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FAQs
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How long does it take to learn to play piano?
I once read somewhere that piano is the easiest instrument to play in the beginning but the hardest to master in the end; and truth be told, I really agree with this. I started taking piano lessons at the age of 7 when my mom got sick of hearing me slamming random keys all the time. At first, I made quite a lot progress. I practiced around 15 minutes a day, and in less than a month or so I was already playing familiar melodies. However, as years went by, it started to get more and more challenging and 15 minutes a day wasn’t enough anymore. At that time, I had several friends playing at my level who quit, thinking it was too much work, but I didn't. In fact I started practicing more deligently, really dedicating myself. Long story short, I eventually completed grade 8 (Conservatory Canada) with honors, as well as the theory part. But all of this didn't happen overnight. My advice to you if you want to learn piano and be good at it (like actually good, not just “Chopsticks good”) is first and foremost, start taking piano lessons with a teacher and practice what you've learned EVERYDAY. I can't stress this enough; Piano is like a language, if you don't practice, you'll likely forget it just as quickly as you learned it. So that’s why it's so important to make time everyday for piano, even when you’re tired and you don't feel like it. Furthermore, when you get to the part where it gets more complicated, don't quit! Just hang in there, once you pass this crucial step, you’ll find that playing gets way more fun and effortless. Another tip: don't rely on your ear too much at the beginning, as it will interfere with your sight reading skills. You need a good foundation on which you can build upon.In conclusion, learning the piano can be a short or a long process, depending on how skilled you desire to be. All in all, the key (pun intended, ha!) when learning the piano is to be tenacious, persevering and to practice everyday!Good luck my friend!
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What are probabilistic graphical models, and why are they useful?
These are Probabilistic Graphical Models. They are arguably our most complete and promising toolkit for inferring truth from complexity. They're born from a single set of principles that endow our machines to dominate chess, diagnose disease, translate language, decipher sound, recognize images and drive cars. 'Neural Networks' and 'Probabilistic Programming' are famous signatures of the Machine Learning community simply because they are effective tool sets for applying these devices.My aim here is to reveal the machinery behind this magic. I intend to show what they are, why we use them and how we actually use them. To do that, I’ve answered seven questions on this subject:What are Probabilistic Graphical Models and why are they useful?What is 'exact inference' in the context of Probabilistic Graphical Models?What is Variance Inference in the context of Probabilistic Graphical Models?How are Monte Carlo methods used to perform inference in Probabilistic Graphical Models?How are the parameters of a Bayesian Network learned?How are the parameters of a Markov Network learned?How is the graph structure of Probabilistic Graphical Models learned?I realize this is a ton to digest, especially for internet browsing, but allow me to sell you. This information is typically delivered with a worthwhile 1000+ page textbook to graduate computer scientists. We can 80/20 these ideas with just a few answers! It'll take discipline, but you'll gain a surprisingly good understanding of an absolutely foundational theory of Machine Learning.As a compromise, I've structured things such that you need only read a subset of these answers to get a full picture. Here's a map of that structure:For example, if you read [math]1 \rightarrow 2 \rightarrow 6 \rightarrow 7[/math], you'll get a complete taste. Also, I'll include refreshers at the beginning of each answer - this should make things more self contained. (If you read these answers in sequence, I'd skip those refreshers, as they will sound redundant.)If this sounds like a good deal to you, please follow those questions!Now, let's start walking.Notation GuideAs a first stop, we'll review notation, an admittedly boring place. But, it's my unconventional belief that most confusion is due to notation. So if we wish to survive, we'll need a few tips:An upper case non-bold letter indicates a single random variable ('RV'). The same letter lower cased with a super script indicates a specific value that RV may take. For example, [math]X=x^1[/math] is the event the RV [math]X[/math] took on the value [math]x^1[/math]. We call this event an assignment. The set of unique values an RV may take is [math]Val(X)[/math]. So we might have [math]Val(X)=\{x^0,x^1\}[/math] in this case.A bold upper case letter indicates a set of RVs (like [math]\mathbf{X}[/math]) and a bold lower case letter indicates a set of values they may take. For example, we may have [math]\mathbf{X}=\{A,B\}[/math] and [math]\mathbf{x}=\{a^3,b^1\}[/math]. Then the event [math]\mathbf{X}=\mathbf{x}[/math] is the event that [math]A=a^3[/math] happens and [math]B=b^1[/math] happens. Naturally, [math]Val(\mathbf{X})[/math] is the set of all possible unique joint assignments to the RVs in [math]\mathbf{X}[/math].If you see [math]\mathbf{x}[/math] (or [math]\mathbf{y}[/math] or [math]\mathbf{z}[/math] etc...) within a probability expression, like [math]P(\mathbf{x}|\cdots)[/math] or [math]P(\cdots|\mathbf{x})[/math], that's always an abbreviation of the event '[math]\mathbf{X}=\mathbf{x}[/math]'.Perhaps confusingly, we also abbreviate the event '[math]\mathbf{X}=\mathbf{x}[/math]' as '[math]\mathbf{X}[/math]', though this isn't a clean abbreviation. Omission of [math]\mathbf{x}[/math] means one of two things: either we mean this for any given [math]\mathbf{x}[/math] or for all possible [math]\mathbf{x}[/math]'s. As an example for the latter case, 'calculate [math]P(\mathbf{X})[/math]' would mean calculate the set of probabilities [math]P(\mathbf{X}=\mathbf{x})[/math] for all [math]\mathbf{x}\in Val(\mathbf{X})[/math].[math]\sum_\mathbf{X}f(\mathbf{X})[/math] is shorthand for [math]\sum_{\mathbf{x}\in Val(\mathbf{X})}f(\mathbf{X}=\mathbf{x})[/math]. This is similarly true for [math]\prod_\mathbf{X}(\cdot)[/math] and [math]\textrm{argmin}_\mathbf{X}(\cdot)[/math]. Look out for this one - it can sneak in there and change things considerably.You may see equations like [math]f(A,B,C)=g(\mathbf{X})h(\mathbf{Y})[/math]. They look strange - the RVs on the left aren't on the right! Well, in such cases, you also have something like [math]\mathbf{X} = \{A,B\}[/math] and [math]\mathbf{Y} = \{B,C\}[/math]. So the equation really is [math]f(A,B,C)=g(A,B)h(B,C)[/math].Probability distributions are references with a [math]P[/math], [math]\textrm{Q}[/math], [math]q[/math] or [math]\pi[/math]. Keep in mind that distributions are a special kind of function. Remember that!Everything is in reference to the discrete case. Unfortunately, the continuous case is not a simple generalization from the discrete case. The minor exception is in the visuals. The discrete case is less friendly to graphs, so I might use some continuous distributions. As it relates to the discussion, pretend these are in fact discrete distributions with a fine granularity.Almost all of this notation comes from the text Probabilistic Graphical Models - one of those 1000 page monsters. That book is extremely thorough, and should be considered stop number 8.Still here? You must have discipline! Onto the fun stuff - we ask:What generic problem do PGMs address?Our goal is to understand a complex system. We assume the complex system manifests as [math]n[/math] RVs, which we may write as [math]\mathcal{X} = \{X_1,X_2,\cdots,X_n\}[/math] [1][2]. We take it that 'a good understanding' means we can answer two types of questions accurately and efficiently for these RVs. If we say [math]\mathbf{Y}[/math] and [math]\mathbf{E}[/math] are two given subsets of [math]\mathcal{X}[/math], then those questions are:Probability Queries: Compute the probabilities [math]P(\mathbf{Y}|\mathbf{E}=\mathbf{e})[/math]. That is, what is the distribution of the RV's of [math]\mathbf{Y}[/math] given we have some observation of the RVs of [math]\mathbf{E}[/math]?MAP Queries: Determine [math]\textrm{argmax}_\mathbf{Y}P(\mathbf{Y}|\mathbf{E}=\mathbf{e})[/math]. That is, determine the most likely assignments of RVs given an assignment of other RVs.Before continuing, we should point a few things out:Since [math]\mathbf{Y}[/math] and [math]\mathbf{E}[/math] are any two subsets of [math]\mathcal{X}[/math], there is potentially a remaining set (call it [math]\mathbf{Z}[/math]) that's in [math]\mathcal{X}[/math]. In other words, [math]\mathbf{Z} = \mathcal{X} - \{\mathbf{Y},\mathbf{E}\}[/math]. This set appears left out of our questions, but is very much at play. We have to sum these RVs out, which can considerably complicate our calculations. For example, [math]P(\mathbf{y}|\mathbf{e})[/math] is actually [math]\sum_\mathbf{Z}P(\mathbf{y},\mathbf{Z}|\mathbf{e})[/math].We haven't mentioned any model yet. This set up is asking generically for probabilities and values that accurately track reality.To this end, we are assisted by the fact that we have some, at least partial, joint observations of [math]\mathcal{X}[/math]. However, some of our [math]n[/math] RVs may never be observed. These are called 'hidden' variables and they will complicate our lives later on.This set up is extremely general, and as such, this problem is extremely hard.The problem with joint distributions.Our starting point, perhaps surprisingly, will be to consider the joint distribution of our RVs [math]\mathcal{X}[/math], which we aren't given in real application (but we'll get there). We'll call that joint distribution [math]P[/math]. Conceptually, we can think of this as a table that lists out all possible joint assignments of [math]\mathcal{X}[/math] and their associated probabilities. So if [math]\mathcal{X}[/math] is made up of 10 RVs, each of which can take 1 of 100 values, this table has [math]100^{10}[/math] rows, each indicating a particular assignment of [math]\mathcal{X}[/math] and it's probability.The issue is, for a complex system, this table is too big. Even if we had the crystal ball luxury of having [math]P[/math], we can't handle it. So now what?The Conditional Independence statementWe need a compact representation of [math]P[/math] - something that gives us all the information of that table, but doesn’t involve writing it down. To this end, our saving grace is the Conditional Independence (CI) statement:Given subsets of RVs [math]\mathbf{X}[/math], [math]\mathbf{Y}[/math] and [math]\mathbf{Z}[/math] from [math]\mathcal{X}[/math], we say [math]\mathbf{X}[/math] is conditionally independent of [math]\mathbf{Y}[/math] given [math]\mathbf{Z}[/math] if[math]P(\mathbf{x},\mathbf{y}|\mathbf{z})=P(\mathbf{x}|\mathbf{z})P(\mathbf{y}|\mathbf{z})\tag*{}[/math]for all [math]\mathbf{x}\in Val(\mathbf{X})[/math], [math]\mathbf{y}\in Val(\mathbf{Y})[/math] and [math]\mathbf{z}\in Val(\mathbf{Z})[/math]. This is stated as '[math]P[/math] satisfies [math](\mathbf{X}\perp \mathbf{Y}|\mathbf{Z})[/math][3]'Now, if we had sufficient calculation abilities, we could calculate the left side and the right side for a distribution [math]P[/math]. If the equations hold for all values, then, by definition, the CI statement holds. Intuitively, though not obviously, this means that if you are given the assignment of [math]\mathbf{Z}[/math], then knowing the assignment of [math]\mathbf{X}[/math] will never help you guess [math]\mathbf{Y}[/math] (and vice versa). In other words, [math]\mathbf{X}[/math] provides no information for predicting [math]\mathbf{Y}[/math] beyond what [math]\mathbf{Z}[/math] has. Similarly, you can't predict [math]\mathbf{X}[/math] from [math]\mathbf{Y}[/math] any better.Knowing such statements turns out to be massively useful - they give us that compact representation we need. To see this, let's say [math](X_i \perp X_j)[/math] for all [math]i \in \{1,\cdots,10\}[/math] and [math]j \in \{1,\cdots,10\}[/math] where [math]i\neq j[/math]. This is to say, all RVs are independent of all other RVs. It turns out that with these statements, we only need to know the marginal probabilities of each value for each RV (which is a total of [math]10\cdot 100=1000[/math] values) and may reproduce all the probabilities of [math]P[/math]. So if we are considering the case where [math]\mathbf{X}=\mathcal{X}[/math] and would like to know the probability [math]P(\mathbf{X}=\mathbf{x})[/math], we simply return [math]\prod_{i=1}^{10}P(X_i=x_i)[/math], where [math]x_i[/math] is the [math]i[/math]-th element of [math]\mathbf{x}[/math].Though this isn't just a save on storage. This is a simplification on [math]P[/math] that will ease virtually any interaction with [math]P[/math], including summing over many assignments and finding the most likely assignment. So at this point, I'd like you to think that CI statements regarding [math]P[/math] are a requirement for wielding it.Now put a pin in this and let's switch gears.The Bayesian NetworkIt's time to introduce the first type of PGM - the Bayesian Network ('BN'). A BN refers to two things, both in relation to some [math]\mathcal{X}[/math]: a BN graph (called [math]\mathcal{G}[/math]) and an associated probability distribution [math]P_B[/math]. [math]\mathcal{G}[/math] is a set of nodes, one for each RV of [math]\mathcal{X}[/math], and a set of directed edges, such that there are no directed cycles. Said differently, it's a DAG. [math]P_B[/math] is a distribution with probabilities for assignments of [math]\mathcal{X}[/math] using a certain rule and Conditional Probability Tables ('CPTs' and 'CPDs'), which augment [math]\mathcal{G}[/math]. That rule, called the 'Chain Rule for BNs', for determining probabilities can be written:[math]P_B(X_1,\cdots,X_n)=\prod_{i=1}^n P_B(X_i|\textrm{Pa}_{X_i}^\mathcal{G})\tag*{}[/math]where [math]\textrm{Pa}_{X_i}^\mathcal{G}[/math] indicates the set of parent nodes/RVs of [math]X_i[/math] according to [math]\mathcal{G}[/math]. The CPDs tell us what the [math]P_B(X_i|\textrm{Pa}_{X_i}^\mathcal{G})[/math] probabilities are. That is, a CPD lists out the probabilities of all assignments of [math]X_i[/math] given any joint assignment of [math]\textrm{Pa}_{X_i}^\mathcal{G}[/math][4]. These CPDs are the parameters of our model. Their form is to list out actual conditional probabilities from [math]P_B[/math].To help, let's consider a well utilized example from that monstrous text: the 'Student Bayesian Network'. Here, we're concerned with a system of five RVs: a student's intelligence ([math]I[/math]), their class's difficulty ([math]D[/math]), their grade in that class ([math]G[/math]), their letter of recommendation ([math]L[/math]) and their SAT score ([math]S[/math]). So [math]\mathcal{X}=\{I,D,G,L,S\}[/math]. The BN graph along with the CPDs can be represented as:According to our rule, we have that any joint assignment of [math]\mathcal{X}[/math] factors as:So we would calculate a given assignment as:Not too bad, right? All this is to show is that a BN along with CPDs gives us a way to calculate probabilities for assignments of [math]\mathcal{X}[/math].Now we're ready for:The big idea.It's so big, it gets its own quote block:The BN graph, just those nodes and edges, implies a set of CI statements regarding it's accompanying [math]P_B[/math].It's a consequence of the Chain Rule for calculating probabilities. As a not-at-all-obvious result, a BN graph represents all [math]P[/math]'s that satisfy these CI statements and each of those [math]P[/math]'s could be attained with an appropriate choice of CPDs.For a BN, one form of those CI statements are:[math](X_i \perp\textrm{NonDescendants}_{X_i}|\textrm{Pa}_{X_i}^\mathcal{G})[/math] for [math]X_i \in \mathcal{X}[/math]So in the student example, we'd have this set:The third statement tells us that if you already know the student's intelligence and their class's difficulty, then knowing their SAT score won't help you guess their grade. This is because the SAT score is correlated with their grade only via their intelligence, and you already know that.These are referred to as the local semantics of the BN graph. To complicate matters, there are almost always many other true CI statements associated with a BN graph outside of the local semantics. To determine those by inspecting the graph, we use a scary 'D-separation' algorithm that I will shamelessly not explain.There is a reason this is so important. Since a BN graph is a way of representing CI statements and such statements are a requirement for handling a complex system's joint distribution (if you had it), then this is a good reason to use a BN to represent such systems. If we can accurately represent a system with a BN, we will be able to calculate our probability and MAP queries. Therefore, BNs will solve our problems when we're dealing with a certain class of [math]P[/math]'s. This choice, unsurprisingly, is called our representation.But there's an issue - I said a 'class' of [math]P[/math]'s. It's not hard to invent [math]P[/math]'s that come with CI statements a BN cannot represent.So now what? Well, we have other tools, the biggest of which is...The Markov NetworkA Markov Network ('MN') is likewise composed of a graph ([math]\mathcal{H}[/math]) and a probability distribution ([math]P_M[/math]). Though this time, the graph's edges are undirected and it may have cycles. The consequence is that a MN can represent a different set of CI statements. But, the lack of directionality means we can no longer use CPDs. Instead, that information is delivered with a factor, which is a function (function! remember it) that maps from an assignment of some subset of [math]\mathcal{X}[/math] to some nonnegative number. These factors are used to calculate probabilities with the 'Gibbs Rule'[5].To understand the Gibbs Rule, we must define a complete subgraph. A ‘subgraph’ is exactly what it sounds like - we make a subgraph by picking a set of nodes from [math]\mathcal{H}[/math] and including all edges from [math]\mathcal{H}[/math] that are between nodes from this set. A 'complete' graph is one which has every edge it can - each node has an edge to every other node.Now, let's say [math]\mathcal{H}[/math] breaks up into a set of [math]m[/math] complete subgraphs. By 'break up', I mean that the union of all nodes and edges across these subgraphs gives us all the nodes and edges from [math]\mathcal{H}[/math]. Let's write the RVs associated with the nodes of these subgraphs as [math]\{\mathbf{D}_i\}_{i=1}^m[/math]. Let's also say we have one factor (call it [math]\phi_i(\cdot)[/math]) for each of these. We refer to these factors together with [math]\Phi[/math], so [math]\Phi=\{\phi_i(\cdot)\}_{i=1}^m[/math]. For terminology's sake, we say that the 'scope' of the factor [math]\phi_i(\cdot)[/math] is [math]\mathbf{D}_i[/math] because [math]\phi_i(\cdot)[/math] takes an assignment of [math]\mathbf{D}_i[/math] as input.Finally, the Gibbs Rule says we calculate a probability as:where(It's hidden from this notation, but we're assuming it's clear how to match up the assignment of [math]X_1,\cdots,X_n[/math] with the assignments of the [math]\mathbf{D}_i[/math]'s.)Wait - the MN was introduced because it represents a different set of CI statement. So, which ones? It's considerably simpler in the case of a MN. A MN implies the CI statement [math](\mathbf{X} \perp \mathbf{Y}|\mathbf{Z})[/math] if all paths between [math]\mathbf{X}[/math] and [math]\mathbf{Y}[/math] go through [math]\mathbf{Z}[/math]. Easy!Now let's get specific. Below is an MN for the system [math]\mathcal{X}=\{A,B,C,D\}[/math] and the CI statements it represents:As you may notice, it's not hard to write those CI statements by viewing the graph.While we're here, let's write out the Gibbs Rule. By looking at this, we could identify our complete subgraphs as: [math]\{\{A,B\},\{B,C\},\{C,D\},\{D,A\}\}[/math]. With that, we calculate a probability as:whereTo repeat, each [math]\phi_i(\cdot,\cdot)[/math] is just a function that maps from it's given joint assignment to some nonnegative. So if [math]A[/math] and [math]B[/math] could only take on two values each, [math]\phi_1(\cdot,\cdot)[/math] would relate the four possible assignments to four nonnegative numbers. These functions serve as our parameters just as the CPDs did. Determining these functions brings us from a class of [math]P[/math]'s to a specific [math]P[/math] within it, defined with probabilities.But, ahem, uhh… there's an issue. In the BN case, I said:As a not-at-all-obvious result, a BN graph represents all [math]P[/math]'s that satisfy its CI statements and each of those [math]P[/math]'s could be attained with an appropriate choice of CPDs.The analogous is not true in the case of MNs. There may exist a [math]P[/math] that satisfies the CI statements of a MN graph, but we can't calculate it's probabilities with the Gibbs rule. Damn!Fortunately, these squirrely [math]P[/math]'s falls into a simple, though large, category: those which assign a zero probability to at least one assignment. This leads us to the Hammersley-Clifford theorem:If [math]P[/math] is a positive distribution ([math]P(\mathbf{X}=\mathbf{x})>0[/math] for all [math]\mathbf{x} \in Val(\mathcal{X})[/math]) which satisfies the CI statements of [math]\mathcal{H}[/math], then we may use the Gibbs Rule, along with a choice of complete subgraphs and associated factors, to yield the probabilities of [math]P[/math]. [6]And that about does it for the basics of MNs. They are just another way of representing another class of [math]P[/math]'s.How do BNs and MNs compare?At this point, we're not evolved enough for a full comparison, so let's do a partial one.First, it's clearly easier to determine CI statements in a MN - no fancy D-separation algorithm required. This follows from their simple symmetric undirected edges, which make them a natural candidate for certain problems. Broadly, MNs do better when we have decidedly associative observations - like pixels on a screen or concurrent sounds. BNs are better suited when we suspect the RVs attests to distinct components of some causal structure. Timestamps and an outside expectation of what's producing the data are helpful for that.Also, there's a certain overlap between a MN and a BN that'll unify our discussion in later answers. That is, the probabilities produced by the Chain Rule of any given BN can be exactly reproduced by the Gibbs Rule of a specially defined MN. To see this, look at the Chain Rule - [math]P_B(X_i|\textrm{Pa}_{X_i}^\mathcal{G})[/math] is just the conditional probability of some (unspecified) [math]X_i[/math] value given some assignment of the parent RVs. Well, to translate this to the Gibbs Rule, let [math]\mathbf{D}_i=\{X_i\}\cup\textrm{Pa}_{X_i}^\mathcal{G}[/math]. Next, define [math]\phi_i(\mathbf{D}_i)[/math] to produce the same output you'd get from looking up the BN conditional probability in the CPD (which is [math]P_B(X_i|\textrm{Pa}_{X_i}^\mathcal{G})[/math]). Awesome - now the Gibbs Rule is the same expression as the Chain Rule. This is useful because we can speak solely in terms of the Gibbs Rule and whatever we discover, we know will also work for the Chain Rule (and hence BNs). What this doesn't mean is that MNs are a substitute for BNs. If you were to look at this invented MN, it would likely imply way more edges in its graph and therefore, fewer CI statements and therefore, a wider and more unwieldy class of [math]P[/math]'s. In other words, BNs are still useful representations.But there's more to learn.Let's say we determined our graphical model along with its parameters. How do we actually answer those queries? Well, I have three suggestions:2. What is 'exact inference' in the context of Probabilistic Graphical Models?3. What is Variance Inference in the context of Probabilistic Graphical Models?4. How are Monte Carlo methods used to perform inference in Probabilistic Graphical Models?Footnotes[1] This is the one exception where we don't refer to a set of RVs with a bold uppercase letter.[2] This actually isn't the fully general problem specification. In complete generality, the set of RVs should be allowed to grow/shrink over time. That, however, is outside what I expect to accomplish in these posts.[3] There is a subtlety of language here. Often we'll say '[math]P[/math] satisfies these CI statements'. That means those CI statements are true for [math]P[/math], but others may be true as well. So it means 'these CI statements' are a subset of all [math]P[/math]'s true CI statements. This technicality matters, so keep an eye out for it.[4] If [math]X_i[/math] doesn't have any parents, then the CPD is the unconditional probability distribution of [math]X_i[/math].[5] This isn't a real name I'm aware of, but the form of that distribution makes it a Gibbs distribution and I'd like to maintain an analogy to BNs, which had the Chain Rule.[6] The implication goes the other way as well: If the probabilities of [math]P[/math] can be calculated with the Gibbs Rule, then it's a positive distribution which satisfies CI statements implied by a graph which has complete subgraphs of RVs that correspond to the RVs of each factor. This direction, however, doesn't fit into the story I'm telling, so it sits as a lonely footnote.Sources[1] Koller, Daphne; Friedman, Nir. Probabilistic Graphical Models: Principles and Techniques (Adaptive Computation and Machine Learning series). The MIT Press. Kindle Edition. This is the source of the notation, the graphics in this answers (with permission) and my appreciation for this subject.
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What benefits do we get for switching to G-Suite?
As technology is increasingly intertwined with every business aspects, Google’s G Suite can help you to simplify all your work in real time. G Suite is a well established professional online tool that is used by major businesses. It is simply a collaborative productivity apps suite that offers everything a business needs viz professional emails, online documentation editing, data storage, video chat, spreadsheets and lots more.As G Suite combines all of the productivity and collaboration tools in an all-in-one suite, it provides many benefits that businesses can enjoy in the long run. One of the main benefits of G Suite is an ability to enhance the business branding by adding the company domain name and also adding a custom email address.Additional benefits of G Suite are as follows:Google Cloud Search: This is one of the most convenient options offered by the G Suite. The Google Cloud Search allows you to search the business files that are stored in the G Suite. In simple terms, a person can review and have access to the vital business data doesn't matter which employee has created or stored the data. This option enables easy accessibility and data is saved by multiple users.Unlimited Storage Space: Another advantage of G Suite is unlimited data storage. G Suite Business, as well as Enterprise Plans, offer unlimited data storage. This includes unlimited space storage for Google Photos, Gmail, Google Drive for file uploading as well as sharing among the team members.For instance, if a business has 4 or fewer users, each G Suite Business user will receive 1 TB (terabyte) of data storage space where one can roughly store probably 3,10,000 images, 17,000 hours of music files and long video files too.File ownership: With G Suite, all the Google Docs, Sheets and Slides created by the team members are owned by the business. One can also create a business policy that requires team members to back up their laptop or MAC folders and data files to Google Drive. Hence, this will allows one to have full access to all business files.CRM Integrations: A business may decide to invest in a well-established CRM system to revamp customer prospects, track better leads, customers, jobs and much more. G Suite is reconcilable and can be well synced with the CRM solutions. This will enable impeccable communication as well as reporting from both the ends.Company Branding UI: Now, add your valuable logo within all G Suite apps. One will be able to see their logos on top of the screens.All-in-one integration: G Suite is a complete business suite which consists of various integrated tools where team members can work together. For instance, a person receives an invitation mail can easily convert the same into a calendar event. A person can also edit the doc. All the changes will be notified to all the team members collaboratively.G Suite has Docs, Hangouts, Google Drive, Gmail all in one suite. So, this helps a person to work easily anywhere, anytime and with the help of any device.G Suite helps a business to create productivity and efficiency in the overall work process. Thus, it eliminates every concern of the business, be it file storing or data security or transparency in work.Hope it helps you!
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How good is the Euro-Fighter Typhoon?
Modern warfare has become highly technological and strategic. Contemporary wars are won by Air forces - The modern fighter jets are complex fighting machines which form a ‘critical component’ of any world class airforce.Those Critical Assets are :LM JSF F - 35 Lightning IILM F - 22 RaptorEuro Fighter TyphoonSu - 35 Super Flanker ERafale Omni Role Super french FR3 / M variantsGripen SAAB Smart Figher JAS - 39 C / D / EChegdu Stealth J - 20 Mighty DragonStrike Eagle F - 15 EAdvanced Fulcrum MiG - 35sF / A - 18 Super HornetsF - 21 ViperFighting Falcon F - 16 Block - 52 & 60CAC J - 10s C Fire Bird Super Multi RoleSu - 30 Flanker variantsEagle F - 15 Variant CSu 27 s ‘Base Flanker’Fulcrum MiG - 29sare considered PRIME assets for thier air forces.They carry expensive tools of destruction with them such as :AIM 120 DMBDA MeteorRussian R - 77Storm ShadowVympel R - 73MICAR - 27Chinese Ultra long range PL - 15SD - 10JSMPavewayBrimstoneAIM 120 CAIM 132R - DarterDerbyPythonK - 100Astra &Cruise Missile & Stand Off A SMP VariantsHence one can safely say that No Manufacturer of Fighter jet will give away the Real / true Warfare or combat capability, let alone the full limits of it. Hence One has to wait for the real combat - the real showdown to see the real capability. Base Specifications & information related to Systems , Components , Weapons and Electronics are issued for marketing tactics or for disinformation purposes. So maybe all the information available is 100% accurate.__________________________________________________________________________________A generation of Airmen seems to have forgotten a simple lesson from history:‘It was leadership, not fancy equipment, that made the difference.’^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^THE EURO FIGHTER EF-2000 Tranche 4NICKNAMED “TYPHOON”Its a highly discussed Fighter jet , having mixed reviews by its supporters and by its opponents, has sparked a public argument. With predessors such as JAGUAR, PANAVIA & HARRIER, Its a European consorcium Fighter UK, Germany , Italy & Spain - first proto type released in Mid 1990s. Hence It was a European solution to a European scenario.DESIGN & AERODYNAMICSThe ability to patrol and intercept hostile aircraft is known as Quick Reaction Alert. Typhoon is a master in it.Designed for Single Seat - STOL Capable - Twin Engine - Initially developed as Supersonic BVR interception and close combat , Multi Role adaptations. Typhoon is designed to perform at least five air missions very efficiently :Air superiorityAir interdictionSuppression of Enemy Air Defence (SEAD)Close Air Support (CAS)Maritime Attack.Its in active operational service with 9 Operators.(Consorcium members plus Saudia Arabia, Qatar, Oman, Austria ). More than 550 Eurofighter Typhoon aircraft have been successfully delivered to seven countries: Germany, United Kingdom, Italy, Spain, Austria, Oman and Saudi Arabia; and ordered by two more: Kuwait and Qatar. Participated in combats during operations in Libya, Iraq and Syria.Length 15.96 m x Wingspan 10.95 m.Length 15.67 mtrs x Wingspan 10.67 mtrs for F- 35AHence slightly Big in Size then lets say F-35 Lightning IIMax Altitude Above 59,000 ftEuro Fighter is based on a Typical European Design of Unstable airframe , a foreplane Delta - wing forward canard configuration, with dual intakes under the fuselage & a single vertical stabilizer .The ‘conventional statically stable’ aircraft has a ‘built-in’ inherent stability which requires a large wing area and causes a lot of drag that slows the aircraft under a turn.Fighter jets require Agility which is exact opposite of Stability. You want a fighter to be able to make turns & loops as quickly & easily as possible. Consequently, fighter aircraft rely on configurations that are unstable or neutrally stable. Canards help in this regard.CANARDS AND THIER IMPACTAn aeronautical device wherein a small fore-wing is placed forward of the main wing of a fixed-wing aircraft. A wide variety of canard designs have been proposed and flown over . Canards are used on aircraft whose main wings are well behind the center of gravity, such as the Eurofighter Typhoon..Carnards can be used as horizontal stabilizers as they being ahead of the C.G of the aircraft, acts directly to reduce longitudinal static stability.The aerodynamic advantages derived from the delta wing canard configuration :AERODYNAMIC FLOW RESULTING IN HIGH ANGLE OF ATTACK :Angle of attack is the angle at which the oncoming air meets the wing. At low angle of attack, the vertical tail provides directional stability. However, as the angle of attack increases, its effectiveness decreases.High angles of attack (AOA) can be translated into a very high instantaneous turn rate and gives maneuverability advantages. Modren fighter jets can exceed 90 degrees AOA - Yet the software limit’s them from 30 - 60 Degrees to prevent Air frame damage owing to Stresses and fatigue factors.Layman terms - Higher the angle of attack, the more lift is generated by the wing… ONLY UPTO A POINT.Thereafter the wing signNow its ‘Critical Angle of Attack’ , and at higher angles of attack the amount of lift generated drops dramatically.Beyond the critical angle of attack , the wing no longer effectively generates lift and jet is stalled. Canards stall before the wings. Canards smoothen the turbulence and create Laminar (non-turbulent) flow. Good vortex flow is obtained and a High Angle of Attack may be obtained.UNSTABILITY :Create Unstability which is preferred. Results in Agility. The result is balanced by applying Controlled by FBW Computer Systems. A statically unstable basic aircraft needs continuous stabilisation with the help of an active flight control system with full authority.The high angle of attack recovery (HAoA) function is an extension of the flight control system’s angle of attack limitation. If the aircraft has a low speed and high nose angle, the angle of attack will be low at first but will increase and exceed the angle of attack limit as the speed drops further. The HAoA function and command will return the aircraft to the normal flight envelope in a controlled manner.CREATES LIFT :The canard essentially moves horizontal tail up to the nose and places the wing's center of lift behind the center of gravity. To balance the natural nose down tendency, Canard generates an upward lifting force - which helps oppose weight.Note that Canards results to produce ‘induced drag’ , it is usually countered by high aspect ratio canards i.e long and narrow.Combined delta canard configuration and 538 ft2 wing size confer very low wing loading on 50% internal fuel, and are optimised for transonic manoeuvre and supersonic dash performance. The loosely coupled canard is intended to provide high control authority at high angles of attack, by placing the surfaces ahead of the main vortices, but also to provide lower trim drag in supersonic flight.A Modern Composite Airframe with constituents :Carbon Fibre Composites 70%Metals 15%Glass Reinforced Plastics (GRP) 12%Only 15% of the aircraft’s surface is metal. This gives a small Radar Cross section of RCS < 0.5 m2. Hence Typhoon makes slightly greater use of RAM and active canard signature management for frontal RCS reduction (As a comparison this is probably offset in the high-end survivability department by Active Syealth of Gripen E or Rafale’s superior SPECTRA electronic warfare system).POWER PLANT & PROPULSION EXCELLENCEThe Euro Jet EJ - 200’s components were developed by Rolls-Royce plc, MTU, Avio Group SpA, and Industria Turbo Propulsores SA – all well-respected names. And, like the Eurofighter, The Euro-jet consortium hails from the United Kingdom, Germany, Italy, and Spain.The EJ-200 is the most modern combat engine in its class – with the best thrust-to-weight ratio, thrust retention and smallest fan diameter – the EJ200 sets new standards for reliability and adaptability. Typhoon is powered by 2 x Eurojet EJ-200 afterburning turbofans , each develops a DRY THRUST of 65 KN / 14,000 LBS & 90 KN / 20, 500 LBS Thrust with REHEAT.It takes about 1 minute 30 seconds after take-off to signNow more than 30,000 feet, all the while maintaining intercept airspeed.The engine is compact, approximately 4 metres in length, 800mm (30 inches) in diameter and weighs around 1,000 kg. The two-spool design with single-stage turbines drives the three-stage fan and five-stage HP compressor with annular combustion with vaporising burners.Engines powering the Typhoons of UK Royal Air Force (RAF) routinely achieve a mean time between repairs of over 1,000 flying hours, while the fleet leader in RAF has achieved over 1,700 flying hours on-wing without need for repair. This is unprecedented in combat engines where on-wing hours can often be measured in the low hundreds for previous generation engines. Relaibility centric Predictive Maintenance is achieved through use of advanced integrated Health Monitoring for class-leading reliability, maintainability and through Life Cost.Capability to cruise at supersonic speeds without the use of reheat (After Burners) for extended periods. it can fly at sustained speeds of MACH 1.5 AT FULL COMBAT EXTERNAL LOAD without the use of afterburner.CRITICAL SUB SYSTEMS OF PROPULSION SYSTEMLP CompressorHP CompressorA.C.CTurbine StageRe Heat or After burner SystemsDECMU1- LP - LOW PRESSURE COMPRESSOREJ-200 consists of a 3-stage Low-pressure compressor (LPC) module & 5-stage High-pressure compressor. This provides a ‘High Surge margin’ (Typhoon pilots feedback often states it is virtually impossible to surge the engine), needs no heating devices to combat ice and has a high bird strike resistance. Each stage of the LPC is equipped with wide-chord integrated blade/disk (blisk) assemblies that are low in weight (each stage in the LPC consists of a single blisk with no removable parts) and are a major factor in the reduction of complexity easing the burden on maintenance cost and personnel. At the end of the Low Pressure Compression module, core air is compressed by a factor of 4.2.2 -HP - HIGH PRESSURE COMPRESSORAir is then directed to the High Pressure Compressor (HPC), which is again designed achieve high reliability and minimum maintenance effort.Like the LPC, HPC is also equipped with single blisks in the first three stages. HPC further compresses core air by a factor of 6.2, leading to air that has been compressed by a factor of 26. The fact that EJ200 achieves this in eight stages, far lesser than the nine or ten stages employed by engines of comparable performance, is testament to the efficient aerodynamic design of the blades.3 - ACC - ANNULAR COMBUSTION CHAMBEREJ-200s annular combustor receives the highly compressed air. Microspraying fuel increases combustion-efficiency and also reduces the visible emissions of oxides of nitrogen. The key factors in determining jet engine efficiency and achievable work are the temperature and pressure differences attained between the engine inlet and combustor outlet. Although the maximum temperature of air leaving the combustion chamber is classified, the outlet stator temperature is generally reported to be 200ºC higher than previous generation engines.4 - TURBINE STAGEDownstream of the annular combustion chamber is the High Pressure Turbine (HPT). In order to handle the large temperatures generated in the combustion chamber, the HPT uses air-cooled single-crystal blades. The HPT guide vanes utilise a special Thermal Barrier Coating which increases the life of the blade and increases the achievable operating temperature .Following the HPT is a single Low Pressure Turbine stage, again employing single crystal blades.5- AFTER BURNING SYSTEMSEUROJET has installed an innovative three-stage thrust augmentation system to supply reheat as and when required by the pilot. Downstream from the low-pressure turbine, in the exhaust duct, are the first two stages of the thrust augmenter. The first stage consists of a radial series of burners and their associated flame cups. Subsequent to this is a stage of ‘primary vaporisers’ that spray fine mists of fuel that combust on contact with the hot exhaust air. Finally, the third stage comprises of fuel injectors located at the back of the bypass duct. These spray fuel into the cold, oxygen rich air that has passed through the duct unburned. It should be noted the dry performance of the engine is so good, pilots do not use reheat as much as other engines in this class. Operationally, this means more performance for less fuel.6 - DECMU (Digital Engine Control and Monitoring Unit)EJ-200’s Digital Engine Control and Monitoring Unit (DECMU) provides carefree handling for the whole turbo-machinery, automatically activates and controls the various stages of reheat, reduces pilot workload and provides engine monitoring and executive lifing functionalities. Executive Lifing measures actual usage rather than planned mission profiles which can achieve up to 50% Life Cycle Cost savings compared to other engines without this advantage. This is key not only to achieving the unparalleled standards of reliability but also in making the engine cost effective over its performance life. Executive Lifing reduces maintenance costs, especially given that the EJ-200 maintenance philosophy is a modular concept.Rate of Climb 317 Mtrs / SecWith 90KN ThrustSpeed 2.1 - 2.2 Mach & 2,900 kms RangeCombat RadiusGround attack, lo-lo-lo : 601 kmGround attack, hi-lo-hi : 1389 kmAir defence with 3hr CAP : 185 kmAir defence with 10-min loiter : 1389 kmG Limits : +9/-3 w/ int fuel and two AIM-120Impressive Thrust to Weight Ration of 1.15Empty Weight 22,000 lb / 9,999 kgMax Take-Off Weight 46,305 lb / 21,000 kgFerry Range 5,382 km / 3,310 miles — with 4 x drop tanksTyphoon is the faster aircraft and has a signNowly superior thrust-to-weight ratio which gives it better acceleration at all altitudes. This also allows Typhoon to retain and regain energy faster (than say Rafale) in a horizontal dogfight situation. Another key factor in maneuverability is Wing Loading ratio ; In aerodynamics, wing loading is the loaded weight of the aircraft divided by the area of the wing. It is expressed as kilograms per square meter, or pounds per square foot of wing area.Smaller the wing loading ratio , the better the turn performance.[math]Euro Fighter - 310 ; [/math][math]Rafale - 327 ; [/math][math]F15C - 358 ; [/math][math]F-18 - 460 Kg / m2. [/math]It also has a signNowly higher service ceiling of over 60,000 ft which allows it to operate uniquely well alongside the US F-22 Raptors ‘high and fast’ in the air superiority role which is exactly where it was designed to excel.RADAR , AVIONICS & COMMMUNICATIONSFull Authority FCS & Quadruplex digital system. Modern and comprehensive Avionic package. The pilot’s control system is a voice throttle and stick system (VTAS). Heads Up and Heads Down Display systems M.H.D.D installed.Detection technology used in latest tranch is :X-band CAPTOR (I/J-band) ECR-90 pulse-Doppler multimode radar.An AESA radar provides an aircraft with a more efficient, more robust, longer-ranged and finer-detailed radar than older, mechanically scanned or passive systems. It has improved Jamming Resistance and acts immensely to increase the situational awareness and effectiveness of a modren fighter jet. The addition of an AESA radar has become necessary because almost all modern fighter aircraft have already transitioned to this architecture.The CAPTOR-E radar , being developed by the Euro RADAR Consortium led by Selex ES, is based on the existing ‘back end’ of the mechanically-scanned (M-scan) CAPTOR radar. All Weather Radar Features Synthetic Aperture, Multimode A/A and A/G Fire Control Radar and Weapon System Support, with over 1,000 modules and a new AESA antenna mounted on an innovative repositioner. It can also cover low band Frequencies VHF/UHF. This gives the radar an unmatched field of regard without compromising performance and reliability.P.I.R.A.T.E SYSTEMA Passive Infra-Red Airborne Track Equipment (PIRATE) system for infrared search and tracking or a Supplementary Radar.The Typhoon’s PIRATE IRST is far and away the most capable fighter-mounted system in operation anywhere in the world. Its phenomenal sensitivity caused problems during the first decade of service due to the sheer number of false positive returns but now that processing power has caught up enough to allow the sensitivity to be properly exploited for extremely long range detection of fighter sized targets, including stealth targets, it is becoming one of Typhoon’s strongest advantages in the air superiority arena.However, at present, the systems integration allowing the radar and IRST to be tasked together in an optimal fashion is still superior on Rafale. This is a core focus of capability upgrades in the P3E software package for Typhoon.The system picks up heat changes around it & by this spot subsonic aircraft as far away as up to 100km+. This means that the Typhoon can still shoot its advanced IR-tracking missiles at a target, even though its enemy has stealth features.PIRATE detects and tracks the Infra-Red signatures of multiple aircraft at long range, over a wide field of view, day & night and adverse weather conditions. Being a passive sensor, it enables the aircraft to gather early intelligence of threats and to manoeuvre stealthily into an advantageous tactical position without being detected by hostile electronic warfare systems.PIRATE is integrated with other on-board sensor systems for maximum sensor fusion effectiveness. PIRATE locates & provides ‘cueing information’ on ground targets. It provides data and imagery to Head’s-up & Multi-function Head’s -down displays, facilitating navigation and terrain avoidance in adverse weather conditions.D.A.S.S SYSTEMDefensive Aid Sub System with Electronic Counter measures against incoming Missiles.Offering a comprehensive suite of electronic support measures and counter-measures, the Praetorian Defensive Aids Sub System developed by the Leonardo-led EuroDASS consortium, is carried in 2 x wing pods that are an integral part of the wing. DASS greatly enhances Eurofighter Typhoon’s ability to avoid, evade, counter and survive evolving threats.It consists of :Electronic Support Measures (ESM)A laser threat and missile approach warning systemAn Electronic Countermeasures System (ECM), decoys, towed decoysJammers and other sensorsAvionics.Eurofighter Typhoon D.A.S.S is also equipped with a ‘Towed Radar Decoy’ . carried in the starboad side as ‘built in’ to the wing tip. Towed decoy systems are for defensive purposes & used to protect fighter jets from radar-guided missiles. These countermeasures are towed behind the host aircraft protecting it against both surface-to-air and air-to-air missiles. They provide a radio-wave reflecting baid that attracts the RF-guided missiles away from the intended target.Miniature Air Launched Decoy MALDENHANCED SITUATIONAL AWARENESSEven while still on the ground, the pilot can keep a check on the position of the aircraft to be intercepted via its Data-Link (a two-way radio-controlled data exchange).The Miniature Air Launched Decoy (MALD) is used to lure enemy air defence systems into revealing themselves or attacking aircraft or ISTAR systems that can provide targeting information for stand off weapons. With a range of 500nm, endurance of 45 minutes, operating altitude of 40,000 feet plus, speed of Mach 0.91, modular electronics fit and emissions signature that is designed to mimic allied aircraft it can also be used to simply overwhelm air defences with targets, if they attack MALD they are depleting their finite missile stocks.The data-link is provided by the Multiple Image Data System (MIDS). It aids situational awareness information to the pilot. As a case in point - The french Super Omni Jet Rafale utilises ‘a one-way datalink’ with the missile when it has been fired, not the 2 - way ‘Datalink’. which Typhoon and Gripen E are equipped with – which allows for much more accurate and reliable guidance during very long range engagements whilst the missile is in semi-active mode.Kuwait’s Typhoons will be the first to use the Lockheed Martin Sniper Advanced Targeting Pod (ATP), which has recently been upgraded to include two-color laser spot tracking, short-wave infrared, and advanced non-traditional intelligence, surveillance, and reconnaissance (NTISR) modes.New-customer Typhoons Will Be the Most Advanced Yet***********************************************************************************In 2011, the RAF deployed 10 x Typhoon aircraft to its base in Italy for operations in Libya, and achieved 4,500 flying hours without an engine change. The aircraft operated in its air-to-air role and for the first time attacked ground targets using laser-guided Paveway bombs. “The sensors on the aircraft are so good it’s a question of how we use that information and how we get it to other fast jets and ground allies. It is about ensuring the right information is in the right place at the right time.” — Air Cdre Linc Taylor, Royal Air Force.A U.K. Royal Air Force Eurofighter Typhoon used a brimstone missile to destroy a boat used by Islamic State in Syria, the RAF said Friday, 2019 February 22 release, marking the first time the aircraft has deployed the weapon system. Brimstone is an air-launched ground-attack missile developed by MBDA for the RAF, specifically to target enemy armor. The Brimstone launcher carries three missiles in a single weapon station. Its equipped with enhanced autopilot, the Dual Mode SAL / millimetric wave (mmW) seeker, and the insensitive munition-compliant rocket motor and warhead.For Air to Ground missions you have the ability to simply look outside at where a target is then cue the weapon system to look there with the Litening Designator Pod. Due to this capability it means that after identifying a target, you can drop a Paveway IV, 500-lb precision weapon on it in seconds.**************************************************************************************WEAPONSMauser Cannon 27 mmIt has 13 hardpoints which allows for up to 3 fuel drop tanks and 10 missiles/laser guided bombs or 13 missiles/laser guided bombsLong Range 6 x BVR Matra- Meteor AMRAAMClose range SRAAM is 2 x AIM-132 ASRAAM.A range of air-to-ground weapons can be carried, including the new Storm Shadow CASOM, Brimstone anti-armour weapon, and the future Precision Guided Bomb (PGB).Manufacturers ban Euro Fighhter in exports for carrying nuclear weapons. RAF standoff weapon is the Matra-BAe Storm Shadow cruise missile.SCALP - STORM SHADOW Air-Launched, Long RANGE , Stand-Off Deep Attack MissileThe Storm Shadow missile is designed to penetrate deep into hard rock targets. It is equipped with fire-and-forget technology and fully autonomous guidance.The missile has a length of 5.1m, wingspan of 3m, and a body diameter of 0.48m. It weighs 1,300kg and has a range of more than 250km. The Storm Shadow missile is equipped with a Turbomeca Microturbo TRI 60-30 turbojet propulsion system, which can produce a 5.4kN of thrust.The missile is fitted with a two-stage bomb royal ordnance augmented charge (BROACH) blast/ penetrator warhead.The first stage of the warhead makes the way for the second stage by cutting the surface of the target. The larger second stage (main) of the warhead then penetrates into the target and detonates.The navigation system of the missile includes inertial navigation (INS), global positioning system (GPS) and terrain reference navigation for better control over the path and accurate target strike. The missile is fitted with a passive imaging infrared seeker. Once released from the aircraft, the missile follows a pre-programmed path at low level with the help of continuous updates from the onboard navigation system. It employs imaging infrared seeker to compare the actual target area with stored imagery repeatedly until signNowing the target.The Storm Shadow is also in service with the air forces of Italy, Greece, Saudi Arabia and the United Arab Emirates (UAE). It is referred to as Black Shaheen in the UAE Air Force service.The Storm Shadow can be integrated into Tornado GR4, Tornado IDS, Saab Gripen, Mirage 2000, Rafale, Eurofighter Typhoon and JSF F - 35 aircraft.CROWN JEWEL BVR - M E T E O R MBDA** Meteor : Beyond Visual Range BVRAAM Air to Air with Active Radar Guidance.Meteor offers a multi-shot capability against long range manoeuvring targets, jets, UAVs and cruise missiles in a Loaded Electronic Counter Measure environment , called ECM. It has range well in excess of 100 kilometres . Meteor can be launched as a stealth missile. It is equipped with enhanced kinematics features. It is capable of striking different types of targets simultaneously in almost any weather.Meteor’s stunning performance is achieved through its unique ramjet propulsion system – solid fuel, variable flow, ducted rocket. This ‘ramjet’ motor provides the missile with thrust all the way to target intercept, providing the largest No-Escape Zone of any air-to-air missile.No -escape zone of over 60 km is largest among air-to-air missiles according to manufacturer. Solid-fueled ramjet motor allows missile to cruise at a speed of over mach 4 and provides the missile with thrust and mid-way acceleration to target interception.The Typhoon is a super fighter within visual range , though we must always remember that at WVR , Its not fighting the aircraft but the pilot.*******************************************************************************COSTS AND REVIEW SUMMARYMaintenance cost of Typhoon is on higher side than that of Rafale.Unit Cost in excess of 125 MUS$ per aircraft.Euro Fighter Edges out all competitors such as Rafale in its Maneuverability, Higher THRUST Power , Increased Combat Radius, Excellent IRST , Advanced CM / Decoy system & higher Service Cieling . Yes Quality is Expensive. Its a potent partner for Euroean nations with JSF Lightning II F - 35.Where Typhoon acting as Air Superiority Leader and clearing Air enemy jets ; F - 35 Stealth acting as Battle manager - A Command & Control capable - Data fusion Electronic based - Striker bomber role for taking out SAM , S - 400s , AWACS etc and other remaining flying assets which may have avoided Euro Fighter Jet by flying away…!https://www.eurofighter.com/the-...***********************************************************************************Knowledge is a process of piling up facts; wisdom lies in their simplification.Thanks for reading..
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What are Elton John's best hits?
Here’s Elton’s top 50 hits, as ranked by The Guardian:50. Island Girl (1975)One of Elton’s most joyous tunes, but the toe-curling lyrics (“Island girl, what you wanting with the white man’s world?”) are presumably why he retired this single from live shows in 1990.49. Part-Time Love (1978)Elton starts a six-year break from otherwise career-long songwriting partner Bernie Taupin. New lyricist Gary Osbourne doesn’t yet conjure the same magic.48. Honky Cat (1972)Overshadowed by Honky Chateau’s bigger hit, Rocket Man, this brassier single finds Elton in playful mood: “Time to drink whisky!”47. Come Back Baby (with Bluesology) (1965)Recorded when Sir Elton Hercules John was still Pinner, Middlesex teenager Reg Dwight, a classically trained pub pianist and occasional session musician. A fine early career effort from his youthful rhythm and blues outfit.46. The Ballad of Blind Tom (2013)From late period, minimalist gem The Diving Board, EJ evokes the poetry and spiralling piano runs of his early years with this lovely insight into the mind of a blind Deep South bluesman.45. Please (1995)A touching song from Made in England, which finds Elton in the role of elder statesman with nothing to prove except his capacity for love, and pleading “let me grow old with you”.44. When Love Is Dying (with Leon Russell) (2010)Elton’s first ever US performance was supporting the late Leon Russell, who shared vocal tips and decades later, joined Elton for the album The Union. This is a beautiful song about a fading love.43. Believe (1995)With the crazy outfits, barmy glasses and wheelbarrows of cocaine of the 70s far behind him, the post-throat op Elton uses his deeper range and older man’s gravitas to maximum effect.42. Dan Dare (Pilot of the Future) (1975)Three years after Rocket Man, space travel again provides inspiration via 1950s comic character Dan Dare. The song was one of the first to use the talkbox, a wacky effects-pedal.Elton John live at Nippon Budokan, February 1st, 1974, Tokyo, Japan. Photograph: Shinko Music/Getty Images41. Blue Eyes (1982)A mid-career, Grammy-nominated gem, laden with dollops of trademark melancholy (“Blue eyes … holding back the tears, holding back the pain.”)40. Grey Seal (1973)This lesser-known cut from Goodbye Yellow Brick Road showcases similar piano skills to those Elton brought to his version of the Who’s Pinball Wizard in the film Tommy. A vintage 70s Dr Marten’s-stomping ballad.39. All the Young Girls Love Alice (1973)According to some liner notes, this driving rocker from Goodbye Yellow Brick Road was penned about Alice Cooper before being hurriedly rewritten to be about a tragic lesbian schoolgirl sex worker. Righty-o.38. Circle of Life (1994)A trademark big ballad from the animated Disney film, The Lion King, with lyrics by Tim Rice, who recalls how Elton produced a “stunning demo” from the written words in just 90 minutes. A true pro.37. Little Jeanie (1980)After the disastrously-received disco experiment of 1979’s Victim of Love, new songwriting partner Gary Osbourne helps Elton relocate his soft-rock mojo and return to the US top five. Elton celebrates with a free concert in Central Park, dressed as Donald Duck. Obviously.36. Nikita (1985)One of Elton’s richest vocals, this trans-Atlantic hit tells of a doomed love for an eastern European border guard. The synthesizer solo is as dated as shoulder pads, mind.Nikita, Elton John35. This Train Don’t Stop There Anymore (2001)From the film Songs from the West Coast – starring Justin Timberlake as peak glam lunacy era Elton – is this prime Elton ballad. Get the scarves out.34. Elderberry Wine (1973)Brilliant Bernie hasn’t dropped many lyrical clunkers such as: “You aimed to please me / Cooked blackeyed peas me”, but otherwise this sax-blaring, piano-thumping retro rocker from Don’t Shoot Me, I’m Only the Piano Player is glorious.33. Don’t Let the Sun Go Down on Me (with George Michael) (1991)This trademark big ballad about unrequited love was initially a hit in 1974 before the combined star power of G&E gave them a trans-Atlantic 90s No.1.32. Skyline Pigeon (1969)Elton’s fortunes initially upped after meeting his lyricist of many decades, Bernie Taupin, through an advert. Elton (on harpsichord here) later re-recorded this stirring, hymn-like song, which he has described as “the first one of ours we got excited about”.31. Can You Feel the Love Tonight? (1994)This song was also written with Tim Rice for The Lion King, where it is initially sung by a meerkat and a warthog. Elton decided it deserved more than comedy, and his version scored a hit, an Oscar and a Grammy.30. Border Song (1970)The first Elton John song to chart (albeit low) in the States, this gospel-influenced spiritual was nevertheless later covered by Aretha Franklin. The two stars’ 1993 TV duet is a treat.29. I Guess That’s Why They Call It the Blues (1983)Following a six-year gap after 1978’s disappointing Too Low for Zero, Elton and Bernie get back to work in style, with Stevie Wonder on bluesy harmonica and the rejuvenated singer “rolling like thunder under the covers”, the devil.28. Sad Songs (Say So Much) (1984)As these 50 songs make clear, Elton likes a weepie. This local radio playlist staple is a timeless anthem to the strangely uplifting power of melancholy songs. “Turn ’em up!”27. I’m Still Standing (1983)Elton made so many great records in the 70s that his 80s efforts can be overshadowed, but this piano-bashing celebration of endurance is such a signature tune that some shops have even sold I’m Still Standing underpants.26. Madman Across the Water (1971)Elton describes this musically complex album title track as “one of Bernie Taupin’s eeriest lyrics” – it’s certainly odd, written from the mindset of a lad gone insane.25. I Want Love (2001)Sent viral by a stunning one-take video featuring a post-rehab Robert Downey Jr, this magnificent, Beatles-y ballad about love after addiction is presumably from Elton’s heart.24. Daniel (1973)Another lovely ballad and one of Elton’s biggest, most popular hits. The “Daniel, you’re a star!” vocal flourish is glorious.23. Don’t Go Breaking My Heart (with Kiki Dee) (1976)“Baby you’re not my type,” quips Bradford singer Kiki Dee, affectionately cheekily, in the year Elton came out as bisexual. Two years later, Elton performed his first British No1 on the Muppet Show, with Miss Piggy, who probably wasn’t his type either.Elton John and Kiki Dee22. Funeral for a Friend/Love Lies Bleeding (1973)An 11-minute instrumental/song segue in which Elton displays an unlikely penchant for prog rock and gives Welsh post-hardcore rockers Funeral For a Friend their band name. Result!21. Step Into Christmas (1973)One of the catchiest Xmas hits, from an era when Slade, Wizzard et al covered the nation in festive glitter.20. Ego (1978)By the late 70s, Elton was a mess: bulimic, suffering seizures, and gorging on coke, whisky, pornography and ice-cream, his career in nosedive. Opinions differ whether this Queen-ish No 34 minor hit addresses Elton’s own megalomania or is a dig at rival David Bowie, but wired energy makes this lesser hit a dramatic document of tensions at the top.Elton rocks out in Australia in 1986. Photograph: Bob King/Redferns19. The Bitch Is Back (1974)Elton is famous for his tantrums, and a particularly grumpy one led Bernie’s then wife, Maxine Feibelman, to exclaim, “Uh-oh, the bitch is back!” Bernie loved the phrase so much he turned it into this pithy hard rocker (featuring John Lennon on tambourine and the Tower Of Power horns), about which Elton chuckles, “I suppose it’s my theme song.”18. Crocodile Rock (1972)“I remember when rock was young, me and Susie had so much fun,” sings Elton in this playful, uptempo old-fashioned rocker that pays touching but fun homage to the rock’n’roll era that inspired him.17. Levon (1971)Producer Gus Dudgeon always claimed that this gritty song about escape was inspired by Levon Helm, drummer from the Band, whose 1968 album Music From Big Pink had a big impact on Elton and Bernie. But the lyricist insists he “just liked the name”. Elton does too, naming his first son (with husband David Furnish, via a surrogate mother) Zachary Levon Furnish-John.16. Rotten Peaches (1971)Elton and Bernie barely put a foot or note wrong between 1970’s Elton John and 1975’s Captain Fantastic and the Brown Dirt Cowboy, producing so many great songs that some almost got trampled in the rush. This lesser-known story of a prisoner, missing home, is an underrated gem from Madman Across the Water.15. Someone Saved My Life Tonight (1975)This dark, seven-minute hit revisits Elton’s suicidal late 1960s feelings as a struggling, musician engaged to be married. The “someone” is musician friend Long John Baldry, who offered advice. Ironically, shortly after the song’s release, an again stressed-out Elton took 60 Valium pills, dived into a pool and yelled, “I’m going to die!”14. Sacrifice (1989)There is a haunting maturity to Elton’s mid-to-late career material, although his first British solo No 1 (in 1990) flopped, bizarrely, on initial release. An Elton and Bernie personal favourite, this sublime ballad bookends Elton first hit, Your Song: by now, the couple in the lyrics have married, drifted apart, and are breaking up.13. Philadelphia Freedom (1975)Much has been rightly written about David Bowie’s impeccable shapeshift from glam rock to “plastic soul” with Young Americans, but Elton did a similar thing the month before. This strings-peppered homage to Philly soul (and the Philadelphia Freedoms tennis team) was his fourth US No 1.12. Are You Ready for Love (remix) (2003)Recorded with Stylistics producer Thom Bell, this ace disco cut from the fag end of Elton’s Philly soul period flopped on release in 1979. Years later, DJ Ashley Beedle shortened the eight-minute song, remixed it with a contemporary club feel and gave the great man an unexpected fifth British No 1.A chocolate effigy of Sir Elton John at Madame Tussauds in 2015. Photograph: Gareth Cattermole/Getty Images11. Candle in the Wind (1974)Ubiquity shouldn’t sully the innocent purity of this haunting ballad about a vulnerable Marilyn Monroe, as worshipped by a “kid” from afar. Twenty-three years later, a visibly upset Elton sang a rewritten version at close friend Princess Diana’s funeral, which was subsequently released to become the biggest-selling UK single ever.10. Empty Garden (Hey Hey Johnny) (1982)Elton famously sang Whatever Gets You Through the Night with his friend John Lennon at Madison Square Garden in 1974. Eight years later, the “garden” stands empty as the former Beatle’s 1980 shooting provides melancholy inspiration for one of Elton’s most affecting ballads. He still performs it.9. Song for Guy (1978)Elton’s strangest hit, penned as he imagined looking down at his dead body. The next day, he was told that his 17-year old messenger boy, Guy Burchett, had been killed on his bike 24 hours earlier. The (mostly) instrumental’s sole words – “Life isn’t everything” – glide over one of his most heartbreaking, haunting melodies.8. Sorry Seems To Be the Hardest Word (1976)“What do I have to do to make you love me?” sings Elton, perhaps the most disconsolate opening line of his career. By the mid-70s, touring and drug use were taking a toll, but Elton and Bernie both contribute lyrics to a song about dying love that’s as beautiful as it is sad.7. Mona Lisas and Mad Hatters (1972)Mystifyingly, one of Elton’s personal favourite songs was never released as a single. The dazzling wordplay addresses the crime, hustlers and characters Bernie encountered in New York – “Subway’s no way for a good man to go down / Rich man can ride and the hobo he can drown” – and the melody is one of EJ’s very best.6. Goodbye Yellow Brick Road (1973)Huge, wistful ballads are Elton’s stock in trade, and they don’t come much better than this title track of his 31m-selling double album. Bernie’s childhood memories of the film The Wizard of Oz fuel this song about disillusion with the “penthouse” existence and yearning for simpler comforts.5. Bennie and the Jets (1974)Elton felt this staccato piano-driven epic was too far-out to release as a single, but unlikely support from soul and R&B stations made it a US No 1. Bernie’s sharply-observed lyrics (“electric boots, a mohair suit”) imagine what he once described as a “futuristic rock’n’roll band of androids fronted by some androgynous, Helmut Lang-style beauty”. That sounds like Janelle Monáe.4. Your Song (1970)This one of Elton’s most-loved songs ever began as a humble B-side (to Take Me to the Pilot) before radio stations flipped it, triggering the golden run of hits which turned Elton into the world’s biggest pop star. In subsequent decades, countless couples have taken his advice to “tell everybody, this is your song”.3. Saturday Night’s Alright for Fighting (1973)Elton is primarily known as a balladeer, not a rocker, but this stomping classic from Goodbye Yellow Brick Road can get any joint jumping. Davey Johnstone’s immortal guitar riff fires a typical weekend raucous ruckus: “It’s 7 o’clock and I wanna rock, want to get a belly full of beer.”2. Rocket Man (I Think It’s Going To Be a Long, Long Time) (1972)Although the line “I’m gonna be high as a kite by then” seems to anticipate Elton’s subsequent cocaine use, this mighty 70s space travel anthem was inspired when Bernie spied something in the night sky. It also seems to predict Elton’s mercurial trajectory from awkward, bespectacled, music-obsessed schoolkid to stratosphere-conquering, glam-outfitted pop astronaut.Tiny Dancer: official video1.Tiny Dancer (1971)It flopped when it was released as a single in the US, but this six-minute track became one of Elton’s best-loved songs after featuring in Cameron Crowe’s 2000 film Almost Famous. It’s now weirdly ubiquitous in popular culture, referenced in song by David Guetta and Lana Del Rey, covered by Dave Grohl, and in a 2015 John Lewis advert (with a rumoured reappearancethis year). When Ed Sheeran sings (in Castle on the Hill) of “driving at 90 down those country lanes”, Tiny Dancer, inevitably, is the song playing in the car. Perhaps the anthemic tune and Bernie’s poignant depiction of free-spirited California girls in the 1970s speaks to our timeless yearning for liberation.Elton John’s 50 greatest songs - ranked!
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How does understanding the elements of music impact the analysis of a narrative poem?
Scaringly difficult subject to write about, and surely, just as ambivalent. I possess no expertise on poetry nor on music, only what a curious & interested mind gathers over these past few years. Hastily point out mistakes or any others short-comings & fallacies.I will be quick to mention Milton, perhaps a little of Eliot, and lastly, Ezra Pound. The effect & connection between music and poetry has definitively varied throughout history. Sung epos & folklore songs, Provençal & Troubadour poetry,... roughly speaking, and this is my observation, the first wedge between the two has been made when poetry became much more erudite, soaked in words-meaning, and forgot the musical rhythms little behind, not that I value one over another.-- Anyway, 19. & 20. century welcomed the revival of the two, and again established connections. French symbolism, Modernism & new musical techniques ( revolution of style both in literature & music, the avant-garde was united across all fields ). Of course, one of the issues is how much of modern poetry can be marked as "narrative" in the obvious sense. The elements of music is such a vague term indeed…To start off with a quotation from Poe`s The Poetic Principle:Contenting myself with the certainty that Music, in its various modes of metre, rhythm and rhyme, is of so vast a moment in Poetry as never to be wisely rejected - is so vitally important an adjunct, that he is simply silly who declines its assistance, I will not now pause to maintain its absolute essentiality. It is in Music perhaps that the soul most nearly attains the great end for which, when inspired by the Poetic Sentiment, it struggles - the creation of supernal Beauty. It may be, indeed, that here this sublime end is, now and then, attained in fact. We are often made to feel, with a shivering delight, that from an earthly harp are stricken notes which cannot have been unfamiliar to the angels. And thus there can be little doubt that in the union of Poetry with Music in its popular sense, we shall find the widest field for the Poetic development. The old Bards and Minnesingers had advantages which we do not possess - and Thomas Moore, singing his own songs, was, in the most legitimate manner, perfecting them as poems.&A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having, for its object, an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with definite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness.And to finish, a section from a letter to James R. Lowell:I am profoundly excited by music and by some poems - those of Tennyson especially - whom with Keats, Shelley, Coleridge (occasionally) and a few others of like thought and expression, I regard as the sole poets. Music is the perfection of the soul or idea of Poetry. The vagueness of exultation aroused by a sweet air which should be strictly indefinite and never too strongly suggestive is precisely what we should aim at in poetry. Affectation which is thus no blemishMustek and Poetry have ever been acknowledg'd Sisters. As Poetry is the harmony of Words, so Mustek is that of Notes... Sure they are most excellent when they are join 'd. Blest pair of Sirens, pledges of Heav'ns joy, Sphere-born harmonious Sisters, Voice, and Vers, Wed your divine sounds, and mixt power employ Dead things with inbreath'd sense able to pierceMilton could have very well be a musician, -his father was-, and his music appeared in print from time to time, one notable contribution was Fair Orian in collection of madrigals in Honour of queen Elizabeth, The Triumphs of Oriana.He was a close friend with a composer Henry Lawes, and the two collaborated on The Masque of Comus, 1634.There is also a distinction to be made between Greek & Roman musica practica, which was performed & sung, and the Pythagorean musica speculativa, theoretical & mathematical understanding, — changed to Christianised harmonia mundi during the Renaissance revival ). Harmonica mundi can definitely be encountered in Milton`s early poetry, At solemn music, Ad Patrem, & passages from 'Arcades', Comus, and 'On the Morning of Christ's Nativity'.From At solemn music:“ … disproportioned sinJarred against nature's chime, and with harsh dinBroke the fair music that all creatures madeTo their great Lord.”See how disproportioned resonates with Pythagorean proportions, and it became disproportioned with the Original Sin and the fall from Eden. The reconciliation between the Classical/Pagan & Christian aesthetics and tradition was one of the foremost issues of early Milton. A passage from On the Morning of Christ's Nativity';The lonely mountains o’er, And the resounding shore, A voice of weeping heard and loud lament; Edgèd with poplar pale, From haunted spring, and dale The parting Genius is with sighing sent; With flower-inwoven tresses torn The Nymphs in twilight shade of tangled thickets mourn.From Paradise Lost:Celestial voices to the midnight air [...]With heavenly touch of instrumental soundsIn full harmonic number joined, their songsDivide the night, and lift our thoughts to heaven.& in Hell:Their song was partial, but the harmony(What could it less when spirits immortal sing?)Suspended hell, and took with ravishment The thronging audience.Partial music of fallen Angels & Broken music of man. And Book V:Mystical dance, which yonder starry sphereOf planets and of fixed in all her wheelsResembles nearest, mazes intricate,Eccentric, intervolved, yet regularThen most, when most irregular they seem;And in their motions harmony divineSo smooths her charming tones, that God's own earListens delighted.A quick stop with T.S. Eliot and modernism before Pound.Modernism was a turbulent period, literature was chasing music, music was chasing language, and both were born out of impulse to restore expressivity & eloquence that the formality has lost. An important shift has happened, there is no absolute, right or left, right is not the opposite of left, ocean does not kill the fire.Poe & French symbolism played a pivotal role, and I am not confident nor do I know enough to speak about French climate and the effects of Poe in the second half of the 19. century here.Just as literature changed, so did music. Even the so called more traditional composers, like Ravel, are less formulaic and more abrupt, not to mention the likes of Stravinsky. What is very intriguing to me is how well does modern art produce tensions despite the loss of totality & coherence, and how idiosyncratic arbitration took over without losing the profound and human effect of tensity. In this sense, music was not longer a music in musical forms, but rather that of consciousness and its fragmentation.The seeming homelessness of arts in the period is a precondition of the changes that occurred, and this is what T. Hardy called the ache of modernism. There are no happy ends, formulaic tragedies ethically victorious, nor obvious redemption ( debatable, Last part of The Waste Land is an example ). The widening canyon of separation & inability of pristine connectivity is a precondition of the age, and in itself, its product - Postmodernism, a headless human still digging in a graveyard of modernity, seeking hopelessly for a regenerative bone & praying not to find it - he would have to leave. This is why modernism has no green heritage, only skeletons. In Joyce`s terms, Scrupulous meanness. Even the Hegelian aesthetics “in the suspension of equilibrium lies the tendency to return to a condition of equilibrium”, even musical form through dissonance to consonance, is depleted. If one here remembers the quotes from Poe and his posture of indefinitiveness, how it went from his to symbolism and from there to modernism, acclaiming the suggestive aspect.One of the drives of modernism was to thrust poetry back from the street, or jungle, to the sublime, the rightful place, to perform the duties it deserves. The restoration called for a path through prickly subjects, even ironic and laughable, like Prufrock`s underwhelming question, but it manages to pass exactly due to that vagueness, and we sense it as our own.Perhaps all this has been rather imprecise, let me speak about Eliot.So, while poetry attempts to convey something beyond what can be conveyed in prose rhythms, it remains, all the same, one person talking to another; and this is just as true if you sing it, for singing is another way of talking. The immediacy of poetry to conversation is not a matter on which we can lay down exact laws. Every revolution in poetry is apt to be, and sometimes to announce itself to be a return to common speech.... The music of poetry, then, must be a music latent in the common speech of its time.The Use of Poetry and The Use of Criticism: “Poetry begins, I dare say, with a savage beating a drum in a jungle, and it retains that essential of percussion and rhythm” - like music.Fairly, music of poetry may differ from music of music, an awkward saying that while musical elements are important for analysis, but the musical elements in poetry categorically & theoretically & applicably differ from those that we apply to music per se.'From Poe to Valery´, essay:Poetry, of different kinds, may be said to range from that in which the attention of the reader is directed primarily to the sound, to that in which it is directed primarily to the sense. With the former kind, the sense may be apprehended almost unconsciously; with the latter kind - at these two extremes - it is the sound, of the operation of which upon us we are unconscious. But, with either type, sound and sense must cooperate; in even the most purely incantatory poem, the dictionary meaning of the words cannot be disregarded with impunity.Precisely, from The music of Poetry;[m]y purpose here is to insist that a 'musical poem' is a poem which has a musical pattern of sound and a musical pattern of the secondary meanings of the words that compose it, and that these two patterns are indissoluble and one.Simply a level beside the denotation of words. In`The Music of Poetry´ another inspect of this climate is presented:The music of a word is, so to speak, at a point of intersection: it arises from its relation first to the words immediately preceding and following it, and indefinitely to the rest of its context; and from another relation, that of its immediate meaning in that context to all the other meanings which it has had in other contexts, to its greater or less wealth of association.Which can be directly linked to his writings On Dante:In English poetry words have a kind of opacity which is part of their beauty. I do not mean that the beauty of English poetry is what is called mere 'verbal beauty'. It is rather that words have associations, and the groups of words in association have associations, which is a kind of local self-consciousness, because they are the growth of a particular civilization.As many words, music ferries such a rich history of meanings, definitions, and relations that is difficult to analyse the impact. Music in one of the Archetypes, and they are hard to contain. Music is a structure separate of understanding, insofar as it escapes the restraints of conventional meanings. The Music of Poetry is, if one takes a leap of imagination, an objective correlative, if I dare expand the term. If I use a line from D. Davie; "It is language which happens through the speaker and not the speaker who expresses himself through language.”-— Can this also be said about music, when it comes to early Eliot?In an 'Aspects of Rhythm and Rhyme in Eliot's Early Poems', J. Chalker, in sum, `The Use “the steadiness and predictability of musical rhythm” is to produce psychological reassurance in the midst of emotional disturbance.´—Such irony, after reading Prufrock, if I thinks solemnly of rhythm, I would say it conveys anything but the reassurance and predictability, yes, the irony that is serves as a distraction from emotional disturbances, and in this fact lays reassurance.Quite enough of Eliot…Ezra Pound!''The idea that music and poetry can be separated,'' he wrote, ''is an idea current in ages of degradation and decadence when both arts are in the hands of lazy imbeciles.''Opera Le Testament De Villon:He started at least two unfinished operas, Cavalcanti and COLLIS O HELICONII.( Two short recordings of the latter can be found here )Rhythm & Music, “the hardest quality of a man's style to counterfeit”.In his three essays about Music in Transatlantic Review, he strongly focuses & advocates time and time-intervals, arguing:“A sound of any pitch, or any combination of such sounds, may be followed by a sound, or any combination of sounds, providing the time interval between them is properly gauged; and this is true for any series of sounds, chords, or arpeggios”Emphasization of space and rhythm was, by space - `space in between concise images - in juxtaposition´ - one of prime concerns of Imagisme. Reader`s interaction is needed to form a connection between them. ( A short answer about In A Station of the Metro ) Another short poem, Alba:As cool as the pale wet leaves of lily-of-the-valleyShe lay beside me in the dawn.Pound˙s poetry, rhythm & music was always more about reaction than explanation, which, I think, anyone who has read him can agree, and that might very well be the only thing on which we can agree. Therefore Poetry & Music are two in one to achieving this reaction.I will briefly present his own attempt to compose a work based on his own poem, Sestina Altaforte (1909 )Loquitur: En Bertrans de Born.Dante Alighieri put this man in hell for that he was a stirrer-up of strife.Eccovi!Judge ye!Have I dug him up again?The scene in at his castle, Altaforte. "Papiols" is his jongleur."The Leopard," the device of Richard (Cúur de Lion).IDamn it all! all this our South stinks peace.You whoreson dog, Papiols, come! Let's to music!I have no life save when the swords clash.But ah! when I see the standards gold, vair, purple, opposingAnd the broad fields beneath them turn crimson,Then howl I my heart nigh mad with rejoicing.IIIn hot summer have I great rejoicingWhen the tempests kill the earth's foul peace,And the lightnings from black heav'n flash crimson,And the fierce thunders roar me their musicAnd the winds shriek through the clouds mad, opposing,And through all the riven skies God's swords clash.IIIHell grant soon we hear again the swords clash!And the shrill neighs of destriers in battle rejoicing,Spiked breast to spiked breast opposing!Better one hour's stour than a year's peaceWith fat boards, bawds, wine and frail music!Bah! there's no wine like the blood's crimson!IVAnd I love to see the sun rise blood-crimson.And I watch his spears through the dark clashAnd it fills all my heart with rejoicingAnd pries wide my mouth with fast musicWhen I see him so scorn and defy peace,His lone might 'gainst all darkness opposing.VThe man who fears war and squats opposingMy words for stour, hath no blood of crimsonBut is fit only to rot in womanish peaceFar from where worth's won and the swords clashFor the death of such sluts I go rejoicing;Yea, I fill all the air with my music.VIPapiols, Papiols, to the music!There's no sound like to swords swords opposing,No cry like the battle's rejoicingWhen our elbows and swords drip the crimsonAnd our charges 'gainst "The Leopard's" rush clash.May God damn for ever all who cry "Peace!"VIIAnd let the music of the swords make them crimson!Hell grant soon we hear again the swords clash!Hell blot black for always the thought "Peace!"As a remainder, poem’s speaker is the Gascon nobleman and war-loving troubadour Bertran de Born, who lived in the second half of the twelfth century. There is no way Pound would have wrote the poem in 1914, even 1913, with its pro-war orientation, but in the end, it is a traditional subject of epic.If one isolates the ending words of each stanza:peace – music – clash – opposing – crimson – rejoicing [Stanza I]rejoicing – peace – crimson – music – opposing – clash [Stanza II]clash – rejoicing – opposing – peace – music – crimson [Stanza III]crimson – clash – rejoicing – music – peace – opposing [Stanza IV]opposing – crimson – peace – clash – rejoicing – music [Stanza V]music – opposing – rejoicing – crimson – clash – Peace [Stanza VI]crimson – clash – Peace [Envoi]Not to get into a detailed analysis of this one poem and its technical mastery of Anglo-Saxon metre & alliteration, more famous in his translation The Seafarer.“The phrases are short (two to six small, quick bars), often similar but generally asymmetric, and impetuous with anapest driven leaps, creating an almost flickering quality. The sestina form, however, is used for purely structural function. There is no attempt at word painting or at a sonic/cognitive equivalent. The music matches the original poem, one note or chord per syllable, through the third line of the second sestet. From this point musical irregularities gradually encroach upon the monosyllabic relationship with the text. His formal method was to assign one or two extremely brief music segments (each segment consisting of a different chord, or two or three chords with or without a unison note) as a “sonic signifier” to identify each line of Altaforte’s six end words. When the end word appeared in its new position in the following sestet its sonic signifier would appear as a recognizable determinant. . . .“Remembering category #4 concerning “Criticism via music” in Pound’s essay “Date Line,” we can reflect upon the interpretive insights given us when Pound interrelates music and verse.2 As can be seen above, the temptation to read “Damn it all!” as a colloquial emphatic anapest is dissuaded by Pound’s more pungent cretic ( – ˘– ), giving equal emphasis to “Damn-all.” At the end of the line a spondee (two quarter notes) gives accentuation to “stinks peace,” correcting a tendency to slight “stinks” as a moderately unstressed syllable if giving “South stinks peace” the quite natural reading of a cretic. Similarly, in line six of the same stanza, “heart nigh mad” might be rendered a cretic, yet Pound’s musical setting as three stressed syllables heightens the emotional pitch of the poem by raising the tension on “nigh.” . . .“Under the influence of Antheil’s constantly changing time signatures and note durations[applied to the opera Le Testament] the solo violin sestina utilizes a constant shifting of the number of microbeats per bar from 1/4 to 21/32, with a frequency of triple and quintuple meters presaging the metric simplification of his music over the next two years. Yet Pound’s notation is not secure enough to avoid frequent miscalculations of the note lengths versus the time signatures.“A chordal piece with almost no single notes, frequently using triple- and quadruple-stops with one to three open strings, it repeatedly necessitates the use of “broken chords” or arpeggiation. The result is often a scratchy, disjointed, leaping quality as the player prepares the fingers to approach each new multiple stop. Yet the “breaking” of the chord also favors a clarification of the harmony by lessening the biting dissonance to produce a more consonant sound, often focusing on open fifths or, in arpeggiation, the sweetened effect of an incomplete major seventh chord. Although aesthetically clarified by a few interpretive markings (bowings, accents, staccati, glissandi, sordino, string specification), technically the piece is filled with impracticalities: jagged, wide leaps; constant multiple stops; and some extremely difficult quadruple- stops, which at best render the work barely playable, if not unplayable. (These challenging famous last words often eventually offer an extremely good performance!)” . . . ( Sestina Altaforte” Ezra Pound sets his poem to music )Aforementioned unfinished COLLIS O HELICONII;HYMN TO APHRODITEAphrodite subtle of soul and deathless, Daughter of God, weaver of wiles, I pray thee Neither with care, dread Mistress, nor with anguish Slay thou my spirit. But in pity hasten, come now if ever! From afar, of old, when my voice implored thee, Thou hast deigned to listen leaving the golden House of thy father With thy chariot yoked, and with doves that drew thee Fair and fleet around the dark earth from heaven, Dipping vibrant wings down the azure distance Through the mid ether: Very swift they came; and thou gracious Vision Leaned with face that smiled in immortal beauty, Leaned to me and asked, “What misfortune threatened?” Why I had called thee? “What my frenzied heart craved in utter yearning, Whom its wild desire would persuade to passion? What disdainful charms madly worshipped, slight thee? Who wrongs thee, Sappho? “She that fain would fly, she shall quickly follow She that now rejects, yet with gifts shall woo thee, She that heeds thee not, soon shall love to madness, Love thee, the loth one.”( John Myers O’Hara translation 1910, which Pound recommended )Scenario/librettoPound described his third opera as half-finished (GK 368). A libretto, two arias, and three instrumental works are the sum of materials we have to inform the staging of the opera Collis O Heliconii. Pound’s libretto refers only to the Catullus poem (see my comments and transcription of Pound’s libretto, COLLIS xvi–xix; 102–111). The joining of the opera’s central aria in Latin—Catullus’ carmen 61—and a secondary aria in Greek—Sappho’s “Poikilothron”—continued the pairing of languages heard in the second opera Cavalcanti (Italian and Provençal). The composer’s principal motivation for relating the Latin and Greek poems in an opera was to anchor modern English lyrics in the Greek rhythms while demonstrating how a grasp of Latin will refine a poet’s style.The four key actions of Sappho’s Poem 1 are Sappho’s invocation to the goddess Aphrodite; the goddess’s descent from heaven; Aphrodite’s direct address to Sappho regarding her dominance over human will; and Sappho’s invitation to Aphrodite to take action side by side to reverse an unrequited love.The relationship of the Sappho invocation to the Catullan poem, which is widely accepted as an epithalamium, is not an obvious one. But even if we overlook recent scholarship that depicts carmen 61 as a lampoon of an epithalamium, we can find structural resemblances between the two poems. Sappho’s poem provides an authorial match to Catullus’ carmen 61: each poet inserts her- or himself into the poem; each writes in a way that distances the poet as author from the passions written about; and each poem includes a theme of same-sex preference. It was Henry Wharton who first introduced the English reader to Sappho’s love for a female and possibly Theodor Bergk who earlier had done the same for the German reader (Williamson 51–52).2For contrast and drama in his opera, Pound would develop the literary relationship between Sappho and Catullus. He had named them in his 1929 essay “How to Read” as among the essential canon of authors "who actually invented something" (LE 27). In 1934, Pound praised Catullus for his treatment of sapphics: “. . . the only man who has ever mastered the lady’s metre” (ABCR 47). He published the essay “Date Line” the same year, claiming that the musical setting of a poet’s words was a fourth form of criticism (LE 74). Had Pound’s attempts at setting the two poets’ words to music led him to these declarations?Pound’s preference was for us to hear the two poets’ words in the original language, their rhythms and styles brought directly to our ear through the music—the successful formula he had used to dramatize the Cavalcanti–Sordello literary relationship in his second opera. Pound’s pairing of Sappho’s 1 with Catullus 61 removes Sappho from the sphere of influence of Ovid, where most readers became acquainted with her through reading the Heroides. The opera was to place her Latin legacy clearly on the side of Catullus. For more on this, see COLLIS, chapter V, “Sappho.”SapphicsEzra Pound's holograph score of his setting of Sappho Poem 1 from his 3rd opera,Collis O Heliconii.Shown: Introduction to End of Stanza 1 with sapphic stanza and transcription of Pound's lyrics added in red.Beinecke Rare Book and Manuscript Library (YCAL 53, Box 46/1015)Reprinted by permission, Second Evening Art. All rights reserved.Pound’s musical events in the Poikilothron convey a feeling for the meter through quantity and syllabic durations. Only the first stanza (see music score above) corresponds wholly to the sapphic stanza as defined by the Alexandrian grammarian Hephaestion (2nd century A.D.). Here is the sapphic meter as it has come down to us from Hephaestion’s manual of Greek meters, the Enchiridion:– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘˘ – –[The x represents an “anceps” in which the syllable can be short or long.]O’Hara, too, conformed only his first stanza to the Hephaestion sapphic. He maintained the feeling of sapphics through quantity (eleven syllables in the first three lines, five in the fourth), through a liberal use of the choriambic foot – ˘˘ – (though not always in the Hephaestion choriambic position), and through sounds in English that evoke the Greek sounds. Pound follows suit in the music (see the entry on Stanza 4 below).Musical InfluencesWhen Pound approached the setting of a Greek poem accompanied by lyre, he did not attempt to imitate ancient Greek music. Though he had acquired vol. 1 of the Lavignac Encyclopedia of Music which features Maurice Emmanuel’s entry on Greek music, he relied on this text more for its relevance to poetic meter than for compositional ideas.He lent Mary Barnard his own volume, recommending it as the preferred source for understanding how to write sapphics in American English using Emmanuel’s system of musical forms and strategies (Barnard, 56, 58).For his melodies, Pound looked beyond Greece, east to Indonesia. Pound turned his attention to the Javanese scale as had Claude Debussy, but distanced himself from the composer, lamenting that Debussy had turned to composing ‘mush.’3 Debussy had been influenced by performances of the Javanese gamelan at the Paris Exposition of 1889. Access to information about and recordings of world music were random and haphazard, the nascent field of ethnomusicology being represented by only a few key individuals until well into the 1950s.The specific source for Pound’s approach to the Sappho aria, however, is traceable to the Austrian Erich von Hornbostel, one of the earliest musicologists to make field recordings of the music of Indonesia. Hornbostel reported his findings in “Phonographierte Melodien aus Madagaskar und Indonesien” in 1909. Pound most probably learned of him from his friend, the American concert pianist Katherine Heyman, who mentioned Hornbostel in her 1921 bookThe Relation of Ultramodern to Archaic Music (58).4 On July 7, 1924, Pound programmed an arrangement of a Hornbostel Javanese transcription for solo violin, played by Olga Rudge in Paris.5Pound’s Musical Strategy: Modality and TonalityTo the ear accustomed to a diatonic scale, the intervals of Pound’s unusual scale join with the rhythms “to cut a shape in time” (Barnard, 55). Pound’s single accidental of C# in his scale for the Poikilothron aria resembles the transcriptions of Sumatran music compiled by von Hornbostel at the turn of the century.Pound employs six tones —A, C#, D, E, F, (G)—and avoids B altogether. The use of five tones only in stanzas one through four creates a sense of modal music, i.e., a type of scale that is sui generis, where each tone has equal weight, rather than tonal, which is a hierarchical system of music with a central pitch to which the other pitches relate. In modal music the notes do not function as harmony. Only in the fifth stanza does Pound introduce the G to create the sense of a musical key with the stable relationships of the fourth between D and G, and the already present fifth between D and A. The six-tone scale, with certain features acting like a diatonic scale which has seven tones, implies the key of D minor. B is simply avoided and the C# serves as a raised “seventh” step which wants to resolve to D.When the tritone sounds between G and C#, the composer moves from modal to tonal music. In Stanza six, he resumes modality.The contours of Pound’s melodies arise from the qualities of spoken word in the poem—supplication, solicitation, question, demand, and judgment—, the intervallic movement expanding and subsiding with the emotion. The composer brings forward the contours of Sappho’s words through timbre, dissonance, tritone, and accent. Guided by the belief that he can recover the form apart from the formulaic metrics passed down by tradition, he does not attempt to recover ancient Greek melody, but presents new composition as his fifth form of criticism (LE 74–75).Stanza 4: Inner form in Sappho’s Poikilothron:In stanza four, Sappho’s rhetorical devices lead to a highly structured colloquy between the poetess and goddess, even as the language remains colloquial. The composer strives to make this duality salient—structural formality/linguistic familiarity—not only to transmit Sappho to a modern audience but to promote his own interest in Sappho as a mortal poet conversant with the gods.At stanza four we find rhyming patterns in the syllables: otti deute / kotti deute. Here, Pound foregrounds Sappho’s word play by striking the repeating hard surfaces of her Greek consonants—t, d, p, k—against his neo-Sumatran scale, the strangeness of the scale serving to inflect each sound. Sappho’s voice rings out, resonant and striking in her Poundian afterlife, with none of the Ovidian invention and melodrama qualifying her poetic achievement.Stanza 4, lines 3–4, bars 45–49“You asked, what pray tell have I suffered and why pray tell do I call?”Following three breathy vowels on the same pitch, “e-re ot-”, the consonant load of the syllables, “ti”–“dau”–“te”–“pe”–“pon”–“tha,” meets each of the descending pitches with percussive impact. The final syllable pepontha (“have I suffered”) hits the bottom of the singer’s tessitura on A,an octave and a minor sixth below “e-re ot-.” The word kotti (“and what”) rebounds one octave higher on the A, then C# and A again,before a second leap downward to the low A. There follows a third and lesser rebound and descent. The word melodykalemmi (“do I call”), broken by a sixteenth rest, gives the illusion that all is settling down. Pound delivers the last syllable “-mi” on the less-than-resolute e to end the stanza (supported by an A in the violin).Stanza 5: the tritone in Pound’s aria Poikilothron:The Music Column of Make It New 2.1 discussed Pound’s use of the interval of the tritone to insert a critical marker indicating genius within the music. In the Sappho aria, we might expect that when Sappho refers to herself in the poem’s fifth stanza (“kotti moi”), Pound will employ the tritone, and he does not disappoint. He makes the tonality of the tritone salient by preceding it with modality in the preceding four stanzas and in the subsequent sixth stanza.What Pound said:“The more Greek a man knows the better his English cadence is likely to be, and the greater richness, variety, height, precision, colour of his criteria; the greater the variety of his ideas and memories of what verbal melody can be and should be; and the finer his perception of all verbal sounds whatsoever.”(Ezra Pound. “Dust upon Hellas.” Time and Tide XV.45 [November 10, 1934]: 1429–1430).“Greek seems to me a storehouse of wonderful rhythms, possibly impracticable rhythms. If you don’t read it and if you can’t read Latin translations from it, it can’t be helped. Most English translations are hopeless. The best are in prose.”(Ezra Pound. Letter to Iris Barry. July 1916. L 87).( SAPPHO IN POUND’S THIRD OPERA, COLLIS O HELICONII )I would still say that Pound`s musical interest & experimentation ( Classical Greek and Latin, 11th- and 12th-century troubadours like Arnaut Daniel and Gaucelm Faidi, French trouvères like Guillaume le Vinier, and their 14th- and 15th-century heirs like Dante, Cavalcanti and Villon ) were an extended branch, or outgrowth, of his colossal studies in versification. The sound, not semantics!Arthur Daniel, if Pound were asked to give a name of his idea forerunner of whom he said: “when the Provençal [language] was growing weary, and it was to be seen if it could last, and [he] tried to make almost a new language, or at least to enlarge the Langue d’Oc, and make new things possible” —Make it new! The famous motto.OBLIGATORY listening, a different reading of Sestina Altaforte. If you do not hear the music, Sir, God help thee…So, how does understanding of music impact poetry? — Some say intrinsic, and some have not given it a thought or two. Same goes with criticism & analysis.
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Is the F-35 an uncompetitive fifth generation fighter plane?
QUESTION DUBBED F - 35 AS AN ‘UN COMPETATIVE 5.0 GEN JET’I will make an attempt to write an unbiased review of F - 35 , Which covers its Evolution, Exceptional advanced Systems - yet what’s written by critics.^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^A generation of Airmen seems to have forgotten a simple lesson from history:‘It was leadership, not fancy equipment, that made the difference.’__________________________________________________________________________INTROCUTIONCurrently 5.0 th generation jet fighters are the most Advanced fighter jets in the wo...
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How do the mirrorless camera *systems* of Sony, Panasonic, Olympus, and Fuji compare, and what are the advantages/disadvantages
They are all very good systems, you can easily Google comparison of features and see which one has a feature that might appeal to you in particular. It isn’t practical to run down and restate what is readily available on the internet.In terms of overall quality they are all very good. You couldn’t possibly go wrong with any one of those four cameras.Sony, Olympus and Fuji are virtually in a dead heat quality and feature wise. The biggest difference is Olympus is a micro 4/3rds sensor size, Fuji has either an APS or a medium format sensor, and Sony has either an APS or a full frame sensor.Panasonic sort of specializes in the micro 4/3rds category and uses a variety of lens manufacturers.I think the biggest thing to look at, is what kind of photography do you want to do or do you like to do? What size prints are you planning on making? If you are not planning to print but an occasional print then just look at what features appeal to you and what kind of money do you want to spend. The quality level of all of these brands is considerably higher than the skill level of most of the photographers in this world. To really exceed what these cameras can do is a very difficult thing to achieve. I say that in the most kindest way possible.I have a full frame Nikon high Mega pixel camera, I can pull out a lot from the equipment, but it would take me thinking about it a lot to exceed the camera. I also have a Fuji APS, it has so much capability that it is very difficult for me ever to exceed the capability of the camera and even then it is in very esoteric ways. Mostly I operate well below the capability of both cameras. It speaks well to the overall quality of cameras today. The terrible truth is that they are so good. Some can do some very specialized things that others cannot. 99% of time they all operate equally as well and it is the skill level of the photographer that is wanting not the camera. Each camera feels uniquely different in each person’s hands. The other terribly honest truth is how the camera feels to you is more of a factor then the technical requirements.
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