Brian Eyler

The Shiba Inu (柴犬?) is the smallest of the six original and distinct breeds of dog from Japan. A small, agile dog that copes very well with mountainous terrain, the Shiba Inu was originally bred for hunting.  It is similar in appearance to the Akita, though much smaller in stature. It is one of the few ancient dog breeds still in existence in the world today.

Shiba Inus are generally independent and intelligent dogs. Some owners struggle with obedience training, but as with many dogs, socialization at a young age can greatly affect temperament. Traits such as independence and intelligence are often associated with ancient dog breeds, such as the Shiba Inu. Shibas should always be on a leash, unless in a secured area, because of their strong prey drive.

A spirited boldness, a good nature, and an unaffected forthrightness, which together yield dignity and natural beauty. The Shiba has an independent nature and can be reserved toward strangers but is loyal and affectionate to those who earn his respect. They can be aggressive toward other dogs.

The terms “spirited boldness” (悍威 kan’i?), “good nature” (良性 ryōsei?), and “artlessness” (素朴 soboku?) have subtle interpretations that have been the subject of much commentary.

The Shiba is a fastidious breed and feels the need to maintain itself in a clean state. They can often be seen licking their paws and legs much like a cat. They generally go out of their way to keep their coats clean, yet thoroughly enjoy swimming and playing in puddles. Because of their fastidious and proud nature, Shiba puppies are easy to housebreak and in many cases will housebreak themselves. Having their owner simply place them outside after meal times and naps is generally enough to teach the Shiba the appropriate method of toileting.

A distinguishing characteristic of the breed is the so-called “shiba scream”. When sufficiently provoked or unhappy, the dog will produce a loud, high pitched scream. This can occur when attempting to handle the dog in a way that it deems unacceptable. The animal may also emit a very similar sound during periods of great joy, such as the return of the owner after an extended absence, or the arrival of a favored human guest.

I don’t believe in trouble

I don’t believe in trouble I don’t believe in pain I don’t believe there’s nothing left but running here again
I don’t believe in promise I don’t believe in chance I don’t believe you can resist the things that make no sense
I don’t believe in silence cos silence seems so slow I don’t believe in energy the tension is too low
I don’t believe in panic I don’t believe in fear I don’t believe in prophecies so don’t waste any tears
I don’t believe reality would be the way it should But I believe in fantasy the future’s understood
I don’t believe in history I don’t believe in truth I don’t believe that’s destiny or someone to accuse
I believe, I believe!!!
I don’t believe in trouble I don’t believe in pain I don’t believe there’s nothing left but running here again
I don’t believe in promise I don’t believe in chance I don’t believe you can resist the things that make no sense
I don’t believe in silence cos silence seems so slow I don’t believe in energy the tension is too low
I don’t believe in panic I don’t believe in fear I don’t believe in prophecies so don’t waste any tears
I believe!!!
I want you to try, try to needing to know why, why No kidding, no sin, sin No running, no win, win I believe!!!
No angels, no girls, girls No memories, no Gods, Gods No rockets, no heat, heat No chocolate, no sweet, sweet I believe!!!
I want you to try, try to needing to know why, why No kidding, no sin, sin No running, no win, win No angels, no girls, girls No memories, no Gods, Gods No rockets, no heat, heat No chocolate, no sweet, sweet
No feeling, no secrets… The silence you feel… which hides you from the real… I want you to try, try needing to know why, why

Now as I begin to wash you off my skin
I’m gonna peel you away
‘Cause you’re not right within

Ignorance is like a gun in hand

Reach out to the promised land

Your history books are full of lies

Media-blitz gonna dry your eyes

Have you ever been afraid

And felt society try to keep you down, I begin to watch things change

And see them turn around

Goober is a combination of peanut butter and jelly within a single jar and possibly the first such combination of its type.

It is sold in North America and is named after the North American slang name for the peanut. Goober is marketed towards children and was introduced in 1968 by The J.M. Smucker Company under the Smucker’s brand. It consists of alternating vertical stripes of peanut butter and either grape or strawberry flavored fruit preserves.

At least one “store brand” variant is available, sold by Kroger under their name, the Ralphs brand name and as Yipes! Stripes! under Kroger’s Disney Magic Selections label.

go go goober!

“Dixie”, also known as “I Wish I Was in Dixie”, “Dixie’s Land”, and other titles, is a popular American song. It is one of the most distinctively American musical products of the 19th century, and probably the best-known song to have come out of blackface minstrelsy. Although not a folk song at its creation, “Dixie” has since entered the American folk vernacular. The song likely cemented the word “Dixie” in the American vocabulary as a synonym for the Southern United States.

Most sources credit Ohio-born Daniel Decatur Emmett with the song’s composition; however many other people have claimed to have composed “Dixie”, even during Emmett’s lifetime. Compounding the problem of definitively establishing the song’s authorship are Emmett’s own confused accounts of its writing, and his tardiness in registering the song’s copyright. The latest challenge has come on behalf of the Snowden Family of Knox County, Ohio, who may have collaborated with Emmett to write “Dixie”.

The song originated in the blackface minstrel shows of the 1850s and quickly grew famous across the United States. Its lyrics, written in a comic, exaggerated version of African American Vernacular English, tell the story of a freed black slave pining for the plantation of his birth. During the American Civil War, “Dixie” was adopted as a de facto anthem of the Confederacy. New versions appeared at this time that more explicitly tied the song to the events of the Civil War. Since the advent of the North American Civil Rights Movement, many have identified the lyrics of the song with the iconography and ideology of the Old South. Today, “Dixie” is sometimes considered offensive, and its critics link the act of singing it to sympathy for the concept of slavery in the American South. Its supporters, on the other hand, view it as a legitimate aspect of Southern culture and heritage and the campaigns against it as political correctness. In fact, the song was a favorite of President Abraham Lincoln, who apparently saw no racism in it; he had it played at some of his political rallies and at the announcement of General Robert E. Lee’s surrender.

The US Federal government finally revealed the inventory of Lincoln’s pockets on February 12, 1976. According to official documents, his silk-lined, leather wallet contained the following:

pencil

Confederate $5.00 bill

news clippings about unrest in the Confederate army, emancipation in Missouri, the Union party platform of 1864

article on the Presidency by John Bright

He was also carrying in his pockets two pairs of glasses, a chamois glass wipe, an ivory and silver pocket knife, a white handkerchief with A. Lincoln embroidered in red, and a gold quartz watch fob missing the watch.

In between love and trying to scheme love, Who can tell what we may find, Never thought love, not get caught love

Between the magic in your eyes, And loves like women, it’s cool and breezy

Never thought that love could be so easy, In between love and trying to scheme love

And in between love again, In between love and trying to scheme love, Who can tell what we may find

All this time love, I sublime love, To the feelings in my mind

Loves like women, it’s cool and breezy, Never thought that love could be so easy

In between love and trying to scheme love

And in between love again

- tom waits

Ever since I remember

I’ve held it in

Held it all

Somehow I felt comfortable

Behind my wall

Behind it all

This is why I don’t cry

This is why I don’t cry

Tears they only compromise

Things I need to visualize

This is why I don’t cry

This is why I don’t cry

Tears they only minimize

Everything I keep inside

I bet you think I’m lonely

You may be right

I just might

And if you want me to break down

It would be a sight

But not tonight

This is why I don’t cry

This is why I don’t cry

Tears they only compromise

Things I need to visualize

This is why I don’t cry

This is why I don’t cry

Tears they only minimize

Everything I keep inside

Absorption, in chemistry, is a physical or chemical phenomenon or a process in which atoms, molecules, or ions enter some bulk phase – gas, liquid, or solid material. This is a different process from adsorption, since molecules undergoing absorption are taken up by the volume, not by the surface (as in the case for adsorption). A more general term is “sorption”, which covers absorption, adsorption, and ion exchange. Absorption is a condition in which something takes in another substance.

If absorption is a physical process not accompanied by any other physical or chemical process, it usually follows the Nernst partition law:

“the ratio of concentrations of some solute species in two bulk phases in contact is constant for a given solute and bulk phases”:

The value of constant KN depends on temperature and is called partition coefficient. This equation is valid if concentrations are not too large and if the species “x” does not change its form in any of the two phases “1″ or “2″. If such molecule undergoes association or dissociation then this equation still describes the equilibrium between “x” in both phases, but only for the same form – concentrations of all remaining forms must be calculated by taking into account all the other equilibria.

In United States history, “carpetbaggers” was a pejorative term Southerners gave to Northerners (also referred to as Yankees) who moved to the South during the Reconstruction era, between 1865 and 1877.

The term referred to the observation that these newcomers tended to carry “carpet bags,” a common form of luggage at the time (sturdy and made from recycled carpet). It was used as a derogatory term, suggesting opportunism and exploitation by the outsiders. The relocated northerners often formed alliances with freed slaves and southern whites who were Republicans, who were nicknamed scalawags. Together they are said to have politically manipulated and controlled former Confederate states for varying periods for their own financial and power gains. In sum, carpetbaggers were seen as insidious Northern outsiders with questionable objectives meddling in local politics, buying up plantations at fire-sale prices and taking advantage of Southerners. Carpetbagger is not to be confused with copperhead, which is a term given to a person from the North who sympathized with the Southern claim of right to Secession.

The term carpetbaggers was also used to describe the white Northern Republican political appointees who came South, arriving with their travel carpetbags. Southerners considered them ready to loot and plunder the defeated South.

In modern usage in the U.S., the term is sometimes used derisively to refer to a politician who runs for public office in an area where he or she does not have deep community ties, or has lived only for a short time. In the United Kingdom, the term was adopted to refer informally to those who join a mutual organization, such as a building society, in order to force it to demutualize, that is, to convert into a joint stock company, solely for personal financial gain.

There are countless “schools” or theories of natural horsemanship but the following ideas are common to most of them:

Horses are social herd animals, evolved for social interaction and the ability to escape predators. The horse has a highly developed communication system practiced primarily through body language. It is possible for humans to learn to use body language to communicate with the horse. Horses use ear position, head position, speed of movement, threatening gestures, showing of teeth and swinging of hips, and many other gestures to communicate. They are quick to escalate a behavior if early warnings are not heeded. Similarly, in natural horsemanship, the handler or trainer uses body language along with other forms of gentle pressure with increasing escalation to get the horse to respond. Horses are quick to form a relationship of respect with humans who treat them in this fashion; “firm but fair” is a motto.

Most natural horsemanship practitioners agree that teaching through pain and fear do not result in the type of relationship that benefits both horse and handler.[3] The object is for the horse to be calm and feel safe throughout the training process. A horse that feels calm and safe with his handler is quick to bond with that person, and the results can be remarkable.

The human must be knowledgeable of the horse’s natural instincts and communication system, and use this knowledge in their work with the horse.

Like many other forms of horse training, operant conditioning through pressure and release are core concepts. The basic technique is to apply an aversive pressure of some kind to the horse as a “cue” for an action and then release the pressure as soon as the horse responds, either by doing what was asked for, or by doing something that could be understood as a step towards the requested action, a “try”. Timing is everything, as the horse learns not from the pressure itself, but rather from the release of that pressure. These techniques are based on the principle of negative reinforcement, rather than punishment by physical force, which most natural horsemanship practitioners avoid using whenever possible.

Most natural horsemanship approaches emphasize the use of groundwork to establish boundaries and set up communication with the horse. This can include leading exercises, long reining and liberty work.

As with all successful animal training methods, there is an emphasis on timing, feel and consistency from the handler.[4]

Natural horsemanship has become very popular in the past two decades and there are many books, videos, tapes, and websites available to interested equestrians. This philosophy has capitalized on the use of behavioral negative reinforcement to replace inhumane practices used in some methods of training, the ultimate goal of which is a calmer, happier and more willing partner in the horse.

Natural horsemanship avoids punishment based training methods. While natural and gentle methods of training have been around for millennia, dating to the advocacy of gentle methods by Xenophon in Ancient Greece,  there have also been any number of techniques over the years that attempted to train a horse by breaking the horse’s spirit, often forcing it to fight back and then be dominated or defeated. Natural horsemanship advocates point out that by removing fear an individual gains trust from the horse. By not scaring and hurting the horse, the horse learns to work with people in a partnership versus as an adversary.

Despite the simple appeareance of the boomerang, the characteristic returning flight is guided by a complex combination of physics and aerodynamics. The returning boomerang is most commonly two wings jointed at angle bewteen 80° and 120°, however, some newer boomerangs have more than two wings. The combination of spin and forward motion create an uneven lift over the wings. As the air flow passes over one wing faster than the other lift is created. When thrown correctly, boomerangs will return. The natural spin of the boomerang twists at right angles, which results in the boomerang’s curving flight. Since the center of lift is forward of the center of gravity another tipping force is created, making the boomerang lie down during its flight. The combination of these spinning forces is called gyroscopic precession.

In Christianity, the first main principle of surrender is “Dying to Self”, or the “emptying of self” to allow Christ to live through the believer, illustrated in the following passages:

If any [man] come to me, and hate not his father, and mother, and wife, and children, and brethren, and sisters, yea, and his own life also, he cannot be my disciple.Luk 14:26

For to me to live [is] Christ, and to die [is] gain.

—Phl 1:21

For ye are dead, and your life is hid with Christ in God.

—Col 3:3

The second issue of surrender in Christianity is allowing Christ to “take our place” through the believer, in other words, the emptying of self so that God may live through the believer as evidenced in Phl 1:21.

Another principle central to the Christian concept of surrender is the concept of surrender to God’s Will. Surrendering to God’s will entails both the “surrender of our will to His in macrocosm”, in which His plan prevails over man’s and the adversary, and secondarily to the surrender of one’s will for individual life to “His will for our personal lives in microcosm.” This is done through the emptying or dying of self, the “putting self aside” in favor of divine influence. This includes the idea of surrendering to a call. The corollary of this personal surrender is obedience, and obedience to God is denoted as bringing about His will, having lasting effects, and often associated with earthly and divine blessings.

The supreme act of surrender which the believer is called to emulate is the surrender of Christ first as coming into the world as God incarnate and then the surrender to the Cross in the act of sacrificial atonement, breaking the curse of sin and death from the Fall.

But made himself of no reputation, and took upon him the form of a servant, and was made in the likeness of men: And being found in fashion as a man, he humbled himself, and became obedient unto death, even the death of the cross.

—Phl 2:7-8

Saying, Father, if thou be willing, remove this cup from me: nevertheless not my will, but thine, be done.

—Luk 22:4

Surrender is also noted in Christian doctrine as one of the three columns of victorious living, or Christian victory: the Blood of the Lamb [Christ], their Testimony of the Word of God [Scriptures] and their lives, and Loving not their lives to death.

Beauty is a characteristic of a person, animal, place, object, or idea that provides a perceptual experience of pleasure, meaning, or satisfaction.[citation needed] Beauty is studied as part of aesthetics, sociology, social psychology, and culture. An “ideal beauty” is an entity which is admired, or possesses features widely attributed to beauty in a particular culture, for perfection.

The experience of “beauty” often involves the interpretation of some entity as being in balance and harmony with nature, which may lead to feelings of attraction and emotional well-being.[citation needed] Because this is a subjective experience, it is often said that “beauty is in the eye of the beholder.” In its most profound sense, beauty may engender a salient experience of positive reflection about the meaning of one’s own existence. A subject of beauty is anything that resonates with personal meaning.

The classical Greek noun for “beauty” was κάλλος, kallos, and the adjective for “beautiful” was καλός, kalos. The Koine Greek word for beautiful was ὡραῖος, hōraios, an adjective etymologically coming from the word ὥρα, hōra, meaning “hour.” In Koine Greek, beauty was thus associated with “being of one’s hour.”

A ripe fruit (of its time) was considered beautiful, whereas a young woman trying to appear older or an older woman trying to appear younger would not be considered beautiful. In Attic Greek, hōraios had many meanings, including “youthful” and “ripe old age.

In the western United States, ice fog is commonly known as pogonip. It occurs very rarely during cold winter spells, usually in deep mountain valleys. Ice fog can be quite common in interior and northern Alaska, since the temperature frequently drops below -40 °C (-40 °F) in the winter months. Pogonip only forms under specific conditions, the humidity has to be near 100% as the air temperature drops to well below 0 °C (32 °F), allowing ice crystals to form in the air. The ice crystals will then settle onto surfaces.

The name pogonip is an English adaptation of the Shoshone word meaning “cloud” (payinappih). The English-speaking settlers who encountered this unpleasant and sometimes scary phenomenon when they went out West in the 1800s needed a word for it and they borrowed it from local populations.

Supposedly, western Native Americans called it “frozen death” because it took so many lives from upper respiratory infections.

In The Old Farmer’s Almanac, in the calendar for December, the phrase “Beware the Pogonip” regularly appears. In Smoke Bellew Jack London described Pogonip which happened to the main characters, killing one of them.

Postmodern architecture began as an international style whose first examples are generally cited as being from the 1950s, but did not become a movement until the late 1970s and continues to influence present-day architecture. Postmodernity in architecture is generally thought to be heralded by the return of “wit, ornament and reference” to architecture in response to the formalism of the International Style of modernism. As with many cultural movements, some of Postmodernism’s most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of the modernist movement are replaced by unapologetically diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound. Perhaps most obviously, architects rediscovered the expressive and symbolic value of architectural elements and forms that had evolved through centuries of building—often maintaining meaning in literature, poetry and art—but which had been abandoned by the modern movement.

brian eyler, postmodern.

The Nutcracker (Russian: Щелкунчик, Schelkunchik) is a two-act ballet, originally choreographed by Marius Petipa and Lev Ivanov with a score by Pyotr Ilyich Tchaikovsky. The libretto is adapted from the story “The Nutcracker and the Mouse King” by E. T. A. Hoffmann. It was given its premiere at the Mariinsky Theatre in St. Petersburg on 18 December 1892, on a double-bill with Tchaikovsky’s opera, Iolanta.

Although the original production was not a success, The Nutcracker has enjoyed increasing popularity since the mid-20th century, and is now performed by countless ballet companies primarily during the Christmas season.  Tchaikovsky’s score has become one of his most famous compositions, in particular the pieces featured in The Nutcracker Suite, a selection of eight pieces from the complete score.  Among other things, the score is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser known symphonic ballad The Voyevoda.

Brian Eyler, came and hit the street.