Come on in, please have a seat. It's my pleasure to introduce our second keynote speaker of this 38th annual conference of the American Literary Translators Association. I'm going to do that in just a second. I have a couple of announcements. First, a big thank you to the NEA National Endowment for the Arts for helping us put on this event. Is Moe Sheriff still around? He's not here. If you see Moe, yesterday was his birthday. He arrived on his birthday. So you might, Moe came from Washington just to be at this conference, and he traveled on his birthday. And I forgot to wish him a happy birthday yesterday. So if you see him, please do that. Thank you to the Poetry Center of the University of Arizona for sponsoring this evening's event.  The summer residency for poets, details are on their website. Submissions are going to be from January 15th to April, I believe, 3rd? 3rd, is that correct? Anybody from the Poetry Center here? Anyway, I think that's right, and it is on their website. Also, I'm sorry, board members for ALTA. We need to meet at 7.30 tomorrow morning. We were going to meet at 8, so it's only 30 more minutes. So you grab something at the breakfast and bring it in with you. Same room we met in this morning. Sorry about that. We're just not going to finish. Also, I want to announce it's in the program, but several people have been asking. Next year's conference is in the program. We're at which page it is on. It is on page. I should know it immediately. ALTA 39, it's on page 41, and it is called Translation and Crossing or Crossings. I'm not sure about that S. We're still thinking about that. And it is in Oakland, California, so it's in the Bay Area. I believe it's in a downtown Marriott Hotel, so it's like a 10-minute boat ride to San Francisco. It is October 6th to 9th, and so it's earlier in October than we've been meeting, and also there is a change. Please notice this. The 6th to the 9th includes a Sunday. And that was what the hotel could give us. And so rather than starting on Wednesday evening, the pre-conference event, we're going to be starting everything on Thursday. There won't be anything on Wednesday. So some people who always have trouble getting there midweek will be happy, and others will be, I don't know, sad. I don't know why you would be sad. We're just including a Sunday in the conference. So please note that when you're thinking about your travel plans for next year. All right, those are the end of the announcements. Oh, this is a big program. I feel like those readers who are looking for things in their book, oh, it's a really good poem. Hold on a second, let me look for it. All right, so our second keynote. Jerome Rothenberg is an internationally celebrated poet, translator, and performer with over 90 books. That's 9-0, books of poetry and 12 assemblages of traditional and avant-garde poetry, such as Technicians of the Sacred and Poems for the Millennium, volumes one to three. In addition to the numerous translations that appeared in these anthologies, his work as a translator, beginning with new young German poets in 1959, has included books of translation from Lorca, Nezval, Schwitters, Gomringer, and Picasso. Selections from many of them brought together in writing through translations and variations in 2004. His most recent big books are Eye of Witness, a Jerome Rothenberg reader, and Barbaric, Vast and Wild, Poems for the Millennium, volume five, both published by Black Widow Press. A new book of poems, A Field on Mars, poems 2000 to 2015, is scheduled for publication in Jusca, two publishers, Press Universitaire de Rouen et du Havre in joint English and French editions. Please join me in welcoming Jerome Rothenberger. It's really a great pleasure to be here, among so many translators. I've never been in a situation like this before, and I really look forward to it and to bring up questions here about translation as it enters into the composition, the work of poetry, with a particular reference, of course, to my own work. And I thought, in some sense, to dedicate it to millennia of translator poets. I don't know if, for other writers, a translation plays that big a role. But translator poets go back to Catullus, transcreating Saffo from Greek to Latin, Chaucer as translator of Boetius and Le Romain de la Rose, Chapman and Pope and Dryden, Shelley and Rosetti and Swinburne, Baudelaire's Poe and Baudelaire's de Quincy, Herldelin, Sophocles, Neavals, Goethe. And then all the poets of the previous century coming into the present, many of them contemporaries of mine. About this, I could go on and on, but that's not why I'm here. So I would call this, or I've tentatively titled it, translation without limits and the limits of translation. And I would like to talk, however briefly or not, about the ways in which translation has served me as a form of composition and as an underpinning for much of my work as a poet and a writer. I have never thought of myself as a professional translator since my grasp of any language other than English has been limited. And I'm also very modest about that. It's maybe not been that limited. And that has made any translation that I've worked on a slow and sometimes very indirect process, often too in the case of languages that are exotic from our point of view in collaboration with other translators. I have not as a rule added to or subtracted from the original when translating as a rule, but within those limits I have thought of myself as a poet using translation as a means for making poems or bringing new poems into English. And also, of course, to spread the word about the poets and work being translated. Even more than that, I have a need, I emphasize a need to translate and by translating to connect with the work and thought of other poets, a matter of singular importance to me and what I have long taken to be my project and the central activity of my life as a poet. I do not think of this as in any way unusual, although it's taken me a long time to recognize it for what it is. Many writers, but poets in particular, inherit and carry forward the works of those who came before them. In my own case, the work I've done with ethnopoetics and with the construction of anthology assemblages along with a devotion to the experimental as a basis for my writing has made such considerations still more central to my practice. Looking back at it now, it seems inevitable to me that I would have gotten as engaged as I did with translation and for translation to have had the influence it did on the work I was doing. A part of that work, of course, was directly connected with the opening of such a field as ethnopoetics. My own efforts had followed others in the use of collage and appropriation as a way of opening our individual or personal poetry to the presence of other voices and other visions besides our own. I came to think of all of that, appropriation, collage, translation in ideological terms. Long before our time, Whitman in Leaves of Grass had set the task very plainly. Through me many long dumb voices, voices of the interminable generations of prisoners and slaves, voices of the disease and despairing and of thieves and dwarfs, voices of cycles of preparation and accretion, and of the threads that connect the stars and of wounds and of the father's stuff, and of the rights of them the others are down upon of the deformed, trivial, flat, foolish, despised, fog in the air, beetles rolling, balls of dung. This was in the section of Leaves of Grass called Song of Myself, that bringing together of the individual voice with a sense of a total and suppressed humanity. And it was reborn for us, for me certainly, in Charles Olson's rant, say, against the lyrical interference of the individual as ego, or in Robert Duncan's call for a new symposium of a whole, a new totality among my immediate predecessors and near contemporaries. I have practiced translation in one form or another for more than 50 years now. My first published book, in fact, was New Young German Poets in 1959, a year before my own first book of poetry. That book included first-time translations into English from poets like Paul Celan, Hans Magnus Enzensberger, Günther Gras, Ingeborg Bachmann, and Helmut Heisenbüttel, who would become major German authors in the decade that followed. In the 1960s, I adapted Ralph Hochutz's play, The Deputy, Del Stelfeträte, for its Broadway performance, did further translations from Enzensberger's poetry, and began to make occasional translations of Dada poets like Hans Arp and Richard Hülsenbeck from German and Tristan Saar and Francis Picabia from French. I had also become engaged with translations from Spanish modernists, much of it from my own recreation and as a way to better to understand the work at hand. And from 1960 on, I began to use translation as a way to channel material into publications and readings, performances of my own. So looking back to that, first very serious translations for me, I think part of what I was after was a translated version while keeping close to the original that allowed me to perform it. I needed a performance version. We were coming into the performance of poetry on our own. And did it read a lot? Did it perform? I mean, that was one of the things. I translated some early Télan, the most notable poem of his at that time and probably for many, even thereafter. The Death View, Todes Fuge. So I'm gonna read just the opening of Death View in German and then the English. Schwarze Milch der Früh, wir trinken sie abends, wir trinken sie mittags und morgens, wir trinken sie nachts, wir trinken und trinken, wir schaufeln, ein grabenen Lüften, da liegt man nicht eng. Ein Mann wohnt im Haus, der spielt mit den Schlangen, der schreibt, der schreibt, wenn es dunkelt nach Deutschland, dein goldenes Haarmarkeräter.    And translating from Spanish, the poem by Pablo Neruda, that he gives the English title Walking Around, and there's a kind of variation on that, you know, I give the title of the English translation as Walking Around, I don't know what Neruda was picking up on with the title, but I have the sense that there's some kind of, you know, pop relevance in that, you know, and you know, looking towards elements of the Yankee culture. Sucede, que me canso de ser rompre, sucede, que entro en las sasterias y en las cines, marchito un peletable, como un cisne de fiel tro, navigando en un agua de origen y ceniza. It just so happens that I'm tired of being a man. It just so happens that I walk into tailors shops and movies withered and penarable, flannel swan that steers across a sea of origins and ashes. The odors from a barber shop can start me bawling. I only want a little rest from stones and wool, I only want to see my last of institutes and gardens of merchandise, of eyeglasses, of elevators. It just so happens that I'm tired of my feet and my nails and my hair and my shadow. It just so happens that I'm tired of being a man. And yet how delightful it would be to threaten some accountant with the head of a lily or murder a nun with a blow on the ear. How beautiful to go through the streets with a green knife and holler out loud till I die of frostbite. I don't want to keep on being a root in the darkness, a resolute pill pulled from all sides till a dream leaves me shaking, dragged down through the seeping bowels of the earth, absorbing and thinking stuffed with food every day. I don't want all that grief on my shoulders. I don't want to keep on as a root in a tomb, alone underground the wine cellars stocked with the dead, frozen stiff half gone with the pain. So the day called, Monday starts burning like oil when it sees me pull in with my face of a jailhouse and it howls on its way like a wounded wheel and leaves tracks of hot blood in the direction of night. And it shoves me into certain dark corners, into certain moist houses, into hospitals with a bone sail through the windows, into certain shoemaker shops with their odors of vinegar, into streets full of terrible holes. There are birds the color of sulfur and horrible guts that swing from the doors of houses that I hate.  There are mirrors that ought to be crying from shame and terror. There are umbrellas wherever I look and poisons and belly buttons.  I move on. I wander through offices and orthopedic shops and courtyards where clothes are hung from a wire, underdraws, towels and nightgowns that cry, slow tears full of dirt. I'm balancing a few things up here. So there was for me a kind of channeling. That was what I was looking towards. And where the channeling turns up most clearly in my own work, assuming it is my own work, is in the acts of translation that are an underpinning for the big books, the anthologies or assemblages, beginning with technicians of the sacred and shaking the pumpkin in the early 1970s. It was there that I could let rip for the first time with those voices and find myself absorbing, thrillingly, something that was far more than myself. And the translation led me also to an interplay with poets closer to my own time, Schritters, Lorca, Nezval, Nakaharachuya, among those I've done in abundance, and finally, most surprisingly, to me, Picasso. For me too, the big books were a kind of assemblage a grand collage in Robert Duncan's phrase, very much like the translations in terms of what they allowed me to do or to be. In the big books, the ethnopoetic ones in particular, I was engaged with a range of processes related to but not always identical with that of translation. Some of those processes involved the enhancement of previously existing translations, while others, the more interesting from my perspective, involved experimental forms of translation with perhaps an emphasis on the translation of oral poetry and conversely, a visual poetry, a fascination with what had been thought of as untranslatable forms of poetry. In the 17 Horse Songs of Frank Mitchell from Sources in Navajo, I engaged in what Dennis Tedlock and I were calling total translation, going beyond the semantic level to try to find equivalents for the non-lexical, untranslatable vocables in Navajo's song and even most outrageously for me, equivalents for the music, the melodies by which the words and sounds were carried. Other Indian song poems, these mostly from the Seneca, were short combinations of words and sounds which I chose to translate as a kind of visual, concrete poetry in order to bring across the curious complexity of otherwise simple or minimal forms by calling up an image of similar minimal forms in our own, presumably sophisticated and developed arts of language. I also found a way to sing them, to sing the Seneca poems later. So first there were translations that resemble that if you can think back to when concrete poetry was really a going enterprise. And in shaking the pumpkin, the Indian book, they appear at the very beginning of the book. But then I found that I could sing them also. Things come along and surprise you. And along the same lines, while working with contemporary poems that were themselves experimental, I undertook the translation of a large group of often minimal poems by the German concrete poet Eugen Gomringer, finding those curious vehicle to get down to some fundamentals about the nature of both poetry and translation. So for this, I'm going to introduce for me an instrument of translation. And perform translation of a Seneca Indian ceremonial poem song that opens a ceremony that the Seneca's called Shaken the Pumpkin, that sometimes isn't identified in the old anthropological literature, songs for the society of the mystic animals. The are coming, the animals are coming, the animals are coming, the animals are coming. And that was translated with Richard Johnny-John, traditional singer and song maker and my adopted father. Since I've had time with the assistance of the great American ethnomusicologist, David McAllister, I began the translation of a series of horse songs, horse blessing songs from the Navajo. And there, in that Seneca song, there's one word, you know, although the Seneca's are a very verbal people, you know, but it's a delivered cut down to a song with one word, you know, dayon d'awachi, yeah, they are coming or coming. Subject not even specified, which I expanded into the animals are coming for your benefit. The Navajo songs are longer, a combination of words and previously untranslatable vocabals and word distortions and, of course, they're all sung. So first I translated for meaning and for some of the sounds and then I had to find, to complete the translation, to make it a total translation, a way of dealing with the music. And so I translated the music into my voice and I'll sing a shortened version of the first horse song of Frank Mitchell. The song is very, from one to the next, between blue images and white images. The first horse song is blue. The story behind it is the hero God, enemy slayer, is sent by his mother changing woman, the earth goddess, to the house of his father, the sun god. And in the first horse song, he identifies himself, boy raised in the dawn, describes the house from which he comes and to which he goes, a blue stone house, a blue stone home, shining home, swollen home, and just give you a lead into it. I'll do a short version of what we would then call in total translation. When can all are now summer there and mine? Oh, can some gwing there are mine? Oh, can some gwing there are mine there? Mm, mm, gone, all are now summer there and mine. Oh, can some gwing there are mine? Oh, can some gwing there are mine there? Mm, mm, can't be, cause I was a boy raised in the dawn and them there are mine? Oh, can some gwing there are mine there? Mm, mm, can't and in the house the shining gwing, can and some there are mine? Oh, can and some gwing there are mine there? Mm, mm, can and in the swollen house is red as blown and munt, some there are mine? Oh, can and some gwing there are mine there? Mm, mm, can with my feathers that are blue? Mm, mm, can and some there are mine? Oh, can and some gwing there are mine there? Mm, mm, can with those bearded horses that are blue? Mm, mm, can and some there are mine? Oh, can and some gwing there are mine there? Mm, mm, can with those horses that are blue stone? Mm, mm, can and some there are mine? All gone and some green there are mine there. Mm, mm, gone with jewels of every kind to be he there. Mm, mm, some there are mine all gone and some green are mine there. Mm, mm, gone with sheep of every kind to be he there. Some there are mine all gone and some green there are mine there. Mm, mm, gone with men of every kind to be he there. Are mine all gone and some green there are mine there. Mm, mm, gone and everything that's gone before and brewery walk upon. Mm, mm, some there are mine all gone and some green there are mine there. Mm, mm, gone my horses are living to be old and blessed not. Mm, mm, some there are mine all gone and some green there are mine there. Mm, mm, gone because I am the boy who blesses to be and mm, mm, some there are mine. All gone and some green there are mine there. Mm, mm, gone all are now summer there and mine. All gone and some green there are mine all gone and some green there are mine there. Mm, mm. Yeah, it was something I never thought I would be doing. Yeah, but that's where these things take you. And that's good. So all of that remains central to me, the translations I mean, and those other suppositions and legitimate acts of othering, something like what the great Portuguese poet Haroldo de Campos called transcreation, those other legitimate acts of othering that underlie my total project.  In the Lorca Variations, a series of poems from the early 1990s, I took a step beyond translation by writing with Lorca or my translation of Lorca's book length, early book series of poems called The Sweets. Taking that as my source, isolating his nouns and other words, which were by then my own in English, and systematically recasting them into new compositions. So this is translation, you know, fairly straightforward, but I try to make it sound good, called, I think in the Spanish, simply Newton, you know, and in the translation that I did, a Newton suite. As a suite, it's made up of a number of smaller poems, and it's very playful, you know, and one comes to realize is, you know, not simply the Lorca of Intensities, the Lorca of the Imagination, you know, but the Lorca of Play, the Lorca of the Fancy. Newton's Nose, onto the nose of Newton, a large apple falls, a meteor of truth, last fruit to dangle from the tree of science, and Big Newton scratches his Saxon nostrils, a white moon over these barbaric strings of lace, the beech trees. In the woods, the gnomes astride their secrets, tear their beards out, they tie up death and make the echoes mislead men with mirrors. In a corner lies the secret, in the open dead, his companions mourn him a blue boy with iron feet, a glowing star between his eyebrows, his companions mourn him, and the green lake trembles in the wind. Harmony, waves rhyme with sighs and stars with crickets, a tremble in the cornea, the whole cold sky, a dot, a synthesis, infinities. But who joins waves with sighs and stars with crickets? Just hope these geniuses be missing something, the proofs keep drifting by among us.  Newton was taking a walk, the worms gnawed through his apple, the wind hummed in the trees, the river beneath the branches. Wordsworth would have cried. The philosopher was striking unimaginable poses, was waiting for another apple. He ran along the road, he stretched out by the water, he saw how his face would sink in the moon's reflection. Newton wept and high up in a cedar, two old owls yammered. Slowly in the night, the wise man went back home. He dreamt enormous pyramids of apple. Question. Why was it the apple and not the orange, or the polyhedral pomegranate? Why this virgin fruit to clue them in, this smooth and gentle pippin? What admirable symbol lies dormant at its core? Adam, Paris, Newton, carry it inside their souls, and fondle it without a clue to what it is. The law of variations, 11, Newton, prose poem, three parts. One, the man had green feet that vaulted them into the open and could flaunt their secrets. Lace brushed lightly against their nostrils as the apple tree loomed over Newton with its fruits. It is so Saxon to find gnomes with string, to watch your echoes drifting off in secret, your lost companions jangling irons in the wind.  In the woods the moon showed Newton where the truth lies, covering his nose. He slammed into a meteor named Newton. He mistook it for a science that was white, like beech trees or like beards, but once he caught it in his mirror, saw it turn blue again. At length it looked like every other star or lake. Two, every wise man considers himself another Newton, a philosopher musing beside trees and water going for a walk, pulling genies out of waves in the sky, with which sigh makes a perfect rhyme. Their corneas are focused on infinity and disregard the lowly cricket just as Newton did, and just as Newton knew the wind or words worth knew a certain word to be the night's reflection, so apples floating on a wave of crickets make a synthesis more powerful than stars. Philosophers should play guitars then, reaching for those apple branches where the moon's a lowly apple. Pyramids adorned with owls express a kind of harmony, and stars are dots and are a proof of death more powerful than worms. What if the river strikes a pose? The cedar will show a face that brings it home. Three, there isn't a clue that the fruit into which Adam bit was an apple and not his lady's breast. Above them Pegasus kept flying past, all in the name of sciences. The virgin handed him a second apple, which Adam turned into a questioning of history. Deep in its core, the virgin saw souls rise and fall. The symbol Newton later found inside a pomegranate. Only a child can play with apples and touch beauty. Newton and Adam both were satisfied with Eve's reply. The first she gave when she woke up in chains, her innocence laid by, Paris in the other tale, held up an orange. In another series of poems, Gamatria, I used a traditional Jewish form of connecting words by numerological methods and a word list of numerically arranged words and phrases from the Hebrew Bible to make a poetry as with the Lorca variations that I thought was both personal to me and was created by means that shared in what Blake saw as the most sublime act to set another before you. And still more recently, in a work published in 2004, a book of witness I have used the first person voice, the pronoun I to explore whatever it is that we say for ourselves, not only my personal self, but that of all others and by that process can even and meaningfully put identity into question. But I think what I'll do is read from the Gamatrias. And this was with the assistance of a book by a man called Locke's Gamatria, the Spice of Torah. A computerized listing of all the words in the Torah, the first five books of the Old Testament arranged according to their numerological value in a system where every letter is also a number. So just the, you know, going by the numbers, the numerical values of individual words, you know, and then, you know, also making computations, adding words on to words, allowed me to write a series of usually minimal poems. So from, you know, part of the collected Gamatria, the number is 50. His red, unclean blood, earth and water, the atom, the man, fat and bloody, the angel one, a star shall uncover, the angel two, his king, the number is 96. Gamatria 105, man the blasphemer, man the bold locust, 120.  But then I found later that I could make extended use of these in a series of poems that I wrote. You know, and notice doing the Gamatria, of course, using this source computerized text, these are all biblical words, that already creates a sound and a series of echoes. A friend was memorializing the Holocaust in a series of monumental charcoal drawings, drawings, aerial views of 14 of the death camps and wanted poems to accompany that. He was going to take it out of another book of mine. I said, no, I will make poems using Gamatria and the hebraicized names of the concentration camps and going through and finding my words there. The first station, Auschwitz-Birkenau. Now the serpent.   I realize where I am at this point is already at a considerable distance from what my more literally directed side and yours would recognize as translation, that it begins to touch on what I have elsewhere and persistently spoken of by that word, othering a word that my spell check refuses to recognize as legitimate. Still, I would like to digress for a few minutes to speak of collaboration as it touches on translation and as a foundational part of my poetics and an antidote perhaps to those anxieties of influence that were injected into literary discourse some 40 and more years ago. Translation is, of course, at its best the joyful acceptance of influence, the looking for influence and shared voices in the process of creation and transcreation, therefore my love of translation. In that sense, too, it opens to an acceptance of collaboration and community, however problematic they may sometimes be as foundations for the work at hand. And I would take translation as a metaphor for the entire poetic process. My overall experience of collaboration goes well beyond translation, works with artists and musicians, with editors and book designers, with performance troops like the Living Theater, with poetry readings and publications shared or organized in common, all of which I came to see rightly or wrongly as a principal mark of the avant-garde in poetry and art. This idea of an avant-garde, at least as I conceived it, is or was the work of individuals acting together and effort somehow in common even if performed one by one. There are times, of course, when an individual proclaims himself or herself to be an avant-garde, but I don't believe that there are strictly speaking avant-garde of one. There are great and unique experimentalists who operate in isolation, but that, I think, is something different, referential sometimes to an avant-garde but different. And there are individuals also, Bretons or Marinettis, who dominate their avant-garde probably to no one's advantage. Strong individuals like that, I now believe, were not only influential in forging their avant-garde, but were responsible as well for the ephemeral nature of what they had created. In that sense, it's also possible that avant-garde are destined for short lives, hellbound for self-destruction, or an aspect, maybe, of what Tristan Sarah might have had in mind when he told us that the true datas are against data. Cooptation by the art market or the book market or the academic market is, of course, another factor to consider. In addition, I thought of the big books of mine, which were as often as not co-authored with one or two other poets or editors, not so much as anthologies, but as assemblages or collages that fulfilled for me the primary function of collage to bring the words of others into the work at hand. It was a recognition of something like that, I think, that freed my own poetry to be more than it had been to start with. It also energized me in the direction of translation and activity that I pursued into the present. Even working as a solitary translator, I felt myself in an interaction with whoever I was then translating, and I came to believe that all translation of poetry, at least, was inherently a matter of collaboration. I've called such processes both through translation and collages, that's also othering, and I've spoken about them elsewhere. But every translation enters into a collaboration wanted or unwanted with the source of the translation. But to carry on the translation work in particular, I often had to call on the help of others either because the task at hand was too big or too foreign or needed more than my own voice to make it stick. With the ethnopoetic books, I thought all of this was obvious. Technicians of the sacred and shaking the pumpkin were assemblages of mostly translations, generally as I found them, but sometimes with interventions of my own. The range of languages was vast and my own competence outside of the European sphere was non-existent. On two principal occasions, I came more properly into the translator's roles, those from the Seneca and the Navajo that I've already shown. Aside from that, and apart from the ethnopoetic experiments, there were Hebrew translations with Harris Lenowitz for a big Jewish book and a more recent book of poems from the Czech modernist poet Lavnezval, where Milo Sovak was my co-translator. In addition to which, the ample books of poetry from Schwidders and Picasso were assembled alongside Pierre Joris and in the case of Picasso, a number of other poet translators whom we brought together for the project, including Jill Levine and Diane Rottenberg, who are present here. It is in this context then that I would speak of translation with a recognition that my own work, as well as that of others, is not only experimental or avant-garde, but practices all those forms of translation that John Dryden spelled out beautifully centuries ago. Metaphase, paraphrase, imitation, three procedures with varying degrees of departure from the original. Or put another way, I'm mindful of the observations nowhere attributed to Wallace Stevens that all translation is experimental translation, to which I would add that all translation, at least of poetry, is collaborative translation from the perspective, at least, of the poet translator. As such, my own experience has been that when I'm most intensely into the work act of translating, setting another before me, Blake's most sublime act, I am or I feel like an actor immersed in a role becoming that role or character, or like a dancer, say, responding to the movements of a partner, then thrown forward to do the dancing of my own. The Lorca variations, which I mentioned earlier, are the clearest example I have of this, from translations in immediate response to Lorca developing my own rhythms as I go, but always with Lorca to guide me to poems of my own, which retain words from my translation, but leave me free to compose anew. With that in mind, I want to end with a two-fold exploration of myself, not as translator, but as the object of translation and variation. A few years back, while I was preparing with the Mexican poet, Heriberto Yépez, a large anthology-like assemblage of my own writings, not in Spanish, but in English, called I Have Witnessed Jerome Rothenberg Reader, the retrospective nature that worked opened me to the idea of applying to earlier poems of my own the procedures I had followed for Lorca and others in the variations. That meant, as with the other variations, taking a poem of some length, isolating mostly the nouns and some adjectives, rearranging the order in which they appeared and using them as what Jackson McLo called nuclei in the seeding or composition of new poems. I was also mindful of two statements attributed to Henri Matisse when he was my age, or possibly a little younger. One should be able to rework and old work at least once to make sure that one has not fallen victim to one's nerves or to fate. And again, when you have achieved what you want in a certain area, when you have exploited the possibilities that lie in one direction, you must, when the time comes, change course, search for something new. So I'll read a poem from the early 1960s for a series of poems called The Seven Hells of the Djigokuzoshi, traditional Japanese scroll of hells. And I played off the traditional titles given to the hells and those images. The second hell of thieves, where thieves are ground in mortars, I'll just read the opening of this and then the variations I play on it. The thieves, the thieves, the lovely thieves are no more. The shore is washed by the sea, the sea is combed by the wind. The wind sleeps all day in the chimney, it moves through the house in the evening, it wakes us, it opens the door for the sea. It walks where the thieves walked, it leads us into a night without windows. Comfort me, stay with me, light of my eyes, the lovely thieves are no more.  When a wind blows in from the sea, a door swings open and light white as hell nearly blinds us. Night begins later, the skin on my fingers flakes off, a rank wind shakes the ladders we climb on, the earth more distant for which we still hunger the sea, filling up with our tears, our voices lost in the wind. Thieves who scour our shores at evening, whose voices sound under our windows, whose tears hide our pain cry out with one voice, one voice past shadows and windows, one voice for earth, one voice for water, and thieves dressed like thieves, a hell like no other, a house overlooking the sea on a night when coins ring, and death has a voice like a thieves voice, earth returning to earth, then to water, a voice thieves disemble in dreams, thieves in a sea and a chimney, down which thieves clamber, more thieves in the snow, skin and hair growing white, a shadow that thieves spill like blood, like the voice from a stone, the voice of the dying, thieves and voices, shore, wind and sea, tears and eyes, fingers spinning a thread in fear of the sky and the earth, the thieves lost at sea, a grave and a stone left for thieves, where thieves vanish. The final experience of translation, however, of being translated, came on the various occasions when my work was being translated into another language, but particularly where I was familiar with that language and even more so where I was able to work along with the translator. That process in several instances was truly exhilarating, while it also brought me up against the limits of translation and the strategies of the translator in trying to address them. Some of this is obvious to all of us here and applies in whatever direction the translation is going, how to distinguish heaven from sky in most European languages or spirit from mind in others. For the former two, I ran into a problem compounded by an element of mind play. You see what I'm saying? Of course you all know. Heaven and sky are the same word in Spanish or French or German. Esprit covers both spirit and mind, and you can't give me mentality, and mind is very special to me. There's, I think, no real equivalent to it. So, yeah, I ran into a problem compounded by an element of word play when I included a short sentence in a series of manifesto propositions for which the translation could never be handled properly. So it's a manifesto. I will change your mind. Esprit doesn't do it. I will change your mind, as very lightly said, to lose the lightness of the English idiom is to make my manifesto into a kind of bluster that I'm not intending.  And that presents an obstacle, so that was interesting. An unresolved. Or there is another instance where I speak of mind changing into spirit, but I think there I was deliberately laying a trap. I did another example in a line and a poem title, The Sky That Harbors Heaven, which would in Spanish come out to be El Cielo that harbors El Cielo, which is a kind of interesting thing in itself, but not the same. Well, you know, there's sometimes an attempt to get, change heaven into paradise, but they're not the same thing. Also in poems, there are... I don't use structural rhyme very much, but poems that I write are laced with rhymes. And in one series of recent poems, now being translated into French, there's the basic poem, but in the manner of Emily Dickinson, if you know Emily Dickinson's, you know, multiple readings for her poems and those little fascicles that she made, I have some alternate readings for the words in the poem itself, and sometimes they rhyme. Results run backward, gathering in force until they end up in some sort of cavern miraculously well-lit and everyone there feels surprised and wonder. They are more like phantoms and like little men, a symptom of the way they cough and breathe, bob and weave.  She is a distant runner trained to smash against the wind and carry on until someplace draws nigh, where the whole point of speed is relaxation and execution. It fits in lessons are predicament until though no final strategy permits it, even so ebb and flow.  The more you fall through it, stall in it, the more it takes you to the birth of time, of rhyme. And I particularly wanted time and rhyme to come together, but they do in rhyming in a way that they don't when you can't rhyme those words. So that's the problem we're still facing with that. The translator tries, thomp and shunt. But I don't want to go after, I don't want to make the relation to shunt a song, you know, time and rhyme. Okay. An even clearer instance is a poem from a series that draws on images from Goya's master work, Capriccio's, and we're then translated into Spanish by Mexican poet, Terebert Riepes.  But most literally, un mono and un burro in Spanish. My poem, however, took the rhyming coincidences in English as a point of departure to seed the entire poem with rhymings.  Disciples of a donkey, do they come to learn attitudes and platitudes stamped on their reptile minds? That parrot, this carrot, are other signs for sure.    And there was consultation, and Heriberto as translator, he's very close to me, so, you know, we could talk it through, and what we came up with, un asno yun chango, and I think maybe if we had pushed it further, it could have been mico and burrico, you know, but then, you know, spunky and funky, all of those other good words. Yeah, one line, if I could, there's a rhyme that I pick up from, in the way I do, from another Japanese poet, translated by another friend, Hiroaki Sato, which Sato gives in English, it's that parrot, this carrot. Well, we couldn't do anything with that in Spanish, so we changed it to Esapaloma estagoma. Now, of course, that's, you will say, that's not translating the English. No, not really translating, we're doing what's necessary.  I mean, that's, you know, so there is the possibility where there's a working together, you know, between the poet of the original and the poet of the translation, you know, to work out things, to do a certain degree of rewriting, for the change of translation, the transformation into another language. So, yeah, since we were very close, we worked on several of the rhymes together, and at a couple of points, we rewrote the Spanish. It strikes me that more was possible here, you know, and maybe we'll get back to that in the years ahead. So I will close then if the time allows. Yeah, and it does. I will close then with a translation of my work that I was most able to incorporate into the performance of my own poetry once it came into my possession. The poem in question was the opening of Poland 1931, my attempt in the 1970s to create an ancestral poetry of my own in a world of Jewish mystics, thieves, and madmen. I'm quoting myself. That's probably bad form. Amos Shals, a translator whom I met briefly and who was a rabbi and teacher at Hebrew Union College in Cincinnati, worked up a translation of the poem into Yiddish, possibly with my assistants, possibly not. What resulted from my perspective was a perfect match for the English and allowed me the pleasure in performance to top off the range of Jewish works I was pursuing at that time, what the poet David Meltzer called my Yiddish surrealist, Vordville. For this I remain grateful to Shals, who is no longer alive, for a gift of translation beyond any that I ever had, either then or later. I'll read it first in English and then in Yiddish. Poland 1931, the wedding. My mind is stuffed with table cloths and with rings, but my mind is dreaming of Poland, stuffed with Poland, the imagination to a black wedding, a naked bridegroom hovering above his naked bride. Mad Poland, how terrible thy Jews at weddings, thy synagogues with campfire smells and omens, thy thermos bottles, thy electric fogs, thy braided armpits, thy underwear alive with roots, oh Poland, Poland, Poland, Poland, Poland, Poland.  Oh Poland, thy beer is ever made of rotting bread, thy silks aren't linens, merely thy tradesmen dance at weddings, where fanatic grooms still dream of bridesmaids, still are screaming past their red mustache as Poland.  Oh Poland, oh sweet resourceful restless Poland, oh Poland of the saints unbuttoned Poland, repeating endlessly the triple names of Mary. Poland, Poland, Poland, Poland, Poland, have we not tired of thee, Poland? No, for thy cheeses shall never tire us, nor the honey of thy goats.  Polen, 1931, der Krasne. Mein Miach ist ungestuppt mit Tischtachern, mit Fingerlack, aber mein Miach, Holum von Polen, ungestuppt mit Polen, in dem ihn gebracht, so schwarze Krasne, an Aketer Chossen schwebt über sein Aketer Kala, mit tierwtiger Polen, wie schrecklich dein Jägen auf Krasnes, deine Schulen mit Kampferreches und Mandeln, deine Thermacen, deine elektrisch Tumanen, deine Unterwäsche lebte ich mit Wusteln, Hol Polen, Polen, Polen, Polen, Polen, wie deine Glocke angewickelt mit Blumen klingen, wie sie offen in ihre Zungen zu kischküchen, die Lewone, alte Lewone, alte Mama, geblieben stecken in dein Himmel, du allein, an alte Glocke und a Zunge auf verleuerener Äther. Oh Polen, dein Bier ist tommet gemacht und verfoltert heute, deine Seiden ist leidenbläuse, deine Socher im Tanzen auf Krasnes, wochers Sonnen im Kanäum fantasieren noch, wegen Kala schreiendig noch, durch sehr räuter Wontzes Polen, mit seinen gebliebenen Waken, deiner wehrer Armsäufe ebbeck, deiner fehlenden Sangeven für uns balsam, deiner Kischels fangen uns wie kränkliche Trachten und hitten uns, noch mich ducke sädeln, deiner wilder Krasnes Polen, da wir treten, da wir merken, wo deinem Wursten wachsen reif und fulde, da wir beißen, deiner Pfefferkorn soll dein Ochsen misst sein Zucker vor deiner geustes Dicke Jeden.  Polen, Polen, Polen, Polen, Polen, Seine mir nicht mitgeworren von dir Polen. Nähn, weil deine Käsen, weil uns Kehl nicht mitmachen und nicht der Honig von deiner Ziegen, deiner Ochsen, sondern arbeiten. Und züchricke, aber sehr schwebelicke Kales, während Kindlen mit Henker, während ständen wie Kelligen in deiner Tieren, verlarumnemen deine Beistittlach-Prollen und unheben Krain. Thank you everybody, and thank you very much to Jerome Rothenberg for an absolutely fantastic performance. There are books of his in the lobby, if you would, he's going to be available to talk a little bit in the lobby and maybe sign a few, so if you would like to, these are books that are not necessarily available at the book fair, at the book exhibit, at the hotel, so if you want one of those. Also Cafe Latino, don't forget those of you who are not, if you haven't had enough poetry this evening yet, or translated literature, at Cafe Passee. That starts at 8.30, okay? So thanks once again for coming and thank you Jerome Rothenberg.


Evers to push for more UW funding. Fire at three lakes in leads to water boil order. UW Stout Chancellor to retire. These and other regional stories are coming up on this edition of Community News Review. This is Community News Review, a service WSDS-TV news content provided by WHBL. I'm Maddie Fister and this is Community News Review for Ash Wednesday, March 6th, 2019. Governor Evers says he is looking to make a change in the way the state government treats education and the UW system. In a meeting with UW officials on Tuesday, Evers says that the Walker Administration disrespected science in their cuts to funding for education. He is planning on providing $150 billion for the UW system in his budget proposals. The stop was part of his continuing budget tour. The Evers budget also would continue the in-state tuition freeze started by Walker. Republicans say that they will not support the billion dollars in taxes that Evers is proposing to pay for funding. The entire budget needs to be approved by the GOP controlled joint finance committee and the state legislature. A state lawmaker has introduced a bill inspired by a serial horse molester. State Senator Andre Jacques, a Depeur Republican, admits it is a crime that makes most people cringe. It is not the sort of thing you can talk to your kids about, but it is certainly very important that you find ways to deal with your deviancy. The measure provides criminal penalties similar to those in other states and in addition prohibiting individuals who have already shown that they were willing to sexually abuse an animal, but they are not able to have easy access to owning a pet or being in occupations like a bus driver or daycare where they are going to be in contact with children on a regular basis. A Brown County man, Sterling Rochwell, has been accused of molesting horses for decades and is currently on probation for that. It certainly helps address the case, but also a lot of very similar cases, copycat crimes, is what really been going on issue in Wisconsin. While it might be as widespread as some forms of sexual abuse, we do see very strong linkages between animal abuse and abuse of children and other human sexual abuse. The bill passed the state assembly last session and Jacques says he is confident that it will pass both chambers this time. Residents in the Oneida County community of three lakes are being encouraged to boil their water before using it after a fire destroyed the Oneida village on Monday night. Crews were called to the inn at about 10.30 Monday night to find it engulfed in flames. Witnesses tell WAOWTV that the building came down in about 20 minutes. Crews have not determined the cause of the fire, but say it might be weather related. Shortly after the fire, a backflow issue was discovered in the Three Lakes Sanitary District, prompting authorities to issue a boil order due to the possibility of bacteria in the water system. While the bacteria is not harmful, it could cause conditions such as cramps, diarrhea, and headaches. Anyone who becomes ill during the boil order should talk to a doctor until an all clear is given. Residents are encouraged to use safe water or boil water before use. University of Wisconsin Stout Chancellor Bob Mayer is retiring. Mayer announced Monday that he will leave at the beginning of next school year on August 18th. He has worked at the university for 32 years and in a statement, Mayer said UW Stout will always have a special place in my heart. It is where I met my wife when we were both students here in the 1970s and both of us have a bachelor's and master's degree from UW Stout. He also has a daughter who is a UW Stout graduate. A university of Wisconsin officials say that the search for a new chancellor will not start until August. An interim chancellor will lead the school through much of the next school year. Season ticket holders have received a letter about a 2019 season ticket price increase. A brochure that went out in the mail shows prices are going up anywhere from $1 to $6. It marks the 10th straight season of ticket prices heist. For Christians around the world, today is Ash Wednesday, marking the beginning of Lent, which is always 46 days before Easter Sunday. Lent is a 40-day season, not counting Sundays, marked by repentance, fasting, reflection, and ultimately celebration. The 40-day period represents Christ's time of temptation in the wilderness where he fasted and where Satan tempted him. Lent asks believers to set aside a time each year for similar fasting, marking an intentional season of focus on Christ's life, ministry, sacrifice, and resurrection. According to Christianity.com, during a special workshop service, there is a responsive passage of scripture, usually centered around confession. Read aloud about the leader and congregation. Attendees will experience communal confession as well as moments where they are prompted to silently confess their sins and pray. After all of this, the congregation will be invited to receive the ashes on their foreheads. And usually as the priest or pastor will dip his finger into the ashes, spread them across a pattern on the forehead and say, From dust you came and from dust you will return. Traditionally, the ashes are prepared from burning palm branches from the previous Palm Sunday. And that is our report for today. Join me again on Friday for more local news and information on Community News Review.


So if I'm given a physical quantity with a number and a unit and I don't like that unit I know how to change it into the different number and the other unit that I want just by multiplying by one a few times But why would I prefer one unit over another? There are many reasons to do so for example as a unit of length a rough isn't very good because there's no standard height for a Scottish Terrier so it's very hard to check exactly how many roughs tall you are and same with meows It's very hard to stack cats to very high sort of piles particularly above two or more And so why would I change to different units? Well, sometimes I'd like the numbers to be reasonable I mean I could take a very very tiny unit length like a micron and measure myself in microns but I'll come out to be millions of them and Humans don't really like counting around really large numbers You'll notice that when I started talking about three and a half million joules in a previous example I convert it to mega joules because three point six is a kind of human-sized number I can think of three things or four things or three and a half But three and a half million is just a little bit hard for me to conceptualize And so we often change our units to try and make a more reasonable choice of number The absolute easiest way to do this is to use the metric multipliers So when we had three point six million joules, we already introduced the mega mega joule So mega anything is a million of them Or one with six zeros We're familiar with kilometer being a thousand meters and indeed a kilo anything is a thousand anything's There's also hecto for a hundred and deca for ten and desi for a tenth Probably the next most common one would be the centi a centi something is a hundredth E.g. a cent is a hundredth of a dollar and We have milli a millimetre is a thousandth of a meter and milli is a thousandth of anything We also have micro and nano below that and giga and terra above that and many more besides Once you know those and you know the symbols for these things so giga is Prefixed by capital G and mega is a capital M and kilo is a little K Micro is the Greek symbol so once you know those symbols you can make up all sorts of units anytime you have a unit You can always have a giga version of that unit or a kilo or a micro So for example, we might have seen Micrometers, so you know what a meter is that's a micrometer. That's a millionth of a meter. You might know kilometers You might be familiar with megahertz a hertz is a unit of frequency It's how many cycles per second so a megahertz is a million cycles per second or in terms of Computers you might have heard of gigahertz. You might have heard of centimeters. You might have heard of millilitres You might have heard of Nanometers, so many of those examples were meters But in fact all those things could work just as well for jewels You can have mega jewels or micro jewels or you could have mega watts You can have giga watt power stations and so forth So if you say that it's 1.04 mega roughs from here to Sydney and you tell someone that Then they're not gonna know what you're talking about because they don't know what a rough is And if you tell them it's the height of a Scottish Terrier and they measure their Scottish Terrier They may well get the wrong idea because Scottish Terriers aren't very standard and there's two important things You have to have in a standard system of units The first is it has to be easy to measure and the second is it has to be the same for everybody So we all have to use the same units and over the last few hundred years people have moaned and negotiated and tried to get towards something and we've done pretty well, so now all Countries in the world except for three except for Burma, Liberia and the United States of America Use what's known as the international system of units or the system in international the SI units the metric system Now there are enormous number of different SI units And that's just a small sample of them So don't be surprised if you don't recognize some of these and there are many others besides you almost certainly recognize the second and the kilogram and the vault and The Hertz and the meter or the Ohm maybe and the Newton But maybe you haven't heard of the Weber and perhaps there's no surprise There's such a large number of units and remember this is just a subset Because there's such a large number of different things we might want to measure the weight of a swimming pool The height of a tree the pressure under a shoe heel the conductance of a nerve Speed of a bicycle the brightness of a star maybe the wind velocity of course two of those the same So the speed of a bicycle and the wind velocity are both velocities in other words You both measure them in terms of distance over time Now one of the things that's done right in the metric system is that when you have a unit of velocity It's not a completely independent thing from the units of distance and time So we already have a unit of distance in the SI system and that's the meter And we already have a unit for time And so the conversion becomes very simple when the SI unit for velocity is indeed the meter per second And in fact there are lots of relationships between all these different units for example A Newton is a unit of force and force we will find is equal to a mass times an acceleration Which is the same as a mass times a distance divided by time squared and so the unit has got to be kilograms meters per second squared and indeed one Newton is exactly one kilogram meter per second squared So if I know what something is if I know that a force is a mass times an acceleration Then I can figure out that the unit for force must be a kilogram meter per second squared And I don't necessarily even have to know that that's called a Newton So you don't necessarily need the SI name although it'll often have a name All you really need to know is how it's built up of these other more fundamental things and that powerful thinking can even go backwards Sometimes if you know that the unit very well you can actually make a fairly good guess as to what that thing is So for example a Pascal, which is a unit of pressure if I tell you that that's one Newton per meter squared Which we could turn again into kilograms and seconds and meters if we wanted to if you knew that then you can kind of tell That it's a force per unit area So Newton is an amount of force and meter squared is an amount of area and indeed pressure is how much force per unit area Something has so how many of the really fundamental quantities are there well It turns out that nearly all of the SI units can be based off only for the kilogram the second The meter and the Coulomb so there's this stuff called mass. There's this stuff called charge Coulomb as a unit of charge There's this stuff called distance and stuff called time and out of those four You can build nearly all the others the only exceptions are the candler Which has something about how the standard human eye responds to light and the Kelvin which has something to do with temperature So these four fundamental quantities and nearly all physical quantities are related to them because the SI units have to be designed to be Easy to measure as well as standard for everybody. They don't actually contain these four fundamental quantities They do contain the meter and the kilogram and the second but the SI base units don't use the Coulomb They use the ampere which is the unit of electric current. That's Coulomb's per second That's the one that's defined because that's easier to measure it turns out There's also in the base units the Kelvin mole and the candler and those base units can be combined to produce all the other SI units


update good afternoon folks this is Steve Rhodes coming to you live from the shores of well today it is sunny delray beach florida this year one p.m. update curly of all the uncs that we track trading to the upside thousand five points three tenths of a percent s and p is up one and three tenths or 51 points the nasdaq is up two and six tenths percent at 321 points the upside the Russell's up eight tenths or 14 the semis are up nearly three percent 76 points golds of two bucks silvers up six pennies lights recruit up two dollars and 20 cents she's printed out in 97 18 natural gas back 45 cents right now printed out at 836 and a 30 year treasure up 15 ticks 142 19 let's go take their nine panel market update chart here's what we know about the e.s. many never left hand corner price yesterday pulling back and testing that bullish structured support area that's a bullish structured profile daily profile that's between the range of 3899 and 3928 that level held maybe signaling to us price going and targeting the top of that profile 40 16 that's a likely outcome as long as that spot ball tunics remains below its 50 day expense moving average which is comfortably below right now that is at 2647 and price straight at 2389 if take a look at the nasdaq gets to the nq pulled back tested and rejected support the bottom of its profile can't bust them the downside price going to try to bust them the upside that upside resistance level is in the 12579 range if you take a look at the u.s. valor index it's got a right what you can't see is that there's a the top that formed out there was a roadsman dominicator top that doesn't matter which transpired since then is nothing more than a consolidation with inside its profile support at 106 43 resistance at 10853 gold deluxe still has resistance got a bottom but it's got resistance been unable to get above that 1736 90 level so on any rally that's an area you'd be watching silver that has resistance that's really at the center of its bullet structure profile that's at the 1923 level lights we crude just consolidates got to buy the d-points two of them it's got currently buy patterns two of them prices consolidating with inside its daily profile now natural gas is pulling back and it did test and reject a td9 cal breakdown level yesterday you don't see that on this chart but it was making 100 percent move of the move there is a new profile that is attempting to form looks like it will hold that is below price that's a bullish message for natural gas it's bullish as long as price remains above eight dollars and 20 cents and a 30-year treasury right now is taken on the resistance of the top of its daily profile 140 206 you close above that you probably have an a to b equal cd to the upside folks stay tuned for the trader said show but if you're off to start your wednesday have a wonderful one thanks so much for joining us we look forward to seeing you again soon


Today we have just a tiny smidge of Tears of the Kingdom news coming from a retailer and also something that I know some people did notice back when the trailer debuted but honestly I didn't notice it till today so a feature that is factually part of Tears of the Kingdom is going to be discussed in this video. It was revealed in the trailers. It was hidden. Again not going to say I'm the first person that noticed this. I know others did but it hasn't been talked about in a long time from what I could tell just searching the internet so I'm going to bring that up again today. First up let's get into what we're talking about with the retailer news. So Micromania is a popular online retail outlet in France and today they updated their page for Tears of the Kingdom and it's quite in depth it's got a trailer playing in the background and all of that but when you scroll down the page you see some additional information and yes I'm using Google Translate for this. So first off the inside section says immerse yourself in the captivating universe of the legend of Zelda Tears of the Kingdom available from Micromania. Play as the hero in this thrilling action adventure game and help him save the kingdom of Hyrule from the forces of evil. With stunning graphics smooth gameplay and challenging puzzles this game will keep you hooked for hours. The storyline of this game takes you on a journey through the kingdom of Hyrule during your adventure you will meet many interesting characters fight fearsome enemies and solve intricate puzzles. The gameplay of Tears of the Kingdom is rich in action and challenges you'll use a variety of weapons and tools to defeat enemies solve puzzles and explore vast and detailed worlds. The game also offers plenty of customization options allowing you to customize your gaming experience according to your preferences. Don't wait any longer to live the ultimate adventure in the world of Zelda by the legend of Zelda Tears of the Kingdom now at Micromania. Now look this doesn't tell you a whole lot and there is a feature section as well that just basically summarizes everything that has already been stated. There's nothing else on this page but the interesting part obviously is the customizing the game to the way you want. This could be talking obviously about the gameplay like Breath of the Wild of course you know you could wear different outfits or use different weapons and it could be that sort of customization. It also could end up being a user friendly option or a handicap option maybe there is some additional controls in here maybe even things like changing the color space for some people who have certain types of color blindness. So there's a lot of different things that could be talking about in here to customize the experience. Some people might theorize motion controls versus not having motion controls like Skyward Sword HD but that's a debate for a different day that is what this website is saying and again I don't know if they really have any additional information most of this description is pretty generalized and maybe customization is just a reference to Breath of the Wild but it is something out there on a website that's really well built and from a retailer that is going to be selling this game and they get their copies directly from Nintendo. Sometimes we do get little retailer information leaks like this like Amazon description pages and stuff like that that occasionally give us more. This is the first time we've heard about customization options so again while it could be a reference to the prior game it is the first time we're hearing about this and that's one reason why I wanted to bring it up. Now another thing I wanted to mention today had to do with a prior trailer and this has to do with just something that's in the footage. If you zoom in to this little island section in the footage you'll notice a line that seems to be going from one island to another island that's off camera and hidden. Now this line has been speculated in the past to mean many different things. Is it a zip line? Is it a grind rail? I wonder if it's maybe like the carts that we get in the Goron area where on the other side of that line is a cart and we can drop a bomb and we can kind of ride a mine cart or something like that because it does look like it's a solid metal like structure. This is clearly a way of quick travel between the islands of course obviously when you're on a higher island going to the lower one you could just glide down. We've seen the sail cloths in the game. However maybe to go back up we don't have Ravalli's Gale or any sort of ability like that or the ability to light things on fire that raise us high enough so then we might have to get on that rail and ride it back up. Of course it could just be a moving platform and that's the rail the platform's on. We've seen rails with moving platforms in Breath of the Wild. There's a lot of things this could be. We just don't know what exactly it is. So the one thing we can speculate on is I think it's clearly a way of quick travel between some of the islands. Now what's interesting is it's not like this rail system looks super intricate and like it goes between all these little islands we're seeing. So it doesn't look like it's something that's going to exist for the entirety of sky exploration but it might be there to maybe go from major zone to major zone in the sky at least ones that are really close. Obviously when you're looking at one that's a mile off there's probably not a giant rail system connecting something that far away. Then again maybe there is we haven't really seen a lot of this game and that's what makes this type of stuff fun. The speculating on does the customization thing mean anything? Does this rail mean anything? Because frankly we don't know a lot about Tears of the Kingdom. Like we have theories out there that this is going to be the final game for Zelda and that Zelda is going to die and not be reincarnated in any way or that this is the last game for Ganondorf and it's the end of him or Demise is coming back or this is just like the beginning of another like five games coming up or the Zonai are going to do some crazy things or the Goddess Hylia is coming back or Phi Phi Phou Phum like there's so many theories out there because of the lack of information this rail or whatever this is is a real thing but what it is exactly what it means the method of travel that is obviously highly speculative as is what that retailer page says out of France so what I want to do is have you guys go down into the comments down below and let me know what your favorite method of travel would be to go between the sky islands is it simply gonna be jumping and flying with the sailcloth would you prefer a teleport system obviously we know with shrines and stuff we got to teleport all over in Breath of the Wild but what if this is a different one like an aimed teleport type system would you like to see you know mine carts be up there like we saw in the Goron area or some other new form of travel you guys let me know what you would like to see I know someone want to use gonna say you want to just fly a loft wing I hear you I also want my team in one of those flying dragons and that would be pretty sick wouldn't it I don't know I'm just I'm just spitball in here I'm just one man talking to the crowd you guys let me know your thoughts on this and that retailer stuff for tears of the kingdom is it you know exciting stuff is it something new or is it just a bunch of generalized terms that mean a whole lot of nothing could be either way hopefully we find out this week with a Nintendo Direct and they blow out for tears of the kingdom that's what we're crossing our fingers for but we don't actually know right right I mean I don't know maybe you know one of you has an uncle that works at Nintendo right one of you your uncle wait no your father is Doug Bowser isn't it you know don't you just hold down on us oh by the way Nintendo doesn't have a financial meeting tomorrow so we're gonna get a big update on the switch sales and the sales of Pokemon and stuff so you guys can look forward to a video on that tomorrow we'll be back live streaming again tonight and if there's any other breaking news you know we'll be right on top of it right here with a new video today thank you guys for tuning in and I'll catch you in the next video


10, K minus 9, 8, 7, 6, 5, 4, 3, 2, 1, solid rocket ignition, and lift off, lift off of Columbia on a voyage to the future. The isothermal dendritic growth experiment, or IDGE, is a microgravity material science experiment planned to fly on board the space shuttle Columbia as part of the United States microgravity payload mission. It is a fundamental materials research experiment to help better understand and correlate what parameters affect the size and shape of crystals which determine the final properties of materials. IDGE was conceived at the Rensselaer Polytechnic Institute in Troy, New York, which is responsible for the science and dendritic growth chamber development. Dr. Martin E. Glicksman of RPI is the IDGE principal investigator. Well, what we hope to accomplish in the IDGE experiment is to be able to observe the growth rates and crystal morphologies of dendritic crystals as they form and develop in the microgravity environment of low earth orbit. This experiment will constitute a basic check of the physics theories of dendritic growth and provide some critical data for the assessment of the scientific concepts that form the framework of our understanding of this rather important metallurgical phenomenon. The experiment will take place inside this experiment apparatus container which will be mounted on the support structure inside the cargo bay of the spacecraft. The experiment apparatus is a miniaturized automated space laboratory that was designed and built by a team of engineers at the NASA Lewis Research Center in Cleveland, Ohio. The specific objective of this space experiment is to improve the quality of metals through the study of succino nitrile. This material was chosen because it mimics the behavior of iron in its melting and solidifying process with one additional advantage. It is clear and transparent. Metals are not transparent. We cannot see what is happening to their structure when they solidify. If we were able to better understand what is occurring to the crystalline structure of the metal, we would stand a much greater chance of improving its qualities. That then is the objective of this space experiment. This containment vessel houses the device through which we will attempt to learn and understand the internal changes taking place inside these solidifying materials. Inside the containment vessel of the automated space laboratory, there is an isothermal bath. It is a two-gallon tank filled with a mixture of ethylene glycol and water in which the temperature can be maintained to within two-thousandths of a degree. It has a heater coil in it and a small impeller down at the bottom to assure good mixing of the ethylene glycol and water so that there is an even temperature distribution within the vessel. The isothermal tank also has four windows on it to accommodate the necessary photography. And to the tank are two 35-millimeter cameras which record the dendritic growth and two slow scan television cameras. The television cameras monitor the dendritic growth and activate the 35-millimeter cameras when growth in the experiment begins. The rack around the tank provides a place to mount the circuit boards. The experiments will take place inside this growth chamber which was conceived and developed at Rensselaer Polytechnic Institute. The chamber is constructed out of stainless steel and glass. Their misters extend from the bottom of the growth chamber up into the volume of succino nitrile. They measure the temperature of the dendritic growth with an accuracy of two-thousandths of a degree Celsius. Succino nitrile, or SCN, is encapsulated in the volume of the growth chamber. The SCN is 99.9% pure and was chosen because it mimics the behavior of iron in its melting and solidifying process. SCN is a solid at room temperature and melts at 58 degrees centigrade. That's 136 degrees Fahrenheit. Now let's take a closer look at what we expect to achieve and learn through these experiments. During the solidification process, dendrites are formed. Dendrites are branching tree-like crystals that form during industrial metal production. Understanding and correlating what parameters affect the size and shape of this crystallization will help us to understand and subsequently be able to predict the final properties of many metals, alloys, and superalloys. And how we propose gathering that information is through this isothermal dendritic growth experiment. The growth chamber is filled with SCN material and contains a stinger that is used to form the dendrites. First, the SCN material is melted by raising the temperature of the isothermal bath. The molten SCN is then cooled to just below its freezing point by reducing the temperature of the isothermal bath. The SCN will not solidify at this temperature because it is such a pure material. The stinger is a hollow shaft which is also filled with the polymer SCN and extends right into the volume of this SCN material in the growth chamber. Using thermal electric coolers, additional chilling is started at the top of the stinger shaft which is located outside of the growth chamber. Once the stinger cools too far below the freezing point, the SCN inside the shaft solidifies. The solidification process moves down the shaft and pops out at the stinger tip which is being monitored by the slow-scan television cameras. When the SSTV and associated software spot a dendrite forming, the 35mm cameras are triggered. The cameras are set to expose six pictures at regular intervals as the dendrite grows to fill the field of view. This entire process is monitored in Huntsville, Alabama at NASA's Marshall Space Flight Center to assure that the experiment is progressing as expected. In the Payload Operations Control Center, or POC, the growth velocity of the dendrite is measured. If necessary, timing of the experiment can be adjusted and remelted to repeat the experiment as often as might be required. After the flight, the 35mm photos will be analyzed for size and shape information. These are dendrites which were grown on Earth. You can see the effects of gravity in their formation. There are no arms or branches on top of this dendrite. As this material solidifies, it gives off the heat of fusion. The heat works upward, causing the top of the sample to stay a little bit hotter. As a result, the bottom solidifies a little sooner than the top. As the bottom cools, gravity is creating a force which speeds up the downward growth of the arms of the dendrite. These convective forces confound the effect of dendritic growth and make it difficult to understand the formation of these dendrites. The space environment will simplify this process and enable us to better understand the process of crystallization. The dendrites will be more symmetrical because gravity will not be distorting the solidification process. These experiments will be most beneficial to metal manufacturers. They will provide a fundamental understanding of how dendrites grow so that we can better understand how to make predictions of the quality of an end product. If we understand the process, we can improve it. If we can improve it, we will be able to reduce scrap and produce stronger and more ductile materials. It will be possible to achieve whatever kind of property may be needed to satisfy the consumer. Everyone making products out of any metal will benefit from what is learned from these experiments. In the future, automobiles, airplanes, ships and many other metal products will be a little better and somewhat less expensive because of the isothermal dendritic growth experiment.


Welcome to TV30, a program by the Government Information Service. I am your host for this episode, Joanne Norville, the Science and Technology Officer in the Department of Sustainable Development. You may be aware that the Department of Sustainable Development is currently pursuing a project to develop a marine litter management action plan, which would address the issues of marine litter in St. Lucia, in and around St. Lucia. Under this project, we have a seminar actually coming up in October, which will involve a wide range of stakeholders and help bring the message to the public on how we can address the issues of marine litter in our country. So more about that later in the program, let me introduce Mr. Vishnu Tulsi, the project consultant for the development of this ML map. Thank you, Joanne. So thank you for joining me, Mr. Tulsi, to have this conversation about the ML map, which for those who don't know, is the Marine Litter Management Action Plan. We know that marine litter is a major issue around St. Lucia, and particularly plastic pollution is a huge environmental crisis across the world. So one of the things, I guess, we can start with is what is the intention behind the development of the ML map, or would it hope to achieve as you would on it? Yeah, thanks. I think, yeah, that's a good place to start actually. The Marine Litter Management Action Plan, as the name suggests, will be a national approach, a national strategy to address the problem of marine litter, and in particular plastic pollution. The idea is to really get a sense of the scope of the problem, and that is why the first thing that was done was a national source inventory, so that we could understand where this marine litter is coming from. And once you understand what the sources are, you could then develop the action plan, which we are in the process of doing, to address those sources and by extension to hopefully address the marine litter problem. So really it's the two activities go together, one informs the other, and the idea is to address marine litter around the island. Okay, great. Thank you for that explanation. So like we noted at the start, marine litter being a major environmental crisis, it affects the ecosystems and our natural resources around St. Lucia. And understanding, like you said, the sources of that marine litter is one of the major components or a good starting point like you indicated. So can you give us an idea of what was found in the preparation of the national source inventory? A number of very interesting things. Firstly, we are aware that all plastics, which is of data's concern in terms of marine litter is imported, whether in preforms that nine local companies use to produce consumer goods or in items imported directly that goes onto the shelves, containers with consumer products like shampoos and those types of things. And also in white goods or high-tech equipment, for example, or even in vehicles that have a longer life. So all plastics are imported. That's the first thing that we realize. The second thing is that 80% of marine litter comes from land-based sources. So managing marine litter, for the most part, means managing waste generally, solid waste. The other 20% approximately comes from activities at sea, whether it's fishing or shipping, pleasure crafts, those types of things, operations of oil rigs, we don't have much of that in St. Lucia. We don't have any of that in St. Lucia. But the other 20% comes from there. But what makes the problem more difficult is that marine litter is a transboundary challenge. Not all the marine litter found in St. Lucia waters come from St. Lucia. And some of the marine litter that we generate may end up in coastlines far away from us. So it is also a transboundary problem. So the other important thing that came out of this study is that whereas the majority of the focus has to be on managing our own solid waste, which contributes 80% to the marine litter, there also has to be international cooperation to deal with the transboundary aspect of the problem. That is definitely something that we would prioritize, so we should prioritize then because it is very interesting to find or to note as you said, even though 80% is from land-based sources, we do have the sea-based sources to, I guess, put it simply. So thank you for highlighting those. And also I note that you highlighted also the fact that the plastics we have in St. Lucia, including the ones that end up in our marine spaces, are imported. So it is definitely a major challenge because you cannot completely or at least at the moment we cannot completely do away with all plastic imports. However, we have as a government, the government of St. Lucia has adopted a phased approach towards banning plastics in steps, selected plastics, and all Styrofoam products under the Styrofoam and Plastic Food Service Containers Prohibition Act of 2019. So under this act, we have, like I said, selected plastic products. For example, PET1, HTTP2, PS6, and EPS6, these plastic products are banned from being imported and all Styrofoam products are banned from being imported into St. Lucia, which would hopefully help to alleviate some of the issues of plastic pollution in our marine spaces that contributes to the marine litter that we've been seeing. So I'm happy that you highlighted also that the plastics are imported and so we are trying or taking steps towards reducing the amount of plastic being imported so that hopefully that will also address or reduce the amount of plastic ending up in the marine litter and overall reduce marine litter. I think that was really a good move by the St. Lucia government to pass that Styrofoam Prohibition Act. Different plastics take different amounts of time to enter the waste stream. I see you have on the poster there that water bottle. Items like that enter the waste stream very quickly after purchase. Within days, perhaps it enters the waste stream. You buy a bottle of water or a soft drink, you drink it and you get rid of it. Others like, let's say, cleaning products that come in plastic bottles. It may last six months, eight months. And other items like, let's say, computers or the video camera that has a lot of plastic. That will take years to enter the waste stream. So the timing of the entry into the waste stream is an important consideration. But what that act does is that it prohibits the importation, the use of single use items. And these are items that enter the waste stream very quickly. And once there is this prohibition, then one will assume that one of two things are happening. Either they are no longer being imported, or if they are being imported, they will be intercepted by customs and discarded because it's prohibited. And if something is prohibited, it cannot enter, should not enter the island. So one, whereas the study did not really look at the impact of the of the act as yet, one has to assume that there has been an immediate effect. And I think a look at the customs records can verify that. All right. Definitely. And that would be extremely interesting to note. And also it would be interesting to note whether this ban on those products has also led to change in behaviors. For example, people purchasing more biodegradable and compostable materials. So that we would assume that, you know, that is one of the effects as well. And I guess it's, it's, it also highlights the need for general public and stakeholder involvement in ensuring that things like the prohibition act and this ban on plastics are successful initiatives that achieve their outcomes. Because you, I guess we cannot just do everything as just a government. We need the cooperation of the people. We need the St. Lucia Bureau of Standards, the customs and excise department, the St. Lucia Manufacturers' Association, Chamber of Commerce. We need that wide range of stakeholders to make sure that these things, make sure that the objectives of this kind of action are fully realized. So yeah, I agree with that absolutely. And the reality is that all of us generate waste. Almost every human activity generates waste. So that whereas you mentioned a whole list of stakeholders there, we've got to broaden that net to include every person. Every person is a stakeholder in this. And how our relationship with waste and how we treat waste is at the center of the problem that we are trying to deal with. That is true. That is absolutely true. So we are hoping for that overall general community people and cooperation, those synergies to ensure that we are successful in these initiatives. And we're going to stick a pin in that for now because we are due for a break. Once again, you're watching TV30, a production of the Government Information Service. And we will be back shortly after this break. Of course not, Garcy. Plastics are very bad for our environment. Look at this river, for example. It was once home to a number of different animals. It can take hundreds or even thousands of years for plastic to break down. And even when they break down, they do not disappear. Microplastics are tiny plastic particles that result from the breakdown of larger plastics. Microplastics can be harmful to animals and human health. Especially since they contaminate our water supply and we end up consuming them when we eat fish that have fed on these tiny bits of plastic. To make matters worse, they are extremely difficult to remove from the water body. You know, people throw all kinds of things in the bush, gutters and ravines that end up in the rivers and the sea. Not only plastic, but glass, metal, older appliances like stoves and even old cars. Out of sight, out of mind. Until the rains come and the gutters get blocked and the place floods, water in people's houses and shops and all over the road. We in the same class castle. I know all that. Tell me something I don't know. Ayuri, what's the MLMAP? It's the Marine Liter Management Action Plan. My mother works at the Department of Sustainable Development. She told me that the MLMAP is an action plan for Saint Lucia, which is meant to improve data, knowledge and evidence on the sources, pathways and impacts of plastic pollution and enhance understanding of the quantities and composition of marine litter and plastic pollution in Saint Lucia. Improve coordination and cooperation among people at all levels working to address plastic pollution and finally to improve unity between national policies on waste management, marine litter and plastic management and to get a better understanding of the opportunities they are to enhance teamwork when implementing marine litter and plastic reduction projects and activities. Oh, it sounds like we will all have to work together to make the plan work, not just the government but also business places, the vendors, the bus drivers, the school children. But wow, I really wanted to go for a river bath today. For more information, contact the Department of Sustainable Development, telephone 468-58-33. Welcome back to TV30, a production by the Government Information Service. We are discussing the National Source Inventory NSI and the Marine Litter Management Action Plan for Saint Lucia, which is under a project that's being supported by the United Nations Environmental Program, UNEP, in collaboration with the Department of Sustainable Development and the Saint Lucia Solid Waste Management Authority. So we, under this project, have engaged various stakeholders, like we were saying, stakeholder engagement and establishing those synergies. It's one of the major components of, you know, ensuring that this entire project and all these plans to address marine litter and Saint Lucia, making sure everyone is involved is one of the key points, the key features. And to that end, we've been engaging various persons in Saint Lucia various stakeholders through the technical consultation workshop, as well as the high-level events, which was held in July. And we have an upcoming stakeholder seminar in October. So between all these events under the project, we hopefully have a wide range of persons being engaged and being involved in this project, in this MLMAP development. And so I guess it would be probably a good point now to mention what are some of the key features and what would be some of the outcomes that we expect to get, you know, out of this MLMAP considering, you know, the involvement of all these various persons in the Saint Lucia society. Yeah, thanks for that. This whole process was very engaging. Of course, I work closely with Department of Sustainable Development and Solid Waste Management Authority to identify the key stakeholders. The technical consultation that we mentioned was really the first of the activities under this project. Where we brought the key players together, and I think there was more than 40 persons at that consultation, at which we went and discussed the problems that we were facing in terms of waste management and in particular marine litter and plastic pollution. And we spoke to the global nature of the problem, the fact that the UN environmental UNEP and the UNEA have flagged this as a major global problem since 2014 when the UN Environment Assembly had its first meeting. And throughout, they have been building on the initial recommendations. So all of this was presented at that meeting and there was a rich exchange of views among those participants on how we should go about developing the inventory and the action plan. Some very useful recommendations were made and resource materials were identified. That led to a period of research and follow-up. There were a number of one-on-one consultations and focus group consultations on various aspects of the two outcomes. And that led to the production of the first draft, of course, of the two documents. That was, as you said, presented at a high-level meeting where we had policymakers. I think there were six members of cabinet at that and several permanent secretaries and departmental heads where we presented the initial findings. And there was a rich exchange of views and a number of recommendations for changes. All of that was done and the documents are nearing completion now, the inventory and the action plan are nearing completion and there will now be a final seminar where the updated versions will be presenting to a wider cross-section and hopefully get some useful recommendations. So, Mr. Tulsi, tell us more about the key findings in your observations. What have you found, what stands out or is highlighted? Yeah. Firstly, if we talk about the sources of marine litter, I mentioned earlier about 80 percent comes from land-based sources. Litter and the primary source is from beach activities. People leave their debris on the beaches or near the beaches or maybe even in bags and their dogs get to them and they're blown by the wind into the sea. Then there is a lot of marine litter that comes from streams and rivers and drains that get washed into the ocean during high rainfall events. I'm sure most persons are aware of that. After high rainfall events, you see lots of debris, plastic bottles floating. And then there is illegal dumping along the coast. I could tell you, for example, that in Vivort, the landfill, well now it's a transfer point, is not far from the Mapati mangrove, but instead of people going to the landfill or the transfer point, they just drive into the mangrove and they dump their waste there. And that again during high rainfall events will end up into the sea. So at the end of the day, like I said, it is our how we as individuals, and I also mean companies, corporations, people in the construction sector, how we manage waste is directly related to the amount of marine litter that we contribute. And it's not only marine litter, it's litter generally. So that was one of the interesting things that we found out during the research. The other deals with the the trans-boundary nature of the problem. During the research phase, there's an island, an uninhabited island in the South Pacific, where a university in Australia went and did some research and coastal cleanup. And they did it annually and between two years, they collected 180 tons of plastic on an uninhabited island in the South Pacific. So that did not come from the island obviously. So it really highlights the nature of the problem. In the Caribbean, the University of Florida and UNEP did some studies and they found that on a typical Caribbean island and one kilometer of coast, you find 2,160 pieces of plastic. Globally, that figure is 517. So the Caribbean region is four times worse in terms of plastic pollution than the global average. So we have a serious problem in this part of the world, in terms of how we manage our plastics. There is some recovery and recycling, but it is not economical because the plastic is mixed with other waste. And so the the recycler has to collect the general waste and remove it. Initiatives like was done by Joe Cali and the OECS Replace Project helps because that collects the plastics and makes the recycling, recovering recycling more economical. But those are not sustained. So there's a need to look at that as well. And in thinking through this, how we deal with this and based on the recommendations that we got, there are five pillars as we call them on which the marine litter management action plan is built. The first is the policy and the regulatory framework. The Styrofoam prohibition act is an excellent example of how a law can change the dynamics. So it is recommending that a number of things be done, like there is the returnable containers bill, which I think is being modified by the Department of Sustainable Development, that can make a big difference. And there is also the whole question of waste from ships and that needs to be regulated. So the first pillar really looks at the policy and the regulatory framework that is in place to manage waste. And by managing waste, by extension manage marine litter, the other is waste minimization. What can we do to minimize the amount of waste that we generate? And the number of recommendations are made in terms of recovery and reuse of items. There is the whole question of waste segregation. If we could do that and minimize the amount of waste that goes to the landfill, because by segregating waste, you could then pull out the recyclables. Okay. So there's a whole waste minimization aspect to this. There is also stakeholder engagement. You mentioned stakeholders while we were talking about this. At the end of the day, everyone generates waste. Therefore, everyone is a stakeholder. Yeah. Yes. That's why things like the upcoming stakeholder seminar, which will take place on the 6th of October, these kinds of things are so important because it pulls together the CSOs, civil society organizations, different national, non-governmental organizations, agencies, government departments. It pulls everyone together to make sure that they can then take the messages that you will be presenting as the facilitator at that seminar. They can take those back to their departments, back to their organizations and to their communities, so that we can have that wide range and level of support all across St. Lucia. So definitely it is something, and Gladdy mentioned, one of the key pillars is that stakeholder engagement, which is one of the things we continuously want to tie in to this plan. Absolutely. And in terms of stakeholders, we must not forget international stakeholders, entities like UNEP, the IUCN, and a number of other intergovernmental organizations and also bilateral assistants with friendly governments. They are an important stakeholder in this. Yes. Thank you so much for all those contributions. I know you, I don't know if you want to go on and briefly mention the other two pillars. You've mentioned three so far, but we do unfortunately have to wrap up this conversation. So I'll just mention one quickly and it's behavioral change. Oh yes. And because at the end of the day, if individuals and organizations can change their behavior in terms of how they manage waste, then I think the problem will be solved. But unless that education component transitions into behavioral change, I think this problem will continue to persist. That is true. And that is something we would definitely like to address in this entire project at all points as we go through it. So thank you so much for highlighting those pillars and for all the information that you've shared about the NSI, about the MLMAP, the Marine Litter Management Action Plan. So thank you for all the work you've done as the project consultant. Mr. Tusi, you have been very dedicated to this cause and we at the department greatly appreciate it. So thank you. Thank you for this interview and thank you to the viewers for joining us on TV30, a production by the Government Information Service. I have been your host, Joanne Noville, Science and Technology Officer in the Department of Sustainable Development, joined by again Mr. Bishmal Tusi, the project consultant for this Marine Litter Management Action Plan project. Thank you for joining us and if anyone would like more information about the MLMAP, you can always contact the Department of Sustainable Development, reach out to us and look out for updates on social media and in the news. I guess with that we close off. Thank you to all.