already present in the character for hhwa 'flower'. It will be noted that this process differs somewhat from that illustrated in 3, because there is a possibility that the two words 'flower' and 'metamorphosis' are really only one word in different extensions of meaning.

16. A true example of what has just been suggested for 'flower' is seen here. If the three strokes at top and left of this character be removed, the remainder stands for the sound dieng and the word 'court '. Now there is considerable physical difference between a 'tennis court' and the 'Supreme Court', although we get along in English with one word for both. Similarly in Chinese the word dieng came to mean both an open court in someone's front yard, and the court of the king, which was presumably enclosed. It then occurred to some fussy scribe to add the three strokes that picture a roof and a side wall, so that a palace dieng might be distinctive. He did not realize that such artificialities rarely work in language. Since there was only one word dieng, it could not matter to any but the most meticulous which way it was written. And, amusingly enough, in the poem we are examining, the symbol for dieng, though decked out for the eye with roof and wall, stands clearly for the dieng of the 'garden' variety.

A consideration of the last example will make clear why the approach of many westerners to Chinese is unrealistic. It is not the purpose of this article to teach Chinese, and it may seem to the reader that we have already become too technical. But it is impossible to say anything on the subject without emphasizing and reiterating that characters are symbols for sounds, and through sound are symbols for words. They are not a code for the deaf and dumb, nor a collection of pictures to entrance the eye. It is basic to the philosophy of Fenollosa, Florence Ayscough, Amy Lowell and other translators to believe that the quality of a line of Chinese poetry is chiefly determined by a picturesque choice of characters, and that lithe thought-picture is not only called up by these signs as well as by words, but, far more vividly and concretely." (p. 58) But the fact is that such images as appear through the sort of analysis illustrated above are not present in the mind of the Chinese reader, because he has never thought of them. They were unknown to the compiler of the etymological dictionary of 100 A.D. It is more than likely that they were unknown to the Chinese poet himself, who used the characters as arbitrary symbols for the words of his poem.

In the introduction to his translation of Tu Fu, Professor William Hung directs a gentle criticism at the professed method used by Florence Ayscough and Amy Lowell. "The basic assumption of the method was that the etymological derivations of the Chinese ideographs composing the lines in a poem were of great importance. Suppose there are two characters having the same meaning in current usage. Why should the poet choose the one instead of the other? The ladies believed that the choice was determined according to how well the "descriptive allusions" or the "undercurrent of meaning" would enrich the "perfume" of the poem." (p. 9) Professor Hung is of opinion that "a poet's discrimination between synonyms is very frequently concerned with the difference in sound values." We might go further to argue that sound values are the primary consideration. The assembling of twenty characters, however strong their perfume, does not make a Chinese poem.

In the specimen of poetry here reproduced, a number of formal requirements are shown. In the first place, the words are arranged in four lines of five syllables, each line syntactically complete. In the second place, the second and fourth lines rhyme, and the rhyming syllables are in the level tone. In the third place, the first and second lines show a word to word parallelism or contrast, so that the grammatical structure of both is identical. In the fourth place, with the dichotomy of tones into "level" and "oblique", the tone of each syllable in the first line is matched in the second line by a syllable of the opposite tone class. This tonal opposition appears also between the third and fourth lines. In the fifth place, the tonal pattern of each line is different. And finally, the poem has a unity of thought.

The tonal pattern of the poem is as follows :

/ / _ _ /
_ _ / / _

We do not suggest that these rigid conditions are ideal for the creation of poetry, but merely that such conditions were generally imposed on the T'ang poet. And it is quite beyond reason to imagine that after satisfying these conditions the poet had time to worry over the pictorial stimulation that particular characters might furnish to future western readers. Perhaps the supreme irony is the fact that we have no real knowledge of precisely how a T'ang poet, for example, committed his poem to paper. The modern translator looks at a printed text, and the one thing he may be confident of is that this text does not correspond to the original writing. Handwriting uses abbreviations, sometimes of generally accepted usage, sometimes personal to the writer. But even if it should correspond, there is another conclusive disproof of the notion that the form of the characters was of prime importance. One of the typical situations in which poetry was composed was at an earnest cocktail party, after sufficient spirit had been infused. Then the host might propose a topic, and ask his guests in turn to chant (orally) an extemporaneous poem on the subject. Of the great poet Po Chü-i no biography omits to mention the fact that his poems were appreciated by illiterate old women, and were constantly on the lips of fishmongers in the market-place.

What this all amounts to is simply that Chinese poetry was composed in a language, as all poetry must be. And a poem of the eighth century A.D. can be properly understood only if one knows the language of the eighth century A.D. The assumption of the "etymological" translators--Fenollosa, Pound, Ayscough, Lowell, and others--is that the meaning, connotation, allusion, perfume, concreteness of a given Chinese character has remained immutable from pre-historic times. But this is inconceivable. The important question is, "What was the word represented by a particular character in the eighth century, how did that word sound, and what were its connotations?" To discover this is the effort of philology.

Only in rare combination can philologists double as poets, or poets as philologists. The philologist is concerned with excavating expression from a foreign language, the poet with perfecting expression in his own language. The combination that succeeds is then a combination of both. Despite the trumpeting of Fenollosa to announce a new visual interpretation of Chinese poetry, there is no evidence that he ever followed his own call. The poems in Cathay, translated by Pound "from the notes of the late Ernest Fenollosa, and the decipherings of the Professors Mori and Ariga" (1915), are given a conventional interpretation. The first excursion by Pound alone is to be found in the translation of "The Great Digest" (1928, Edwards No. 36), where three pages of "Terminology" explore the possibilities of pictorial analysis divorced from accepted meaning. The results are exciting and unreal. In "The Unwobbling Pivot" (1947) a certain amount of this analysis continues, but in the "Analects" (1950) it is barely discernible. Those who take the trouble to compare this with Legge's translation (1861) will find that Pound has in large measure taken over philologist Legge and dressed up the English that was sadly unpoetic. In "The Classic Anthology" (1954) the English of Pound has loosed itself completely from any Chinese mooring. And in the Rock-Drill Cantos (1956), particularly no.85., the Chinese has become a decoration with no intelligible meaning.

To elaborate on the foregoing statements would require more space than can be allowed at present. For anyone who grants that Chinese is a language, elaboration is unnecessary. Chinese poetry, like any other, is to be sung, chanted, whispered, recited, muttered, but not (God forbid!) to be deciphered. The association of ideas that results from the dissection of a given character may produce a poetic thought. But this is a new thought, and it may completely overshadow the thought that was in the mind of the writer. In the "Terminology" prefaced to Pound's translation of "The Great Digest" a Chinese character meaning 'sincerity' is analyzed as "the precise definition of the word, pictorially the sun's lance coming to rest on the precise spot verbally." This is sheer imagination in the style of Edward Lear. What is "the sun's lance"? Even if there were an etymological basis for this fantasy, to use it in translation would be comparable to a Chinese insistence on always rendering the English word 'sincerity', as "a state of being without wax." The first line of the Analects reads, "Having studied something, constantly to practice it, is this not a joy?" Pound has "Study with the seasons winging past, is not this pleasant?" "Seasons" is impossible. The thought of "winging past" comes by isolation of a portion of the character meaning "practice". Six sentences later the same character occurs, and Pound translates it "practice". Either the thought of "winging past" failed to materialize, or it was found impossible to work it into the context. But this represents a totally irresponsible attitude toward the Chinese language. When it suits the translator's whim, he may construct any number of bright images from the bits that he thinks he has discovered in the character. When he is tired, he falls back on the simple word that the character symbolizes.

The character in this case is pronounced shyi, southern China ziq, time of Confucius zip. If there is a language, then zip has always had a specific meaning, not necessarily the same, since language grows. But this meaning cannot be found by theorizing, any more than one might determine that "minimum" means "milk" because it begins and ends in m. All Chinese literature we have, including the Analects, indicates that zip means, and has always meant, "practice". In the Analects zip occurs three times, twice in association with 'learn'. The repeated idea is that learning is fruitless unless one puts it into practice. Pound sacrifices this rather important precept for the sake of a pastoral where the seasons go winging by. Undoubtedly this is fine poetry. Undoubtedly it is bad translation. Pound has the practice, but not the learning. He is to be saluted as a poet, but not as a translator.


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Recco search for missing DJ produces nothing

RCMP still hoping for lead on disappearance

click to enlarge news_whistler6.jpg

This past week Whistler Blackcomb Ski Patrol members joined the search for missing Whistler DJ Mike Grefner, using their avalanche skills to help search the snowbanks along the highway near the Rainbow subdivision. The previous week's search turned up a pair of shoes, roughly 60 metres apart, that could have fit Grefner — although the RCMP has not been able to determine whether the shoes resemble any owned by the 34-year-old.

The RCMP used avalanche probes and police dogs to search the shoulder of the road where the shoes were found, but came up empty so this week they called patrollers who used Recco avalanche devices to search the snow. The devices are usually used with other avalanche transceivers, but they can detect items like diodes on cell phones as well. However, nothing turned up. The RCMP said no new tips on Grefner's whereabouts have come up in the last week.

Grefner was last heard from around 5 a.m. on the morning of Jan. 17. He failed to turn up for a DJ shift at Maxx Fish on Jan. 18, which was out of character. Around 2 a.m. on Jan. 19 his friends called the RCMP.

Grefner's friends and family are continuing to search for him, and some friends believe that he may have left town. However, he has not used his cell phone or accessed his bank account since he went missing. He did not own a passport.

Crown not pressing charges in Reinecke death

Crown prosecutors are not pressing charges against the driver in the death of Australian Eleanor Reinecke, who was hit and killed while walking on the shoulder of Highway 99 in the early morning hours of Jan. 6, 2010.

Prosecutors say there is not enough evidence in the case to secure a likelihood of conviction. The RCMP recommended a charge of Driving Without Reasonable Consideration to the Crown back in November, but it was rejected before the statute of limitations for charges ran out on Jan. 5. Instead, the driver of the taxi that struck and killed Reinecke — in Whistler for the season with her boyfriend — was issued a speeding ticket for driving at roughly 70km/h in a 60km/h zone.

Reinecke was heading north along the highway just north of Lorimer at 3 a.m. She was walking the direction of traffic and was wearing dark clothing. Some snow had fallen earlier, turning to rain and slush at the time of the accident.

The driver did see her, and according to earlier police reports he attempted to swerve away from Reinecke — then swerved back in her direction to avoid an oncoming vehicle.

Forensic team kept busy

The Whistler RCMP kept a forensics team from North Vancouver busy last week after a series of break and enters.

On Feb. 10 at 8:40 a.m. the RCMP received a call from a restaurant in Creekside after a thief used a brick to smash a window and gain access. The thief took the cash register from the bar area and there were signs that the safe was tampered with although it wasn't opened. The theft happened between midnight and 8 a.m.

On Feb. 10 at 9:15 a.m. the RCMP received a call from the 4300 block of Main Street after a break-in to a hotel property. The thief broke the knob off the door to the office behind the reception desk to gain entry and took a plastic box containing a small amount of cash.

At 8:38 p.m. on Feb. 10 the Pemberton RCMP received a call regarding a suspicious vehicle left abandoned at Kilometre 9 along the in'SHUCK'ch Forest Service Road. The RCMP attended and discovered a panel van that had been reported stolen in Surrey. The RCMP had the vehicle towed back to Whistler, where it will be fingerprinted.

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Firewalker DevRamblings 8

1 year 11 months ago by damagefilter

Howdy out there!

I had to forcefully take a break on development once more because the usual real-life happenings. It happens. The good news is, I'm still on schedule for the first Firewalker milestone - the technology release. It's actually not a release but the name sounds funky.

This milestone means that all the basic technology that I need (or think I need) in order to make the game is ready. By that I don't mean "all the AI" or "all the entities" but things like "the sound system", "important editor UI", "system to execute scripted sequences", "Entity Signals System (like I/O in Hammer Editor)" ... stuff like that. With these in place I can add more and more logic (or content), as I progress through the further making of Firewalker.

The tech-release will be ready the coming sunday (that's June the 14th) and once this is through I'll start on some PR related work. I'll create a new IndieDB page, perhaps something on facebook, fix up the website and, although only loosely related, I'll re-design the playblack site to something more modern looking. Of course the pages will be updated accordingly with information about what Firewalker actually is. I realise that my personal blog is way too abstract to give the reader a big picture.

Once that is done, I'll progress with the second milestone - which contains first bits of proper gameplay, at least one dungeon and a bunch of mobs. On that occasion I'll also tie up some loose ends in the code that are open from milestone one, if any, and clean up "the code so far".

This time I have no fancy pictures for you, I'm sorry :(

And that's it for today. Rather short but I hear that's a good thing sometimes!


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< Four Days Left Until Election
Nov 02, 2012 06:25
Category: General News

Staten Island Getting Help

NEW YORK (AP) — Amid complaints that the New York City borough of Staten Island has been forgotten in the wake of Superstorm Sandy, a relief fund is being created just for residents of the hard-hit area. Former Mayor Rudolph Giuliani and Borough President James Molinaro say the fund will help residents displaced from their homes. Homeland Security Secretary Janet Napolitano and Federal Emergency Management Agency Deputy Administrator Richard Serino planned to tour the island today.


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The first Unreal Engine 4 game has been revealed. Called Daylight, it is a clever twist on the survival horror genre. And its being built around the newest version of Unreal Engine means it looks absolutely stunning, from the screenshots at least.

The game works around procedurally generated content, giving you snippets of the story each time you play through it. The lead character, a woman, is tasked with breaking free from an insane asylum haunted by all sorts of creatures.

The game has no weapons - your only option is to run. You are also given a smartphone and can use its compass or flashlight to navigate. Flares play a vital roll in frightening off ghosts and other bad guys in the asylum.

READ: PS4 Everything you need to know

The Daylight screenshots show an already fantastic-looking title. Clearly, the incredible lighting effects of which Unreal Engine 4 is capable are well suited to the world of survival horror.

Unreal Engine 4 is a bit of a hot topic with the next generation of games consoles, as its predecessor has done so much to shape the course of events with the Xbox 360 and PS3. Gears of War, for example, was made using the Unreal Engine 3.

In all likelihood, a lot of the titles appearing on the new games consoles will use the new engine. Daylight is pegged for a Steam release at around $20 at some point in 2013 so, who knows, it could be downloadable on the new consoles as well.


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1 Year Daily Audio Bible

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One year. Every day. 365 days through the Bible in community with tens of thousands of others around the globe following the same quest. Hand crafted daily from the rolling hills of Tennessee, Nashville based author and speaker Brian Hardin is your guide on the adventure of a lifetime. Visit us on the web at www.dailyaudiobible.com A YEAR CHANGES EVERYTHING!

DAB April 4 - 2015

April 4th, 2015

Episode 518 of 1446 episodes

Deut 26:1-27:26, Luke 10:38-11:13, Ps 76:1-12, Pr 12:15-17

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Special Double Episode: Jon Ronson and Richard Wiseman, with Indre Viskontas and Chris Mooney

October 29, 2012

At the 2012 CSICON conference in Nashville, Tennessee, your Point of Inquiry hosts Indre Viskontas and Chris Mooney finally actually found themselves in the same place. The result was a show that features both of them covering current events—the 2012 election, the passing of CFI founder Paul Kurtz—and each also conducting an interview!

Our guests:

Jon Ronson (interviewed by Chris Mooney) is a journalist, filmmaker, radio personality and humorist-author of books you have heard of like The Men Who Stare at Goats and The Psychopath Test. You may have heard him on This American Life, or read him in the Guardian—or, if you are a very strange and odd person, or maybe a psychopath, you may have been interviewed by him! Because that would put you right in his wheelhouse, as he explains in this interview.

Richard Wiseman (interviewed by Indre Viskontas) holds Britain's only Professorship in the Public Understanding of Psychology at the University of Hertfordshire. His research on an eclectic range of topics including luck, self-help, illusion and persuasion has been published in some of the world's leading academic journals and cited in over 20 introductory textbooks. He has also written several best-selling books that have been translated into over 30 languages, including The Luck Factor, Quirkology, and 59 Seconds. His psychology-based YouTube videos have received over 45 million views and he has given keynote addresses to organisations across the world, including The Royal Society, The Swiss Economic Forum, and Google. Richard is the most followed British psychologist on Twitter and was recently listed in the Independent On Sunday's top 100 people who make Britain a better place to live.  Over 2 million people have taken part in his mass participation experiments and he has acted as a creative consultant to Derren Brown, The MythBusters, CBS's The Mentalist, Heston Blumenthal, Nick Cave and Jeremy Deller. He began his working life as a professional magician and is a member of The Inner Magic Circle.

Books Mentioned in This Episode:

Related Episodes

Special In Studio Episode: Jamie Kilstein, Ed Brayton, and More
July 2, 2012
Chris Hayes - Twilight of the Elites
June 18, 2012
John Cook - The Debunking Handbook
December 19, 2011


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Andra Lim, a graduate of the University of California at Los Angeles, covers city government and politics for the Austin American-Statesman.

The latest Truth-O-Meter items from Andra Lim

Recent stories from Andra Lim

Austin Mayor Steve Adler fulfills five campaign promises, breaks one

In his first year, Austin Mayor Steve Adler kept about a third of 16 campaign promises we're tracking on the PolitiFact Texas Adler-O-Meter.   Adler also had a promise rated STALLED and three promises graded IN THE WORKS. Adler's one BROKEN promise was his unfulfilled idea to have the Austin City Council jointly visit council districts.   Want the latest on candidates for president including Texas Sen. Ted Cruz? Click here.

In campaign, Steve Adler promised to resolve recycled-water conflict that was already settling out

Color us purple.   We're removing a recycled-water promise by Austin Mayor Steve Adler from the Adler-O-Meter, which gauges progress on his campaign promises. A reader helped us realize problems declared by Adler were being addressed before he took office. Read the deets...

Introducing the Adler-O-Meter

City Hall reporters for the Austin American-Statesman have helped us launch a meter to track progress on Austin Mayor Steve Adler's campaign promises -- all of them yet to be rated.

Fact-checking Ted Cruz

The Texas senator played cheerleader to House Republicans who wanted to defund Obamacare, a strategy that resulted in a government shutdown. We look back at some of our fact-checks of Cruz, and whether he’s eligible to run for president. (Hint: Very likely!)

Cruz paperwork claim about Obamacare draws on flawed research, assumptions

Ted Cruz made a vivid paperwork claim. It had holes.


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Dog Tuxedo- Black

Product Description

An absolutely perfect way to add some fun and charm to any party, by dressing up your little one.  This Dog Tuxedo in black comes with everything he needs to make a great impression, including a top hat, formal tails and a bow tie collar.  The bow tie removes easily from the collar for independent wear. Goes on easily with adjustable Velcro around the neck and chest. Leash only included with size XXS thru XL.

Made to look just like a human tuxedo this piece is also made with the same quality.  If your pooch is in the wedding, this is the perfect suit for him to wear.  He will look handsome in pictures, acting as the ring bearer and will be sure to be a hit.

Included to fit a wide range of dogs, big and small, including Chihuahua's all the way up to a Labrador Retriever.

Product Reviews

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Showing reviews 1-10 of 11 | Next

  1. 5 Star Review

    Posted by on Oct 31st 2014

    I am actually using the tux for my mini pot bellied pig. He is attending my cousins wedding at my house . The tux is just adorable! Here in New Orleans , in the land of carnival balls and upscale parties...every young man should own a tux!

  2. 4 Star Review

    Posted by on Jan 4th 2014

    The dog tuxedo was the cutest thing ever! I preferred it without the hat because it didn't stay on well and looked a little odd, but the jacket and the bow tie looked adorable! Absolutely loved it!!!

  3. 5 Star Review

    Posted by on Oct 21st 2013

    My dog was a star at the SPCA of Westchester Annual Top Hat and Tails Gala, sporting his snazzy new tux for an evening of fundraising festivities. Much admired by all in his new togs!
    Great costume. Dog looked comfortable, and the tux stayed on straight all night.

  4. 5 Star Review

    Posted by on Oct 15th 2013

    Bravo ladies, our little boy Murphy looked absolutely stunning in his tuxedo at the wedding and he will even look dashing on New Years!!!

  5. 5 Star Review

    Posted by on Aug 20th 2013

    Great product, good quality, and fit perfectly for the wedding pictures! The tux and Bowtie looked great.

  6. 5 Star Review

    Posted by on Jul 31st 2013

    I Love the tuxedo that I recently purchased from you! I bought it for my Yorkie Coden James. He weighs 4lb. 2oz., it fits him perfectly. He will be carried by the little flower girl in our wedding on september 14, 2013. I will take a picture of him in the wedding and send it to you! Thank you so much!!!

  7. 5 Star Review

    Posted by on Jul 16th 2013

    We purchased this for our pup for our upcoming wedding in October. We have a mini-dachshund who is 7 lbs and this fit him perfectly. It is very cute and he is going to be a hit at the event!

  8. 5 Star Review

    Posted by on Jun 24th 2013

    Our Rhodesian Ridgeback loved his dog tuxedo! I bought this tuxedo as a surprise for my boyfriend's sister who got married this June in a beautiful outdoor wedding. Karibu is about 100 pounds, his chest measured 33 inches and his neck measured 20 inches, so I ordered the XXX-Large. It fit perfectly and with the adjustable velcro on both the suit and the tie/collar it could have fit a dog that was a little bigger or smaller as well. Karibu was so well-behaved in his tuxedo and kept it on for the whole wedding! I did try to see if he would wear the top hat, but he was not a fan, so we kept it off. He looked so handsome and we will wash and dry his tuxedo for his next formal event :)

  9. 5 Star Review

    Posted by on Jun 2nd 2012

    This tux was very cute on our 21 lb Bichon, and true to size. We couldn't get the hat to stay on, but we didn't try fastening it with bobby pins. Love the tails!

  10. 5 Star Review

    Posted by on Dec 28th 2011

    I absolutely loved the black tuxedo. It was well made and just darling. The problem was that although I did measure my corgi the large I bought him was too small around his belly. The other problem was that my corgi is black and the black on black was not a good combination. I wish it came in white. I ended up unfortunately sending it back but they made it very easy. Their customer service was excellent! I would highly recommend this company and their product.

    Patty Hanzl

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The excavation of Julie Roche's pool was done on May 11, but weeks later, her pool still hadn't been installed. Rain filled the hole, causing more issues.
Julie Roche The excavation of Julie Roche's pool was done on May 11, but weeks later, her pool still hadn't been installed. Rain filled the hole, causing more issues.

When a pool market is smaller, any negative attention can have an effect on all business. The Better Business Bureau Serving Western Michigan issued an alert about Zeeland, Mich.-based Doughboy Construction – no affiliation with the pool brand – on July 2, after the BBB received three consumer complaints of Doughboy owner Jack McCoy missing installation dates on aboveground pools. Two more consumers have filed complaints since.

Pools Plus in Holland, Mich., had McCoy on its list of installers it gives to customers – until the store heard about the complaints against Doughboy.

“As soon as we found out Jack was not who he said he was, we took him off our list,” said Jodi Tracey, purchasing manager at Pools Plus.

But even stores that never had Doughboy Construction  on the list of installers have gotten calls from consumers after local media aired reports of the BBB alert.

“This is not good for business in general,” said Ryan Miedema, owner of Zagers Pool & Spa. “People are always nervous about what will happen.”

The BBB alert also noted that McCoy was not licensed for the work he was contracted to do, and the company website could be misleading for customers since Doughboy Construction has no affiliation with the Doughboy Pools brand, and the website makes it appear that the two have a connection.

“I think he just found himself in a scenario where he couldn’t follow through on what he promised to do,” said Phil Catlett, president and CEO of the BBB Serving Western Michigan.

McCoy did not respond to a request for comment.

According to the BBB alert, McCoy attributes being behind on installations on the days of rain the area has experienced.

Julie Roche of Hudsonville, Mich., contacted Pools Plus to find an installer, and was given McCoy’s information and that of another installer. She had intended to buy her pool wholesale because she and her husband had previously owned a pool business in another state, and she said McCoy offered to sell her one at cost.

Roche is the owner of Julie’s Swim School, and wanted the pool installed in her yard, ready to begin lessons in early June. By Memorial Day, McCoy only had done the excavation, she said. Roche asked McCoy for a refund of the $2,500 she paid. She hasn’t received it, and she had to buy a pool and find another installer to set it up. She was able to start using her pool in mid-June.

“The whole pool is going to have to be redone,” she added, attributing the issues, including a bumpy floor, to the original excavation job. “The whole thing’s just been an absolute nightmare.”

This was the first year McCoy’s company had been on the Pools Plus list, and Tracey said McCoy had asked to be added.

“Once we hear complaints about a subcontractor from anybody … we take them off our list immediately,” she said.

The situation is making pool customers more wary – even if the stores never had McCoy on their lists of installers.

For Zagers, which has stores in Jamestown, Grand Rapids and Holland, and other stores in the area, the worry is that the negative perception of one installer will mean people put off their pool purchases.

“This is a huge investment for most people, so when one person makes waves like this, people think we are all the same and will spend their money elsewhere for a while,” Miedema said.


text: The U.S. Environmental Protection Agency named Pentair Aquatic Systems a 2014 Energy Star Partner of the Year. The designation was given for the company’s work developing energy-efficient products, particularly its variable-speed pumps, and educating on the issue of energy efficiency. The Sanford, N.C.-based manufacturer has been an Energy Star partner since 2013 and played a key role in working with the EPA to gain an Energy Star designation for certain pool and spa pumps and developing the testing methods by which products can attain the seal. Pentair was one of a handful of manufacturers, across all product categories, to receive the designation. “It was a very elite group to be a part of, especially on the inaugural year of pool pumps obtaining the certification,” said Jeff Farlow, Pentair’s program manager of energy initiatives. According to the EPA, Pentair produces 50 percent of the pool and spa pumps bearing the Energy Star logo.


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a blog for everyone and their mothers

Knee Injuries in Teen Girls

We are hearing about more and more knee injuries in teen girls. We wanted to get to the root of the problem since staying active and fit during your tweens and teens is super-important for long-term health. We wanted to know if teen girls could prevent knee injuries. Every year approximately 20,000 high school girls suffer a serious sports-related knee injuries – a number six times higher than the boys! Don’t let yourself become a statistic: know the facts about knee injuries and take these steps to prevent the “pop.” Thanks to our friends at GirlsGoneSporty for bringing us the latest in research and techniques to help you understand why girls are at risk of injury... and how to prevent injuries. Check out their website for more great health articles!

When injuries occur

You may be surprised to learn that most of the serious knee injuries suffered during sports take place without any contact from another player. In fact, injuries are most likely to occur during simple movements like landing a jump, switching directions, pivoting, or stopping quickly. Researchers have spent lots of time and energy trying to figure out why these movements seem to be more “dangerous” for girls than boys. As it turns out, there are lots of factors at play – most of which boil down to simple anatomy and physiology.

Why injuries happen

You see, the risk for knee injury in teenage girls increases at the onset of puberty and continues through high school. What’s to blame? Good ol’ puberty! Here are a few of the top puberty-inspired knee injury culprits:

  • Noticed your hips widening? The angle between your hip and knee is also widening, placing more stress on your knee joint.
  • Dealing with hormone surges? As your hormones change during your menstrual cycle, your joint laxity changes as well. Lax joints are instable joints, which can increase injury risk.
  • Shoot up like a weed? Growing taller is great, but extra height changes your center of gravity, making balance and coordination more difficult. Poor balance results in greater trunk movement as you stop, pivot, land and slide. When your upper body sways off-balance during quick, athletic movements, your lower body has to compensate for the imbalance, which can place great strain on your knees.

Preventing injuries

Unfortunately, there’s not much you can do to prevent your hips from widening or your hormones from surging (and you wouldn’t really want that, anyway!), but there are steps you can take to improve your balance, strength and stability. Here are a few suggestions:

  • Improve your core strength! As you grow it’s very important that you improve the strength of your abs, hips and back so that you’re able to prevent your upper body from swaying off-balance during activity. Try adding a 10 or 15 minute core exercise routine to your workout a few times each week, and don’t just do sit ups! Try seated, standing, and twisting exercises that require you to use more than just your abs. For instance, do medicine ball twists or medicine ball wood chops to engage your hips, back and obliques.
  • Work out those legs! The stronger your quads, hamstrings and calves, the more they’ll support your knees and help absorb the shock from unexpected movements. Start with squats and lunges, watching yourself in a mirror to make sure you’re using correct form. It’s extremely important that you don’t allow your knees to collapse inward as you do these exercises, so if you see it happening, slow down and concentrate on keeping your hips, knees and ankles aligned throughout the motion.
  • Focus on balance! Start incorporating a few balance exercises into your daily routine. Ask your coach how to do one-legged exercises or try doing BOSU Ball squats. Activities like Pilates and yoga also focus on balance and core strength, so consider taking a class once or twice a week. As you continue to balance train, you’ll teach your body to find its center of gravity in an unstable environment, ultimately enabling you to “catch yourself” when quick athletic movements throw you off balance.
  • Learn to jump! You’ve been jumping and landing since you were little, but did you know there’s a “right” way to do it? Check out this video to learn the ins-and-outs of proper landing form:

You can apply proper landing techniques, like keeping your torso centered between your hips and keeping your joints “soft,” to a variety of fast movements like sliding, changing direction and pivoting, Mastering this skill will put you well on your way to preventing knee injuries!


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Sharks Threaten Humans, Yawns Ensue

by David Maine

18 September 2012

The latest in an endless series of shark "thrillers" -- this one in a supermarket.
cover art

Director: Kimble Rendall
Cast: Phoebe Tonkin, Julian McMahon, Xavier Samuel, Sharni Vinson

US DVD: 18 Sep 2012

I blame Spielberg. When Jaws hit theatres in 1975, it did more than invent the summer blockbuster, the brainless mass-appeal popcorn movie, the franchise starter, blah blah blah: it also introduced sharks as a bankable cinematic villain. Previously, that role had been held by apes—think of the travails of King Kong and Mighty Joe Young, and any number of gorilla-in-the-jungle or gorilla-on-the-loose movies. Spielberg’s brilliance was to recast his monster as a creature that was out of sight most of the time, one that lived in an element that was deadly to humans to begin with, then explore the nasty consequences that occurred when the boundary between those two environments—above the water, and below it—was violated.

So obviously, you can blame Jaws 2 (1978), Jaws 3 (1983), and Jaws: the Revenge (1987) on the original; but why stop there? If we’re assigning blame, let’s not forget Deep Blue Sea (1999), Malibu Shark Attack (2009), Swamp Shark (2011), Two-Headed Shark Attack (2012), Dinoshark and Sharktopus (both 2010), or even Sharks in Venice (2009, and that one’s kind of a classic, actually). And into this heady pile you can also toss Australian film product Bait.

The makers of Bait were faced with the same conundrum posed to any would-be shark filmmaker: the need for a new angle. Yes, sharks are big, sharks are ferocious and scary, yes they seem inordinately fond of eating just about anything that comes their way, humans included. This is old news. How to make it new again? Well, how about this time around, the sharks are in a supermarket?

I know what you’re thinking: “Sharks? In a supermarket? Great idea, Aussies! Pass the Fosters!” To their credit, though, the filmmakers do a reasonable job of explaining how the sharks got into the supermarket (think subterannean shopping center + tidal wave). What they are less successful at is creating characters who are in any way interesting enough to cause the audience to give a hoot whether or not they wind up as fish food. Raise your hand if this surprises you.

So then, we have a fairly predictable set of characters: the bad girl (piercings!), her well-meaning boyfriend (no piercings!), and tough but fair-minded father (crew cut!); the dumb girl (blonde!) and her dumb boyfriend (also blond!) and their, or actually her pomeranian (incredibly annoying!); the nice guy with a haunted past and the girl who left him but still harbors feelings for him (hot!); the nefarious evildoer (tattooed, sneering!); the nefarious evildoer’s evil sidekick, who’s actually a nice guy forced into a bad situation because of his haunted past, or something (hangdog look of remorse!) and so on.

There is potential here for at least some of these characters to behave in interesting, unexpected ways, but you know, there’s really no time for all that—there are sharks out there, and they’re hungry.

So after maybe 30 minutes of setting up these various familiar plotlines—30 minutes of objective time, that is, as things really feel much longer while you’re watching it all—the surf hits the fan so to speak, the tidal wave does its tidal thing, the subterranean shopping center becomes a subaquatic shopping center, and it’s time for lunch.

Characters are picked off one by one, with death visited upon either unappealing whiners and villains or else to heroic folks who sacrifice themselves for the common good. There’s much emoting and hysteria displayed onscreen, but the viewer will feel very little of it in his/her heart, not because the viewer is a soulless unfeeling machine, but because the writers of this particular piece of entertainment have done little if anything to make these characters into individuals whose lives and deaths are in any way meaningful. In other words, typical slasher movie here, with the shark doing the bulk of the slashing.

I love bad movies as much as anyone, but there are two types of bad, the better of the two being the over-the-top, anything-goes bizarre-fests a la the original Death Race 2000, A Sound of Thunder, the aforementioned Sharks in Venice and the films of Ed Wood. On the other hand is plain old drudgery: movies that get made simply to go through the motions, whose every turn you can see from miles away. Bait isn’t quite at that level of dullness, but it’s mighty close. There is really very little here that is fun or surprising, even in an outrageous, slap-you-forehead kind of way. The tag line on the DVD box—“Cleanup on aisle seven”—is the most entertaining thing about this movie. That’s just not right.

The DVD is a bare-bones affair, the only extras being a gallery of preproduction sketches. There is a 3D version available on blu-ray, but the DVD edition I watched was flat (in more ways than one). If you’re a hardcore bad-movie aficianado or shark-film enthusiast who just can’t resist the sharks-in-the-supermarket trope, then go ahead and watch this. Everyone else can safely give it a miss.

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I did not compose the title of this post as a cheap way to grab your attention. The American Cancer Society did. For the Love of Boobs is the name of an upcoming fashion show benefit for their Making Strides Against Breast Cancer campaign (note to self: be careful what you wish for) of merchants that span the gamut from indie to—oh hello there, H&M. Full list: Clair Inspired Vintage, Milagros Boutique, Cheryl Edmonds Designs, Mabel & Zora, SheShe, Hollywood Babylon, Tumbleweed, Portland Garment Factory, Union Rose, and yes, seriously, H&M—that's actually a pretty good representation of the mix that most people dress in, with a little local, a little vintage, and a little of what the Brits call high street. Tickets will run you 15 bones, and includes live music, beer and wine, and food, and it's taking place October 14 at Elements Glass. Because BOOBS.

A look from SheShe
  • A look from SheShe


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Postcode Map

The postcode map shows the location and boundary line for AB31 6LG, with the map marker a central point of reference for this postcode, marking the central latitude (57.022541) and longitude (-2.531223) geographic coordinates for satnav purposes.

Use the grey circle to determine the approximate postcode border radius for this geographical postcode area.

This page outlines the sunrise (dawn) and sunset (dusk) times for AB31 6LG (Aberdeen) postcode area.

Sunrise is the instance at which the upper edge of the sun appears over the eastern horizon in the morning, and sunset is the daily disappearance of the sun below the western horizon. The following sunrise/sunset times are calculated algorithmically, and may vary by a couple of minutes.

25 May 201706:0118:01
28 May 201706:0418:04
31 May 201706:0718:07
03 June 201706:1018:10
06 June 201706:1318:13
09 June 201706:1618:16
12 June 201706:1918:19
15 June 201706:2218:22
18 June 201706:2518:25
21 June 201706:2818:28

Useful resources

  • Sunrise - Wikipedia
    A Wikipedia page for 'Sunrise', or sun-up, when the sun crosses the horizon and its accompanying atmospheric effects.

  • Sunset - Wikipedia
    A Wikipedia page for 'Sunset', or sundown, when the sun is at an azimuth greater than 180 degrees.

  • HM Nautical Almanac Office
    Daily rise/set and twilight times for the British Isles from the HM Nautical Almanac Office.

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Our sunrise and sunset times are calculated algorithmnically, using PHP, Ajax and JQuery. PHP has a built in function (date_sunrise() and date_sunset()) that returns the time of sunrise and sunset for any given day and location, and is calculated based on the latitude/longitude coordinates.

The sunrise and sunset syntax for the PHP function is as follows:

Parameter Details
timestamp A required field that passes the timestamp of the day required to calculate the sunrise/sunset time.

An optional parameter that specified how the date format is returned.

latitude An optional parameter, specifying the latitude of the region. Default is North.
longitude An optional parameter, specifying the longitude of the region. Default is East.
zenith An optional parameter, specifying the default zenith. Default is date.sunrise_zenith.
gmtoffset An optional field that specifies any offset of GMT (Greenwich Mean Time).

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Belly Rubs

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UPF: A research-intensive university

UPF: A research-intensive university

News from UPF

Despite representing just 1% of the Spanish university system's teaching staff, UPF obtained 10% of all the funding with which the European Commission (EC) provided Spain's universities through its 7th Framework Programme (FP7). That statistic reflects "our research staff's high productivity levels compared to the average", according to Francesc Posas, vice-rector for Science Policy.

As the EC's main instrument for financing European research and development in the 2007-2013 period, FP7 "has been vitally important to UPF, because it has marked the beginning of our transition to a genuine research university, with results that have catapulted us into Europe's top division", states Àngel Lozano, vice-rector for Research.

In comparison to FP6, the EC's previous framework programme, UPF enjoyed a greater increase in funds for research activities than any other European university. The overall sum it obtained multiplied sixfold to stand at over €75 million, while the success rate of its applications for funding rose from 15% to 21%, with a total of 145 projects receiving financing.

More information:
UPF news


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Polaris Names Drake, Feist, Grimes, Japandroids, And More To Shortlist For 2012 Prize

    Polaris has just announced its short list for this year’s prize in Canadian music. Here’s the list in alphabetical order:
    Cold Specks, I Predict a Graceful Expulsion
    Handsome Furs, Sound Capitale
    Yamantaka // Sonic Titan, YT//ST
    Last year, Arcade Fire took home the award with their landmark album, The Suburbs. This year, the winner will walk away with the award, as well as a cash prize of 30,000 Canadian dollars on September 24. [CBC via DS


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ATLANTIC CITY - A medal ceremony to honor those who served in the Korean War, commonly referred to as the forgotten war, took place Friday at the memorial site in Brighton Park.

The commemorative ceremony is hosted annually by the New Jersey Korean War Veterans Association and is part of a statewide outreach campaign that helps those who served connect with veterans outreach programs.

Friday's ceremony took place on the 60th anniversary of the signing of the Korean War armistice agreement.

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"It is considered the forgotten war, maybe because it was right after World War II," said Northfield Mayor Vince Mazzeo.

Mazzeo said his father served during the war but was in the Navy so he did not see any action.

A Longport resident, Frank DiLorenzo, however, was in Korea and near Pork Chop Hill - the location of a well-known battle during the war.

"He was ready to go up to the famous Pork Chop Hill when a mortar went off and half his ear was blown off," Mazzeo said.

Both he and DiLorenzo attended the ceremony Friday morning.

Pork Chop Hill was battled over twice in the spring and summer of 1953, at a time when an armistice was being negotiated. The hill was not considered a strategic stronghold but many soldiers lost their lives fighting for the 980-foot-high peak.

DiLorenzo said he remembers that moment, when he was about 22 years old, and suddenly went deaf in his right ear.

"There was an explosion and I happened to be pretty close to it. Something happened and I just couldn't hear. The told me to go to Seoul to get it checked out," DiLorenzo remembered. He used to go on patrols near the hill to gather information, which is where he was when the explosion occurred.

"(The effect of the explosion) was an infection formed in my ear, which was treated in Seoul. I then went to Army Tokyo Hospital and the doctor performed surgery on my right ear. He told me I would never be able to hear again," DiLorenzo said.

He cannot hear from his right ear and his left ear is fitted with a hearing aid, he said.

As for those who call the war a forgotten war, or have opinions and discussions about why war was waged, DiLorenzo said he prefers not to get involved.

If someone said the war is a forgotten one, he said, he would lose respect for that person and likely never speak to them.

He prefers not to talk about his time in the war and does not think about it often, he said.

Contact Anjalee Khemlani:

Follow Anjalee Khemlani on Twitter @AnjKhem

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The Press Newspaper

Toledo, Ohio & Lake Erie

The Press Newspaper

The Press Newspaper

From the Editors of E/The Environmental Magazine

Dear EarthTalk: Are there natural headache remedies that can get me off of Tylenol, Advil and other medicines whose side effects can be as bad as or worse than the pain that led me to use them?          -- Jan Levinson, Portland, ME

Many of us may be too dependent on over-the-counter painkillers to treat the occasional headache, especially given the side effects of such drugs. Ibuprofen (Advil, Motrin) can increase the risk of heart and circulation problems—including heart attack and stroke—and is also tough on the digestive tract. Too much acetaminophen (Tylenol) has been linked to nausea, diarrhea, and kidney and liver problems. Many natural health care practitioners disparage drugs for merely masking the symptoms of larger problems.

All headaches are not the same and gobbling down pain pills will not address the causes, whatever they may be. Some headaches are caused by tension; others stem from sinus congestion, caffeine withdrawal, constipation, food allergies, spinal misalignment or lack of sleep. And then there are migraines, which researchers think are neurological in nature: The brain fails to constrict the nerve pathways that open the arteries to the brain, resulting in a pounding headache as blood flows in unchecked. Assessing what kind of headache you may have can help lead the way to a solution beyond deadening the pain with a pill.

To make tension headaches go away, the Farmers’ Almanac recommends applying an ice pack to the neck and upper back, or, even better, getting someone to massage those areas. Also, soaking the feet in hot water can divert blood from your head to your feet, easing any kind of headache pain in the process.

Another all-natural headache cure is acupressure (like acupuncture, but without the needles), which promotes healing throughout the body by stimulating channels of energy known as meridians. Victoria Abreo, alternative medicine editor for the website BellaOnline, says that anyone suffering from a tension headache can employ a simple acupressure technique to help relieve the pain: “With one hand, press the shallow indention in the back of the head at the base of the skull. Simultaneously, with the thumb and forefinger of the other hand, press firmly into the upper hollows of the eye sockets, right where they straddle the bridge of the nose and meet the ‘t’ of the eyebrow bridge.” She says to press softy at first, and then more firmly, holding for three to five minutes.

As for migraines, avoiding certain trigger foods might be key to staving them off. Abreo says migraine sufferers should try steering clear of dairy products, processed meat, red wine, caffeine and chocolate. New research has shown that some people with specific dietary deficiencies are more prone to migraines.

According to Dr. Linda White, who writes about natural health for Mother Earth News, some recent clinical trials have shown three nutritional supplements—magnesium, riboflavin and coenzyme Q10—to be particularly effective at reducing the frequency and severity of migraines. Also, a number of herbs—including feverfew, butterbur, lavender, gingko biloba, rosemary and chamomile—have proven track records in preventing or stopping migraines. Since herbs can be potent and are not regulated or tested, headache sufferers should consult a trusted doctor or naturopath before using alternative remedies.

CONTACTS: Farmers’ Almanac,; BellaOnline,; Mother Earth News,

Dear EarthTalk: Are there any electric bicycles or scooters that make for a nice cheap, green-friendly commute?         -- Sean Foley, Nashua, NH

Bicycle commuting has long been a symbol of greener living, and it is great exercise, too. But most people are probably not up to commutes much beyond five or 10 miles one-way in the interest of time and in not arriving at work too pooped (or sweaty) to pop.

Now a number of battery-powered two-wheelers are coming on the market that won’t get you your exercise but will get you from point A to B and back with minimal environmental impact. Consumers can start greening up their commutes on such vehicles for as little as $1,500 plus about 25 cents a day in electricity costs—not bad at all when you consider that a new car costs thousands of dollars more up front and chugs mass quantities off expensive and polluting gasoline.

Many of us conjuring up images of electric bikes and scooters may envision the finicky mopeds of the 70s and 80s, but today’s offerings are much improved and quite diverse.

Those who want to go fast but stay green should check out some of the electric scooters made by Miami-based EVTAMERICA. Each of the company’s three models tops out at a maximum speed of 45 miles per hour—respectable even on the highway. “People want to go at least 40 mph,” says the company’s co-owner, Fernando Pruna. “Everything built before could only do 25 or 30.”

Meanwhile, eGO of Somerville, Massachusetts makes electric bikes that can speed along at 25 miles per hour in “go fast” mode, but also have a “go far” mode, which trades off speed for distance (some 24 miles on a single charge). While eGO’s bikes may look diminutive, they are known for their strength. “Our bikes are powerful enough to tow a car,” says Kevin Kazlauskas, the company’s operations manager. “These are not toys, and customers aren’t treating them like toys.”

Another option might be an electric scooter made by Houston-based Veloteq. These scooters only go 20 miles per hour at top speed, but they can cover up to 50 miles on a single charge, which is more than enough distance to get most commuters back and forth to work, as long as they can avoid fast-moving highways along the way. A side benefit of the speed limitation on Veloteq’s vehicles is that they are typically exempt from licensing, registration and insurance regulations in most jurisdictions—yet another way to save money over those car drivers still mired in their 20th century car commutes.

Opting for one of these new scooters or bikes over a car commute will take a big bite out of your carbon footprint, but the future promises even greener versions. The lead-acid batteries that most models use today will soon be replaced with greener and more efficient varieties, lithium ion and nickel zinc being two of the more promising formats. These new fangled batteries will make the vehicles cost more, at least initially, but they will also trim bike weight significantly and provide a lot more distance per charge. And eGo is working on a model with a small solar array behind the seat to extend the bike’s range once its electric charge starts to run low.

GOT AN ENVIRONMENTAL QUESTION? Send it to: EarthTalk, c/o E/The Environmental Magazine, P.O. Box 5098, Westport, CT 06881; submit it at:, or e-mail: Read past columns at:

Memorial Day

Do you plan on attending any events to honor fallen soldiers on Memorial Day?
1940106433 [{"id":"184","title":"Yes","votes":"5","pct":50,"type":"x","order":"1","resources":[]},{"id":"185","title":"No","votes":"3","pct":30,"type":"x","order":"2","resources":[]},{"id":"186","title":"If I'm in town","votes":"2","pct":20,"type":"x","order":"3","resources":[]}] ["#194e84","#3b6b9c","#1f242a","#37414a","#60bb22","#f2babb"] sbar 160 160 /component/communitypolls/vote/71-memorial-day No answer selected. Please try again. Thank you for your vote. Answers Votes ...


text:
Family of man killed by police wants charges

Daily Local News (West Chester, PA) - - NEWS -

SACRAMENTO, CALIF. >> The family of a man killed in July by Sacramento police after 911 callers reported he was waving a knife and acting erratically demanded Monday that two officers face murder charges after dash-cam video revealed they talked inside their police cruiser about running him down. He dodged the cruiser twice and was shot 14 times less than a minute later by the same two officers. The officers “behaved like big game hunters closing in on an animal,” said John Burris, a lawyer for the family of Joseph Mann, who was mentally unstable and homeless.

The demand for the murder charges came as Los Angeles police chief Charlie Beck defended his officers in the fatal shootings of a black man Saturday who police say was armed with a loaded semi-automatic gun and a Hispanic man on Sunday who officers say was wielding replica handgun.

The latest police shootings happened amid heightened tensions over police actions involving black people and other minorities across the country, and followed two more police shootings by California police last week of black men in San Diego and Pasadena.

In the Sacramento case, police have said Mann was waving a knife in the air and doing karate moves in the streets just before police responded. But Burris told reporters he was not threatening anybody and that the two officers who shot him, John Tennis and Randy Lozoya, should face a U.S. Justice Department civil rights investigation in addition to murder charges.

The officers can be heard on the recording saying “I’m gonna hit him” and “OK, go for it” before appearing to drive their cruiser twice at Mann, who managed to scramble out of its way both times.

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Doleman and Kennedy drop by Hall

Fans touring the Hall of Fame on Wednesday may have recognized two of the museum’s visitors. That’s because Class of 2012 enshrinees Chris Doleman and Cortez Kennedy were in town preparing for this summer’s Enshrinement Festival.

The two legends arrived on Tuesday afternoon in time to enjoy dinner with staff members before embarking on a full schedule Wednesday. The morning began with a tour of the city so they can learn the layout for the many festivities that take place during the annual Enshrinement Festival. The drive around the city was followed by a personal tour of the museum by the Hall of Fame’s President/Executive Director Steve Perry. Doleman and Kennedy then met with various staff members to plan for their induction, sat down with members of the media, and capped the day with a behind-the-scenes tour of the museum’s archives.

Doleman and Kennedy, along with Jack Butler, Dermontti Dawson, Curtis Martin and Willie Roaf, with be formally enshrined into the Hall of Fame on Saturday, Aug. 4.

VIDEOS: A few minutes with our newest enshrinees.

Chris Doleman answers
our question about his
Cortez Kennedy is excited for his bronze bust to be placed in the Hall of Fame Gallery.

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