Nice short video.
March 31, 2009
March 30, 2009
Showing, once again, that homeschoolers have plenty of opportunities for activities, sports, and socialization. (But some of us already know that…) Posted on TAFFIE-Announce:
At TEJAS Volleyball Complex*
JR. HIGH: TRYOUTS FOR THE THESA RIDER Jr. High VOLLEYBALL TEAM WILL
BE HELD DURING THESE CLINICS!
Date: April 15th and 29th.
Showing, once again, that homeschoolers have plenty of opportunities for activities, sports, and socialization. Posted on TAFFIE-Announce:
Spring Camp is coming up for the THESA Football!
Early registration ends on May 1 with camp starting on May 12!
Homeschool football is open to all homeschooled boys ages 12 to 19.
Middle school is ages 12-14
High school is ages 14-19
March 29, 2009
Holiday: The Competitive Enterprise Institute has an awe-inspiring video to celebrate Human Achievement Hour. See also The Real Meaning of Earth Hour by Dr. Keith Lockitch and Alternative to Earth Hour by the people who came up with the idea for Human Achievement Hour (but which they call Edison Hour).
Interesting. Certainly food for thought (questioning, research, reading, reasoning, appeal to induction and facts…not to authority or “consensus”) and food for action…
March 28, 2009
Clear as of old the great voice rings to-day,
While Sherwood’s oak-leaves twine with Aldworth’s bay:
The voice of him the master and the sire
Of one whole age and legion of the lyre,
Who sang his morning-song when Coleridge still
Uttered dark oracles from Highgate Hill,
And with new-launched argosies of rhyme
Gilds and makes brave this sombreing tide of time.
Far be the hour when lesser brows shall wear
The laurel glorious from that wintry hair–
When he, the sovereign of our lyric day,
In Charon’s shallop must be rowed away,
And hear, scarce heeding, ‘mid the plash of oar,
The _ave atque vale_ from the shore!
To him nor tender nor heroic muse
Did her divine confederacy refuse:
To all its moods the lyre of life he strung,
And notes of death fell deathless from his tongue.
Himself the Merlin of his magic strain,
He bade old glories break in gloom again;
And so exempted from oblivious doom,
Through him these days shall fadeless break in bloom.
See also The Poems of William Watson (John Lane, The Bodley Head, London & New York, 1905), The Collected Poems of William Watson (John Lane, New York and London, 1899), and Lachrymae Musarum & Other Poems (MacMillan and Co., London and New York, 1892).
March 27, 2009
Wow. What a Legend.
But I have never seen him dance in all these years. Good thing for the Internet, we can see Mr. Bojangles on video.
He had a fun scene dancing on stairs in a Shirley Temple movie (I wish he would have sung more!!). But we get to hear him sing (and see him dance) in a classy sequence from the 1943 movie “Stormy Weather,” in which he sings “I Can’t Give You Anything But Love” with Lena Horn.
March 26, 2009
There are some good exercises listed (with links to demonstrate proper form — and sometimes to show you what to aviod — in video and in word) in Top Bloggers & Strength Coaches spill their 3 favorite exercises.
Exercise makes your consciousness sharper and makes your whole nervous system work in a purposeful, functional way. Exercise conditions the body of which the human brain is an integral part, and both of which the human mind is an integral aspect. We were made to take action in the world; too much sedentary behavior is contrary to our nature, just as irrational behavior is contrary to our nature — when you understand that “rational” describes the nature and manner of functioning of our consciousness, it does not describe some bauble of mind or some kind of “hat” we can put on and take off but which is irrelevant to human life.
(Update, 10:45 AM: redid this paragraph.) The fact that we have emotions is not a counter-argument to this. Emotions are “reactive,” for one thing — part of what I mean by “reactive” is “automatic:” I mean that emotions are hard-wired in us in the sense that we have them and there is nothing we can do about it. And just as our automatic heart beat is neither rational nor irrational, so also our emotions as such are neither rational nor irrational. It is more (1) what we do in response to our emotions and (2) whether we judge something as good or bad for us (which results in love or hate (etc.) being automatically associated with those adjudged things) that is rational or irrational, I think. Another thing to notice is that our emotions sometimes are very generalized, sometimes apply to abstract categories of things, can be thrown askew by bad choices (or by insanity, etc.), can apply to things timeless and universal — i.e., our emotions have been transformed from what animals have to something having characteristics like those of the products of reason. Does this not suggest and imply that our emotions happen in context of (or “as conditioned by”) a rational form of consciousness? (The Greeks were the first, to my knowledge, to differentiate — explicitly and philosophically — emotion from ideas. They identified that emotions are transient and particular, but ideas were timeless and universal. Notice how contrast is the engine of induction — the Greeks drew conclusions by contrasting emotions and ideas. But we should also contrast human emotion with animal emotion — to see that our emotions are radically transformed by the rational consciousness that evolution gave us.)
Exercise because it’s healthy — for both body and mind. And we need to do whatever we can for the health and proper functioning of our mind, as reason is our tool of survival.
March 25, 2009
Toscanini Online says:
Arturo Toscanini was born in the city of Parma, in Italy’s fertile Po plain, on March 25,1867.
Toscanini quickly established himself as the first Italian conductor of world-class talent who was as interested in foreign repertoire as in domestic works, in symphonic music as in opera, in the classics as in the moderns. He performed Wagner’s music with passion and intellectual rigor – in Toscanini’s student days Wagner had embodied Europe’s musical avant-garde – but he performed with equal passion and rigor the works of many composers whom Wagner had detested, notably Verdi and Brahms. In the lyric theatre, which had often been held hostage by star singers and their caprices, Toscanini gradually imposed a system in which solo voices, chorus, orchestra, stage movement, sets, costumes, and lighting were all given maximum attention in order to create what Wagner had called the Gesamtkunstwerk – the complete work of art. At the same time he began to demand more highly skilled playing from orchestra musicians than his predecessors had considered necessary. To his way of thinking, the sense and spirit of a piece of music could not be expressed if the notes were not played in tune, with their proper rhythmic values, at a tempo close to the one indicated by the composer, and in correct textural balance against all the other notes being played at the same time. All of this was merely a point of departure for achieving something much deeper and more valuable, but it was nevertheless a sine qua non. To achieve all of these goals Toscanini fought great battles, and his terrifying temper became a legend in the musical world. The result, however, is that most professional musicians from his day to ours – even those who disagree with his recorded interpretations – are direct beneficiaries of his lifelong struggle.
See also the bio on ClassicalNotes.net.