Top 4 Reasons Adulthood is the Perfect Time to Become a Brace-Face!
We see it all the time folks- adults who truly believe their opportunity for orthodontic treatment has passed. They believe their teeth are too "set" to move now; that their smiles can never look as fresh and perfect as that middle-schooler showing off their grin on the CC Braces Instagram. Well, do we have news for them! Not only do orthodontics work just as well on adults as adolescents, but at CC Braces, we actually believe that adulthood is the ideal time to join the #braceson club! Here are FOUR of the top reasons why!
4. You won't be the only one!
We admit it, braces are usually a rite-of-passage of those exciting childhood years. However, it's not just a fashion statement for high-school hallways. In fact, according to a recent study, as many as 27% of orthodontic patients (in the USA and Canada) are adults- and the numbers are still climbing! As more adults realize the health and aesthetic benefits of seeing an orthodontist, it's becoming easier than ever to find a fellow adult brace-face. No matter your personal or professional situation, we believe that everyone has something to be achieving from having their dream smile. Adults agree with us too- 92% of patients would recommend orthodontic treatment to other adults.
Braces may give you a celebrity smile, but there's more to them than just appearance. There are also health benefits that come from having straight teeth. Misaligned teeth can hold food against your teeth in hard-to-brush places, making maintaining a healthy smile difficult even with regular brushing and flossing. This can lead to a buildup of plaque, which can cause bad breath and cavities.Gum diseases become more likely as well, and, in older adults, loss of teeth or bone in the jaw. A crooked bite can cause headaches, jaw problems, and even digestive issues. Fortunately, an orthodontist is trained to spot and correct these issues, helping you achieve a healthy, life-long smile!
2. You CAN afford it!
Many adults longed for braces as a child but, unfortunately, were not able to get them at the time. Good news, adults! You're all grown up, and braces probably aren't as expensive as you thought. At CC Braces, we truly believe that financial obstacles should not keep anyone from having the best orthodontic care. Our dedicated financial coordinator would be happy to sit down with you and determine if braces are a possibility for you! From your free consultation to our in-house financing options, Dr. Mihalik and staff want to welcome you to explore a future with the smile you always wanted.
It's pretty simple- when you look awesome you feel great, and when you feel great you look awesome! Fortunately, braces can help you do both! The first thing people notice when they're meeting someone new is their smile; a beautiful smile can help break the ice both personally and professionally. With a smile you can be proud of, you won't have to worry about being too self-conscious to let your real smile shine or hiding a grin behind your hand again.In fact, 74% of adults claimed their lives improved as a result of their new-found self-esteem- all as a result of orthodontic treatment! Why wait- call CC Braces NOW to see what we can do for you!
Lately, we've been able to feel how ready Corpus Christi is for spring! The wind is warmer, the sea looks inviting, and the bikini-clad Spring-Breakers are out in full force. The arrival of spring brings another season, however- wedding season!
It goes without saying- every bride is beautiful! That being said, she and her boo have probably put quite a bit of work into their picture-perfect wedding day looks. Months of working out and dieting, and hundreds of dollars on hair and makeup, are considered normal wedding prep. But what about those smiles? At CC Braces, we believe that a stunning smile can make a good picture a great one!
With the wedding right around the corner, however, it's scary to consider visiting the orthodontist to finally get that perfect smile. What if the treatment won't be done in time? Or, worse, what if the doctor thinks it'll be done in time, but there's unforseen complications? Of course, we think ALL of our #bracefaces are adorable, but we understand how a lot of couples are hesitant to risk having braces for their wedding photos. Fortunately, there's an easy solution!
CC Braces is proud to be a provider of Invisalign- the invisible alternative to braces! For the same price as traditional metal braces, Dr. Mihalik can easily provide happy couples with a system of clear retainers that slowly move and straighten your teeth! That means you can walk down the aisle WHILE actively working on your smile- and no one ever has to know! And at the reception, you can eat whatever hard, sticky food you want; Invisalign clear aligners can be removed as easily as any other retainer (just be sure to keep an eye on it while it's out). Invisalign won't show up in your pictures, but your beautiful straight smile will!
There's more to a wedding-perfect smile than just straight teeth though; when you flash those pearly-whites, you want them to be, well, pearly white. Coffee, tea, and life in general can dull your teeth and reduce their natural shine. Fear not, though! CC Braces can also provide you with Opalescence Go teeth whitening trays. These trays are a professional version of the over-the-counter whitening strips we all know. They come in Mint and Melon flavor (instead of Bleach flavor…), are one-size-fits-all, and their discreet, clear tray can be worn out anywhere. Best of all? Your whitest smile is only about a week away!
Mark your calendars for March 30, 2019! It's mudbug season again, and what better way to celebrate than with CC Braces?
Before starting CC Braces, Dr. Mihalik was proud to serve as an orthodontist in the United States Air Force! Although he's retired now, he loves finding opportunities to help support our troops and give back to the armed services. That's why CC Braces is proud to announce its sponsorship of the Coastal Bend Troop Support (N. Padre Island) Crawfish Boil and Military Tribute! Put on by the generous realty geniuses at Berkshire Hathaway Home Services, this boil-for-a-cause promises a great day!
For just $20 per plate, you'll be treated to a crawfish platter with all the fixins, drinks, and plenty of family fun. Have a picky eater in the fam? Not a problem; they'll be cooking up non-crawfish, braces-friendly munchies to make sure that everyone can find something they enjoy! Don't forget to come say hi to your CC Braces friends!
The best part is, all of this deliciousness is for a good cause. First, veterans are welcome to come and get a plate for FREE! An easy way to thank a vet? Instead of buying just one plate, make a donation of $40 and receive one for you and one for a veteran! Even more, all of the proceeds go to helping the Coastal Bend Troop Support send love to our troops overseas! From care packages to Christmas stockings, CC Braces loves everything this non-profit does!
CC Braces is counting down the days until we get to dig into some Crawfish for a Cause- we'll see you there!
As it celebrates its one-year anniversary, local orthodontics office CC Braces shares reflections and values.
CC Braces may have only officially joined the community a year ago but, to Dr. Mihalik, it feels like much longer. "After so many years of constantly moving with the military, I'm grateful to finally have a practice of my own and a city to call home. I try to pay it forward to my patients by doing everything I can to make CC Braces feel like family to everyone who comes to visit us. It's been such a warm welcome from our patients, and we wouldn't be able to provide such a high level of service without our incredible team." With one year down, CC Braces is confident and ready to move into the future- creating beautiful SMILES, with a smile.


Yes, it's a bat, but not just any bat! Softbat's surface creates just the right amount of spin and has a very well-crafted handle, for young and old alike. In the meantime, its incredible paddle is made from recycled materials and the recovery of used ARMOR-LUX materials.
Cornilleau was a pioneer in the development of composite outdoor ping-pong rackets and is now launching SOFTBAT, the world's first eco-conceived outdoor racket on the market.
Brand new from Cornilleau is the world's first eco-design table tennis bat.


To ask the Scottish Government what action it is taking in light of the Scientific Advisory Committee on Nutrition's recommendation that everyone over four should consume 10 micrograms of vitamin D daily.
It is important that we ensure that people are aware of the importance of vitamin D. The Scottish Government is currently considering how best to raise awareness of the new recommendations amongst the general public, particularly those most at risk of vitamin D deficiency. Healthcare professionals play an important role in raising awareness of the importance of vitamin D and we will work to ensure that they are fully aware of these new recommendations.
In addition, the Scottish Government will offer free vitamins, which contain the recommended daily dose of vitamin D, to all pregnant women from Spring 2017.


We look forward to hearing from you! Whether you are looking to purchase locally sourced grains, sell Michigan grown grains, participate in community or educational events, partner on research, or even if you have a totally new idea to share, we can't wait to connect. Call or email us anytime, but please send us a note or give us a call before stopping by!


text:
import React from 'react';
import * as _ from 'lodash';
import { observer } from 'mobx-react';

import { editor, generator, interactions, masks, layout } from '../core';
import { VOICE_COLORS, MUTED_COLOR, COLOR_PRIMARY } from '../core/theme';

import { Group } from './group';

export interface Props {
  width: number;
  height: number;
  labelWidth: number;
}

const VOICE_INITIALS = ['S', 'A', 'T', 'B'];

@observer
export class MaskLanes extends React.Component<Props> {
  renderLabels() {
    const { height, labelWidth } = this.props;

    return _.range(4).map(voiceIndex => {
      const laneHeight = height / 4;
      const y = voiceIndex * laneHeight;
      const isMuted = editor.isVoiceMuted(voiceIndex);
      const color = isMuted ? MUTED_COLOR : VOICE_COLORS[voiceIndex];
      return (
        <g
          key={`label_${voiceIndex}`}
          className="mask-lane-label"
          onClick={(e: React.MouseEvent<SVGGElement>) => {
            editor.toggleVoiceMute(voiceIndex);
          }}
        >
          <rect
            x={1}
            y={y + 1}
            height={laneHeight - 2}
            width={labelWidth - 2}
            fillOpacity={0}
            stroke={COLOR_PRIMARY}
            strokeWidth={0.5}
            rx="3"
          />
          <text
            x={layout.pianoRollWidth / 2 - 6}
            y={y + 16}
            height={laneHeight}
            width={labelWidth}
            fill={color}
          >
            {VOICE_INITIALS[voiceIndex]}
          </text>
        </g>
      );
    });
  }

  renderLanes() {
    const { height, width } = this.props;
    const laneHeight = height / 4;

    return _.range(4).map(voiceIndex => {
      const y = voiceIndex * laneHeight;
      const isMuted = editor.isVoiceMuted(voiceIndex);
      const color = isMuted ? MUTED_COLOR : VOICE_COLORS[voiceIndex];

      const candidateSequencesExist = generator.candidateSequences.length > 0;
      const mouseDownHandler = interactions.handleMaskLaneMouseDown(
        voiceIndex,
        candidateSequencesExist
      );

      return (
        <rect
          key={`lane_${voiceIndex}`}
          x={0}
          y={y}
          height={laneHeight}
          width={width}
          fill={color}
          fillOpacity={candidateSequencesExist ? 0.6 : 1}
          onMouseDown={mouseDownHandler}
        />
      );
    });
  }

  renderMasks() {
    const { height, width } = this.props;
    const laneHeight = height / 4;

    return _.range(4).map(voiceIndex => {
      const mask = masks.userMasks[voiceIndex];
      const y = voiceIndex * laneHeight;

      // Merge the mask indices into left/right bounds in order to draw
      // contiguous rectangles for masked regions.
      type Bound = { start: number; end: number };
      const maskBounds: Bound[] = [];

      let currentBound: Bound | null = null;
      mask.forEach((maskIndex, arrIndex) => {
        const neighborLeft =
          arrIndex > 0 && mask[arrIndex - 1] === maskIndex - 1;

        if (!currentBound || !neighborLeft) {
          currentBound = { start: maskIndex, end: maskIndex };
          maskBounds.push(currentBound);
          return;
        } else {
          currentBound.end = maskIndex;
        }
      });

      return maskBounds.map((bounds, boundsIndex) => {
        const BORDER = 2;

        const x = (width / editor.totalSixteenths) * bounds.start;
        const rectWidth =
          (width / editor.totalSixteenths) * (bounds.end - bounds.start + 1);
        const maskIndices = _.range(bounds.start, bounds.end + 1);

        const candidateSequencesExist = generator.candidateSequences.length > 0;

        const clickHandler = interactions.handleMaskRectClick(
          voiceIndex,
          maskIndices,
          candidateSequencesExist
        );

        const isMuted = editor.isVoiceMuted(voiceIndex);
        const color = isMuted ? MUTED_COLOR : VOICE_COLORS[voiceIndex];

        return (
          <>
            {candidateSequencesExist ? (
              <rect
                x={x}
                y={y}
                height={laneHeight}
                width={rectWidth}
                fill={color}
              />
            ) : null}
            <rect
              key={`lane_${voiceIndex}_mask_${boundsIndex}`}
              x={x + BORDER}
              y={y + BORDER}
              height={laneHeight - 2 * BORDER}
              width={rectWidth - 2 * BORDER}
              stroke={'white'}
              strokeWidth={2}
              fill={`url(#diagonal-stripe)`}
              fillOpacity={0.75}
              onClick={clickHandler}
              cursor={candidateSequencesExist ? 'pointer' : 'default'}
            />
          </>
        );
      });
    });
  }

  render() {
    const { labelWidth } = this.props;

    return (
      <Group>
        {this.renderLabels()}
        <Group x={labelWidth}>{this.renderLanes()}</Group>
        <Group x={labelWidth}>{this.renderMasks()}</Group>
      </Group>
    );
  }
}

redpajama_set_name: RedPajamaGithub


text:
'Game of Thrones' and 'Westworld' Are Skipping San Diego Comic-Con This Year
There may not be new Game of Thrones this year, but at least there's Comic-Con, right? Wrong. This year you won't be able to see the cast assemble for cute photoshoots or try their best to dodge spoilers. "OK, fine," you say, at least you can see the Westworld cast outside of their western gear and donning some modern attire. Sorry, no luck there either.
HBO is skipping San Diego Comic-Con this year, meaning the two biggest shows on television won't be at the biggest fan event of the summer. Here's the official statement from the network:
Due to production schedules and air dates for Game of Thrones and Westworld, these series will not be presented at San Diego Comic-Con this summer. HBO has a longstanding relationship with SDCC, and we are very grateful for the fans' enthusiastic response over the years. We look forward to returning in the future.
This follows new that Marvel will also be absent from Hall H this year, a decision no doubt to keep those safely guarded Avengers 4 secrets hidden away and to hold off of any Phase 4 announcements. And HBO is likely thinking the same for their two biggest and most twisty shows.
Thrones doesn't return for it's much-anticipated final season until next year, and with production still underway it makes sense the show won't hold a panel. (They better not make us watch a damn block of ice again for though. I refuse.) With Westworld, the second season wraps up in a little over a week, so it would seem appropriate to have the cast discuss the newest season on a panel. But I can only imagine Season 2 will end on a big cliffhanger and confusing-as-heck series of twists, so why not keep their cast and creators from saying too much if they can? A third season has been ordered, but there's no knowing when it'll arrive.
Without Marvel or HBO, as well as Starz' Outlander, also skipping this year, San Diego Comic-Con will be a much less exciting affair. Alright DCEU, you've got the floor; now's the time to bring out Joaquin Phoenix in full Joker makeup.
Gallery – Best Dressed Game of Thrones Characters:
16 LINGERING 'GAME OF THRONES' QUESTIONS THAT NEED TO BE ADDRESSED IN SEASON 8
Source: 'Game of Thrones' and 'Westworld' Are Skipping San Diego Comic-Con This Year
Filed Under: Comic Con, Game of Thrones, HBO

redpajama_set_name: RedPajamaCommonCrawl


I need to create a website about my product.
The website will be hosted in Google Cloud Platform, in the AppEngine product.
Hi I can do it for you. I have read your requirement details and reviewed the link already. I can start work for you now and will finish in 2 days.
Hello I see you want to make a wordpress website for 5 to 6 pages yes i can make it which is compatible with all browsers and responsive for all devices. Lets discuss more in chat.


text:
Q: cURL with PHP, possible to determine the IP address cURL will use? Is it possible to determine programmatically what IP address cURL is using when connecting to a remote server? I have a shared server that I am using cURL on, and I need to send the IP address as part of the request.
The server that I am talking to requires an authentication string that combines the connection IP address and a rotating passcode (eg my $code = SHA1($_SERVER['SERVER_ADDR'] . $passcode) gets compared on their end with SHA1($_SERVER['REMOTE_ADDR'] . $passcode)). This worked fine when the outgoing connection from cURL was using the same IP as is stored in $_SERVER['SERVER_ADDR'], however the IP address used by cURL is now different and rotating periodically.

A: You can force the IP that curl uses, as opposed to detecting it.
Use the CURLOPT_INTERFACE option for curl_setopt() - set it to the IP you wish to use.
If you are using a server, such as a cloudserver, with an IP pool - then it is advisable to select the interface to use, if it is important to detect that on the other side, for security reasons.
Personally, I have had to use the feature for card payment data transfers via cURL, when the IP is restricted.

A: You can do this to get your public IP before you call:
$ch = curl_init('http://whatismyip.org/');
curl_setopt($ch,CURLOPT_RETURNTRANSFER,TRUE);
$myIp = curl_exec($ch);

However:

*

*If your public IP sometimes changes between cURL sessions, there is nothing to say that it wont change between the above session and the next one for which you actually need this data.

*It relies on whatismyip.org (or similar service) actually being running.

A: There is a web site called whatismyip.com.  They have a publically available API that you can use as long as you don't exceed their limit (which is something like five requests per hour??).  Won't hurt to give it a shot, eh?

A: Assuming that curl is always running from the same server, even if it has multiple NICs it shouldn't matter if you tell curl which IP to use.
I would use DaveRandom's trick of getting what IP you are currently using, then set it for the next call using
curl_setopt($ch, CURLOPT_INTERFACE, "XXX.XXX.XXX.XXX");

Assuming the two calls are close enough, there is a very high chance that IP will still be bound to an interface and by setting it you are telling curl to use that one, instead of whichever one the load balancer may want to use.

redpajama_set_name: RedPajamaStackExchange


text:
Chasing Dragons on Komodo Island
by Richard Collett | Nov 15, 2014 | FROM THE ROAD, Indonesia | 0 comments
The Komodo Dragon is a rare, but deadly beast, found only in a few scattered regions of the Indonesian Archipelago; I journeyed to Komodo Island, in search of the world's largest living lizard and found myself face to face with a prehistoric dragon.
I set out from Bali, Indonesia's tourist hot spot, and hopped from island to island, heading East to find the Komodo National Park.
The journey was hardly short, and I utilised whatever transport I could jump on to travel the 500 or so miles across land and sea.
Who needs cruise ship luxury when you can take a local ferry?
The ferry crossings were arduous, but copious quantities of rice wine and spectacular sunsets hastened the journey along.
Being a protected National Park of some importance it was difficult to actually stay on either Komodo or Rinca, the two main dragon inhabited islands. Instead I was going to start in the fishing village of Labuanbajo on the large island of Flores, and hitch a boat ride from there.
After three days of travel, I'd made it to the village, and my jumping off point for Komodo.
Now it was time to find myself a Boat and a Captain.
At the docks, the ship was provisioned for a two day trip. We would chase dragons by day and sleep out on the deck under the stars by night.
The first port of call would be Rinca island, the largest island in the National park, and the most likely place to spot a Komodo Dragon in the wild.
Komodo Dragons secrete a venomous toxin when they bite, which slowly infests a wound, turning it gangrenous. Locals tell legends of the dragons which cause men to disappear, slowly and painfully. This attribute is how the Komodo Dragon hunts successfully, using its rapid acceleration to chase down prey, infecting it, then stalking it for days until it drops dead.
It didn't take long to see the first of the dragons. The guide explained that they used to feed the lizards to put on a spectacle for tourists, and as a result they still tend to turn up at the visitor's village, hiding under the cabins and strolling along the walkways.
The guide warned us to watch out for the young Komodo Dragons, which tend to stay in the trees, and drop down unexpectedly when hunting.
The Komodo Dragons rarely need to eat, and as a result, unprovoked attacks on humans are extremely rare. The local guide's reassurances provided little consolation as our small group began the trek into the dense surrounding forest, to try and encounter these beasts in a more natural habitat.
Our hike inland provided for scenic panorama and rich wildlife, yet we came across no more Komodo Dragons.
Venturing back towards the village, it seemed that they were all to be found sunning themselves here.
The night was spent on the deck of the boat, and as darkness began to fall the Captain sailed us to see the Flying Foxes, bat like creatures which come out at sunset.
They swarmed out of the trees, heading off into the skies.
We cracked out the beers and enjoyed the surroundings.
The next morning as the sun rose we headed to Komodo Island, the namesake of the dragons themselves.
There were ominous dragon trophies awaiting us on our arrival.
We hiked into the island's interior, on alert for signs of the beasts.
We came across plenty of potential Komodo Dragon prey.
Even Bambi was hiding in the foliage.
We emerged from the dense woodland, again having seen no Komodo Dragon. But as we headed back to the coast, ahead of us on the path a giant lizard was lumbering slowly towards us.
Not demonstrating the pace they are capable of, the creature just plodded down the path, its tongue flicking out to taste the air.
The guide, wielding a long pronged stick he'd picked up off the ground for protection, told us dramatically how he'd once had to fend off an attack by one of the lizards near the very path we were on, and urged us into the brush and out of the lizard's way.
Up close and on the move the Komodo Dragon was terrifyingly magnificent.
It stared us straight down, and we all backed off into the bush around us, the guide urging us to stay still.
It crawled past, close enough to make out the individual scales across its body.
Once it was far enough up the path, the guide led us out of the trees and back to the coast. He said he'd truly been worried, as away from the old feeding zones they don't generally get so close to people.
I'd come face to face with the dragon itself, after hiking through the rugged landscape of Komodo Island in search of the creature, and it was indeed a moment to behold.
Take a look at the Komodo National Park UNESCO World Heritage listing for a bit more info on the Park!
Standing on the Crater's Edge at Mount Kelimutu
Jaco Island: East Timor's Deserted Island Paradise
The Attempted Murder of a Dolphin- The Fishermen of Lamalera
White Island Camiguin: Is This The Whitest Sandbar In The Philippines?


Free Video FPS Converter - Software Informer. Modify the Frames Per Second, width, and height of your video files.
If in need of increasing or reducing the FPS value (Frames Per Second, or frame rate) and the size of a video file in probably one of the simplest ways available, Free Video FPS Converter offers you an extremely easy-to-use one-window interface for you to perform such changes. This open-source development is a straightforward tool suitable for all users, regardless of their knowledge of video editing.
Designed for all types of users, all you need to know about your video files to make the most of this utility is their frame rate, width, and height. You also need to be sure about the new FPS and the new dimensions you want for your video, and feed that information into the program's interface. One caveat, though – if you don't want the output video to be converted into AVI, remember to specify the file extension when typing in the name of the resulting file.
Free Video FPS Converter offers you a few options to fine-tune the conversion process. You can opt to use the Key Frames only, adjust the frame rate to reduce flickering effects, to change the frame rate only if the new value is bigger than the one in the source file, and to keep or remove any existing audio stream. You can also launch the conversion in Debug Mode, if so desired. The conversion process itself is fairly slow, though the results are in most cases satisfactory. Though this small utility is usually one of the many features available in a number of free and commercial video editors and converters, I see no reason why those in need of changing but the frame rate of a given video shouldn't have it on their desktop.


I'm very interested in learning Python and being able to apply it to GIS. I'm looking for suggestions/tips on sources/methods for learning Python. Any ideas would be appreciated, thanks in advance!
Thanks for the links Marcin!
A general question....can Python be used with ArcGIS Server and web applications such as Flex Viewer and Silverlight Viewer?
I'm new to scripting and am trying to figure out what are the best ways/methods to customize solutions and if there are better solutions than others for particular tasks? For example, I assume Python would be preferred for ArcMap/ArcCatalog tasks but for web applications, is this still the case or would others be more useful?
I always recommend http://learnpythonthehardway.org/ by Zed Shaw. It is by far one of my most favorites when you are starting from scratch.
In my experience I've exclusively written python tools/scripts as Geoprocessing tools. But it is a very robust language; we've deployed some of those tools to be used in a server/viewer environment without much issue. I think you'll find you can do quite a bit with even just a little scripting.


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text:
Frustrations at Work»
Requirements to Work as an X Ray Technician in Australia
by Jon Gjerde
Medical imaging technologists help diagnose illnesses and injuries.
Jupiterimages/liquidlibrary/Getty Images
1 Become an Elementary Teacher in Canada
2 Oncologist Certification
3 New Jersey Teaching Certification for a Speech-Language Therapist
4 Get Continuing Education Hours for EMT-B
X-ray technicians in Australia are commonly referred to as diagnostic radiographers or medical imaging technologists, and may also work with other imaging technologies like sonar. These professionals use advanced medical imaging technology to aid in the diagnosis and treatment of illnesses or injuries. X-ray technicians must be accredited by the Australian Institute of Radiography to begin working in hospitals. This process takes about four years, depending on your path to accreditation.
All medical imaging technologists and diagnostic radiographers must complete a bachelor's or master's program in medical imaging science. Programs take three to four years to complete. During your studies, you learn about the physics of medical radiation, handling patient needs, effectively communicating with patients and peers and the latest techniques in tomography, mammography and radiography. Many programs allow students to choose a specialization in areas like pediatrics, geriatrics, obstetrics, gynecology or anatomy. You are also given the opportunity to gain real-world experience through clinical rotations.
The National Professional Development Programme and the Supervised Practice Programme allow recent graduates to work in the medical imaging field while they obtain their accreditation. The program takes one year to complete, if all requirements are met in a timely fashion. The first step in the process is to apply for provisional accreditation with AIR and provisional registration with the Medical Radiation Practice Board of Australia. This should be done before graduation. Once offered employment, obtain a use license from the MRPBA and begin your NPDP. During this process, you and your supervisor submit assessments at 12, 24, 36 and 48 weeks. You also need to complete continuing education and English language requirements. At the end of the year, you may apply for full accreditation.
AIR maintains a list of accredited programs and those in the process of accreditation. Some of these programs allow students to skip the NPDP and SPP requirements and attain full accreditation right out of school. These are typically four-year programs, instead of the traditional three-year programs offered by most Australian universities. This allows students to decide whether to spend their final year of training in a classroom setting or in the field.
Overseas Qualification
If you have worked as an x-ray technician, medical imaging technologist or diagnostic radiologist in a country other than Australia, you may be able to waive the normal requirements for accreditation. This process involves an assessment of your education, training and skills by the AIR Overseas Qualification Assessment Panel. This assessment compares your background to the standards set by AIR. In addition, you must certify your proficiency in the English language. For citizens of the U.S., U.K. Ireland, Canada and New Zealand, this means submitting a certified copy of your passport. Citizens of other countries must earn satisfactory scores on standardized English language tests.
Jon Gjerde worked as a journalist in northern California where he covered topics ranging from city, county and tribal governments to alternative transportation. He holds a Bachelor of Arts in English from University of California, Davis.
Gjerde, Jon. "Requirements to Work as an X Ray Technician in Australia." Work - Chron.com, http://work.chron.com/requirements-work-x-ray-technician-australia-21552.html. Accessed 22 January 2020.
Gjerde, Jon. (n.d.). Requirements to Work as an X Ray Technician in Australia. Work - Chron.com. Retrieved from http://work.chron.com/requirements-work-x-ray-technician-australia-21552.html
Gjerde, Jon. "Requirements to Work as an X Ray Technician in Australia" accessed January 22, 2020. http://work.chron.com/requirements-work-x-ray-technician-australia-21552.html
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Ever wonder what the inside of an industrial composting facility looks like?
A drive-by won't reveal much about what goes on behind the gate at a McGill facility. An entry sign, some naturalized areas, vegetated berms and, maybe, a roof line or two is the most common vista — and that's quite intentional.
We want to be as unobtrusive as possible, blending in with the neighborhood. But behind this woodsy facade is a modern, industrial-scale compost manufacturing plant utilizing a scientifically-advanced process and computer control.
However, McGill facilities are not identical. Each reflects the differences in site features, locale, applicable regulations and our own design and process evolution. Each new facility is a bit more advanced than the one before.
At all facilities, wet feedstocks are off-loaded into indoor, concrete bunkers where an extraction system collects the air and sends it on to the biofilter to help control odors. High-moisture materials are dropped onto a bed of very dry amendment or compost to absorb free liquid.
Dry feedstocks, like the woody fraction of yard waste, shredded pallets, etc., may be stored on a small, outdoor pad until needed for blending.
The off-loading bunker or "pit" is actually an extension of the blending area floor. Trucks typically tip from tan outdoor ramp into the bunker. However, at some facilities, trucks may tip under a shed-type roof or back into the building before tipping. This photo shows the indoor off-loading area at McGill's Glenville facility near the city of Cork in Ireland where trucks can be totally enclosed behind the garage door prior to off-loading. This is an extra safeguard to mitigate odor generation in highly-sensitive areas.
This photo shows the washdown area at McGill-Merry Oaks near Raleigh, NC.
Tractor-trailer rigs are pressure washed after off-loading to eliminate odors and minimize track-out. The concrete apron is sloped so wash water drains into the pit for use in the composting process. Non-toxic detergents and cleaners keep our microbes safe.
The way we blend isn't really innovative. Tried and true would be more accurate. We have used mechanical mixers and conveyor systems, but they were never as efficient, reliable or flexible as good old bucket blending, which is now the method of choice at all facilities. The pictured blending area is also at our facility in Glenville, Ireland.
When we talk about controlling the process, we mean it.
Residuals and by-products, blended to prescribed ratios based on available feedstocks, are placed inside concrete-encapsulated bays designed with a special floor to accommodate our aeration system. Sensors are placed and the doors closed, totally encapsulating the admixture.
The composting mass is not touched again until the computer tells us the process is complete. Some facilities have metal doors (like McGill-Glenville, pictured in top photo on this page); others use a geotextile.
The translucent panels on the roof of this bay at the Merry Oaks plant protect the composting process from weather influences, seal the bay for air extraction/biofiltration, and improve visibility for workers.
At McGill-Glenville, the aeration system is located inside a building in the attic space above the encapsulated bays, giving each bay a concrete "roof." For bays with translucent panels as a roof, system components are outside, along the back wall.
Aeration delivers oxygen to the microbial populations responsible for biodegradation and removes the heat generated by their feeding activity, maintaining temperatures within the specific range required for happy microbes. Air is pushed up and through the composting mass, while extraction fans pull air off the pile and away from work zones within the building. Process air is piped to a biofilter.
Computers at all facilities regulate the aeration system and monitor temperatures, which are continuously recorded to confirm processing goal attainment for regulatory reporting. This particular system is proprietary, designed by and for McGill.
The time:temperature ratio of our process mimics pasteurization, even though no external heat is applied. The heat generated during composting is provided by the feeding activity of the microbial populations responsible for biodegradation.
Temperature sensors embedded in the composting mass detect and report heat fluctuation, sending wireless signals to the microprocessor. The computer, in turn, adjusts air flow to the composting mass.
This holds temperatures within an ideal range and greatly accelerates the composting process, eliminating the hot-cold cycling common to uncontrolled composting systems.
Screening equipment customized to meet McGill specifications results in a compost with even consistency batch after batch.
After screening and curing, our compost is ready for market as an EPA Exceptional Quality (EQ) product.
McGill-branded products include McGill SoilBuilder, a premium quality, 100% compost, as well as a number of derivative products and blends for specialty markets. SoilBuilder is the base for all McGill blends.
McGill SoilBuilder is U.S. Composting Council certified and tested monthly in accordance with the U.S. Composting Council's Seal of Testing Assurance (STA) program.


Should the boundaries of 9/11 devastation be solely contained within a single continuous chain link fence in Lower Manhattan?
Throughout their existence, the Twin Towers were one of the most revered architectural skyscrapers of their time. Millions flocked to the 110-story observation deck to take pictures, buy t-shirts and mementos. Post 9/11, tourists still flocked to the area: a grotesquely different view that could no longer be called the Twin Towers. "Ground Zero" was a different word for a much-changed, different place.
There has been a lot of discussion about what should be considered "Ground Zero." Putting definitive boundaries is a slippery slope. Here is a list of buildings that were affected by the terrorist attacks on 9/11.
The building which endured damage furthest North of the Twin Towers footprints is the Borough of Manhattan Community College's Fitterman Hall. The building at 30 West Broadway was destroyed by the collapse of 7 World Trade Center on 9/11. Today, the boundaries of the now demolished building, is not considered "Ground Zero." Although, from the site of the proposed Park51 center, you can look West at the site where the building used to be. Is it that we implicitly feel the destruction of the CUNY building isn't part of the boundaries of devastation?
Here is a Google Map look on the corner of West Broadway and Park Place. From a simple turn on the corner you can see the former Fitterman Hall and the former Burlington Coat Factory.
To limit the term "Ground Zero" to the footprints of the Twin Towers automatically diminishes any destruction suffered on 9/11 beyond the chain linked fence that exists today.
To set boundaries means that insensitivities can be easily hurled from both sides of the Park51 debate. Like a game of tag, using the term Ground Zero is tantamount to having a "base" or "being safe." Is it though?
The term "Ground Zero" should not be leveraged on either side to discuss who is right and who is wrong.
Residents of Battery Park City who were displaced and had to flee the neighborhood because of air and water concerns are also victims of the events that occurred at Ground Zero — although hardly recognized as such.  Many residents did not have homes to return to that day, could not return until their buildings were deemed safe. Devastation of businesses, houses of worship and homes were widespread in areas not colloquially considered "Ground Zero." Does that make their experience post 9/11 any less important or less part of that scene?
To limit "Ground Zero" — which generically means "a scene of great devastation" — to just the footprints of the Twin Towers is a great disheartenment and disservice to the survivors of the attacks: the residents, businesses, schools and those who have endured to rebuild this community. Just ask anyone who lived in Battery Park City at that time. If the Cordoba Initiative wants to be part of the rebuilding, acknowledging instead of denying they are a community center at "Ground Zero" would be a first step in a good direction. Wouldn't it be an honor to be part of rebuilding Ground Zero? After 9 years of almost inaction at the site, anyone who wants to improve on our community should be welcomed.
Perhaps the next step is to teach America and beyond that "Islam,""Muslims" and "mosque" are not dirty words.


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Fan C, Lee C (2001) Purification of D-hydantoinase from adzuki bean and its immobilization for N-carbamoyl-D-phenylglycine production. Biochemical Engineering Journal 8(2), 157-164.
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Faroda AS (1972) Effect of seeding rate and row spacings on fodder production of moth bean (Phaseolus acontifolius). Annals of Arid Zone 11(3/4), 183-186.
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Feng ZZ, Kobayashi K (2009) Assessing the impacts of current and future concentrations of surface ozone on crop yield with meta-analysis. Atmospheric Environment 43(8), 1510-1519.
Fery RL (1980) Genetics of Vigna. Horticultural Reviews 2, 311-394.
Firake NN, Bangal GB, Gutal GB (1994) Effects of contour planting of mataki with subabul on soil moisture and fodder yield. Journal of Maharashtra Agricultural Universities 19(1), 141-142.
Flores M CM, Madriz I PM, Warnock de Parra R, Trujillo de Leal A (2005b) Plant height and yield components of six genotypes of the Vigna genus in two locations of Venezuela. Revista de la Facultad de Agronomía, Universidad del Zulia 22(4), 351-364.
Ford CW (1982b) Accumulation of O-methyl-inositols in water-stressed Vigna species. Phytochemistry 21(5), 1149-1151.
Fox CW (1993) A quantitative genetic analysis of oviposition preference and larval performance on two hosts in the bruchid beetle, Callosobruchus maculatus. Evolution 47(1), 166-175.
Fox CW, Tatar M (1994) Oviposition substrate affects adult mortality, independent of reproduction, in the seed beetle Callosobruchus maculatus. Ecological Entomology 19(2), 108-110.
Frenken G, Hornetz B, Jaetzold R, Willems W (1993) Actual landuse advice in marginal areas of SE-Kenya by atmosphere-ocean-telecommunication. Tropenlandwirt 94(April), 3-12.
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Fujihara S, Abe H, Yoneyama T (1995) A new polyamine 4-aminobutylcadaverine: occurrence and biosynthesis in root nodules of adzuki bean plant Vigna angularis. Journal of Biological Chemistry 270(17), 9932-9938.
Fujihara S, Terakado J, Nishibori N (2006) Accumulation of an aromatic amine, β-phenethylamine, in root nodules of adzuki bean Vigna angularis. Plant and Soil 280(1/2), 229-237.
Fujihara S, Terakado J, Takenaka M, Yoneyama T (2002) Specific occurrence of β-phenethylamine in root nodules formed from Bradyrhizobium-legume symbiosis. Plant and Soil 238(1), 123-132.
Fujii K (1983) Resource dependent stability in an experimental laboratory resource-herbivore-carnivore system. Researches on Population Ecology(Supplement 3), 15-26.
Fujii K (2009) Cause of egg mortality in azuki bean weevils (Callosobruchus chinensis): physical or chemical? Population Ecology 51(1), 99-104.
Fujii K, Miyazaki S (1987a) Infestation resistance of wild legumes (Vigna sublobata) to azuki bean weevil, Callosobruchus chinensis (L.) (Coleoptera: Bruchidae) and its relationship with cytogenetic classification. Applied Entomology and Zoology 22(2), 229-230.
Fujii Y (2000) Allelopathy in Vicia, Mucuna and related leguminous species. 191-204.
Fujii Y, Kageyama D, Hoshizaki S, Ishikawa H, Sasaki T (2001) Transfection of Wolbachia in Lepidoptera: the feminizer of the adzuki bean borer Ostrinia scapulalis causes male killing in the Mediterranean flour moth Ephestia kuehniella. Proceedings of the Royal Society of London. Series B, Biological Sciences 268(1469), 855-859.
Fujine O, Akino S, Kondo N, Naito S (2003) Toxic activities of bud cell culture filtrates of Fusarium oxysporum f.sp. adzukicola to calluses of adzuki bean cultivars. Memoirs of the Graduate School of Agriculture, Hokkaido University 25(2), 195-202.
Fujita I, Nishimune A, Watanabe K (1978) Studies on the application of slow-release nitrogen fertilizers to the main crops in the brown andosol of Tokachi district. 1. Effect of slow-release nitrogen fertilizers on the main crops at a standard nitrogen supply. Research Bulletin of the Hokkaido National Agricultural Experiment Station(120), 51-74.
Fujita K, Ofosubudu KG, Ogata S (1992) Biological nitrogen-fixation in mixed legume-cereal cropping systems. Plant and Soil 141(1-2), 155-175.
Fujita S (2007) Studies on the breeding of Adzuki bean cultivars resistant to Adzuki bean brown stem rot (BSR) and Phytophthora stem rot (PSR). (115), 55 pp.
Fujita S, Kondo N, Shimada H, Murata K, Naito S (2007) Re-evaluation and selection of adzuki beans to breed cultivars resistant to new race of Phialophora gregata f. sp. adzukicola, the causal agent of adzuki bean brown stem rot (BSR). Breeding Research 9(3), 87-95.
Fujita S, Murata K, et al. (2002) A new adzuki bean variety "Syumari" with soil-borne disease resistance and excellent processing quality. Bulletin of Hokkaido Prefectural Agricultural Experiment Stations(82), 31-40.
Fujita S, Shimada H, Aoyama S, Murata K, Chiba I, Matsukawa I (2005) A new white Adzuki bean "kita-hotaru" with excellent processing quality and soil-borne disease resistance. Bulletin of Hokkaido Prefectural Agricultural Experiment Stations(88), 13-24.
Fujita S, Shimada H, Murata K, Aoyama S, Chiba I, Matsukawa I, Minami M (2003) A new Dainagon-brand adzuki bean "Toyomi-dainagon" with excellent seed quality and soil-borne disease resistance. Bulletin of Hokkaido Prefectural Agricultural Experiment Stations(84), 25-36.
Fukuda T, Maruyama N, Salleh MRM, Mikami B, Utsumi S (2008) Characterization and crystallography of recombinant 7S globulins of Adzuki bean and structure-function relationships with 7S globulins of various crops. Journal of Agricultural and Food Chemistry 56(11), 4145-4153.
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Fukushima M, Ohashi T, Kojima M, Ohba K, Shimizu H, Sonoyama K, Nakano M (2001) Low density lipoprotein receptor mRNA in rat liver is affected by resistant starch of beans. Lipids 36(2), 129-134.
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text:
Q: mock.patch() Not patching function in module call, but is in test function So I am trying to mock a function and it is not being mocked in the module where it is being called, but it when called directly in the test function. I am unsure what I'm doing wrong. I use patch all the time without any problems.
So in the test I have below
from unittest.mock import patch
from django.test import TestCase
from web.utils.registration import test_render_mock

class TestRenderMock(TestCase):

    @patch("django.shortcuts.render")
    def test_render_mock(self, render_mock):
        request = self.make_request()

        # Calls render in same way in function below
        test_render_mock(request)

        from django.shortcuts import render
        r = render(request, 'c')
        print(type(r))

which is calling the function in the file web/utils/registration.py
from django.shortcuts import render

def test_render_mock(request):
    r = render(request, 'registration/signup_link_error.html')
    print(type(r))

And it isn't mocking the render call in the function test_render_mock but it is in the test function test_render_mock(). The console output is below.
<class 'django.http.response.HttpResponse'>
<class 'unittest.mock.MagicMock'>

I have no idea what I'm doing wrong. Any help would be appreciated.
Using python version 3.8.2 and Django 3.0.5
UPDATE
I used to use the third party library mock, but using the built in one now from tne unittest library.
now for third party library you need to define the module path where there imported like so
from unittest.mock import patch
from django.test import TestCase
from web.utils.registration import test_render_mock

MODULE_TESTING: str ='...'

class TestRenderMock(TestCase):

    @patch(f"{MODULE_TESTING}.render")
    def test_render_mock(self, render_mock):
        request = self.make_request()

        # Calls render in same way in function below
        test_render_mock(request)

        from django.shortcuts import render
        r = render(request, 'c')
        print(type(r))


The Shawnee Public Library welcomes to the community to its program "Celebrating Black History Month: A Local Perspective," at 2 p.m. Sunday, Feb. 3, in Rooms A and B of the library, 101 N. Philadelphia Ave.
Featured speaker Betty Katherine Permetter Falato, a Shawnee resident who grew up in Earlsboro, will tell the story of her journey from rural Oklahoma to Washington D.C. for a career with the Federal Aviation Administration.
She is the author of three books on inter-race relations and education with a fourth book co-authored with her husband Adam Falato, "Black Interpreters Living Among the Absentee Shawnee Indians in Early Central Oklahoma: the Chronicles of William Ellsworth Shawnee," due for release in 2019.
Ages 18 and up may attend the presentation, and no advance registration is required.
The Tecumseh Public Library invites local teens to its series of after school activities at 4 p.m. on each Wednesday during February.
Feb. 27 – Life-Sized Gaming: Become the "pieces" in a large-scale afternoon of playing games. This event is made possible by funding from the Oklahoma Department of Libraries through a federal grant from the Institute of Museum and Library Services.
Space is limited for the programs so advance registration will be required.


text:
Air Warrior Podcast Episode 9
In Episode 9 of the Air Warrior Podcast we bring you all the latest news from the military aerospace sector and Richard Thomas is in conversation with Leonardo on its AW149 platform.
Air Warrior Podcast Episode 10
In Episode 10 of the Air Warrior Podcast we bring you all the developments from military aviation, and Richard Thomas speaks with Strategy&, PricewaterhouseCoopers strategy consulting business, on its landmark report into the UK's aerospace and defence sector
While defence procurement enjoyed a bumper week, Modern Military Group Editor Alan Warnes speaks with Aero Vodochody on its L-39NG military jet trainer to learn more about the latest developments from the programmes and potential new markets for the aircraft
In Episode 12 of the Air Warrior Podcast Alan Warnes speaks with Gary Waterfall, senior defence advisor for September's DSEI exhibition and conference, on what visitors can expect as COVID-19 pandemic restrictions continue to ease
We look back in an interview with a former US Navy F/A-18 Squadron Commander on his frontline experiences and the role that airpower played in the years of combat operations in Afghanistan.
The Air Warrior Podcast Episode 18
Episode 18 of The Air Warrior Podcast speaks with BAE Systems on its Tempest programme, intended to introduce a sixth-generation fighter for the Royal Air Force for the mid-2030s.
In Episode 20 of The Air Warrior Podcast we sit down with a Royal Netherlands Air Force C-130H loadmaster to discuss his experiences from 10 gruelling days spent operating in support of the recent Kabul airlift.
With the West gradually departing from counter-insurgency operations in Iraq and Afghanistan amid a pivot towards the rising powers of the East, what role will platforms like Textron Aviation's AT-6E light attack aircraft play in future force structures? Can such platforms operate in the contested battlespace of the future, or will the likelihood of new low-intensity conflicts ensure a continued relevance?
In episode 13 of the Air Warrior Podcast, with the upcoming 20th anniversary of the September 11 attacks, Assistant Editor Josef Campion speaks with a former US Air Force pilot on his experiences of that fateful day and his role in policing US airspace in the days that followed.
Episode 23 of The Air Warrior Podcast brings you analysis of the recently published RAND report that outlines the upcoming threats to the UK's airlift capabilities. Meanwhile, the Modern Military Team discusses ongoing exercises, Exosonic's low-boom supersonic 'Red Air' UAV and the maiden flights of the first two Kuwaiti Eurofighters
In Episode 25 of the Air Warrior Podcast we are in conversation with US red air provider Airborne Tactical Advantage Company on the company's operations, assets, and future opportunities in the combat training market.
Coming up in Episode 27 of The Air Warrior Podcast, Modern Military Group Editor-at-Large Alan Warnes is in Spain to discuss the country's Typhoon upgrade and acquisition plans, while other news sees updates on key Airbus programmes such as the Eurodrone and A400M transporter.
In Episode 28 of The Air Warrior Podcast, the final one before the Christmas and New Year break, we hear from the second part to Airbus' facility in Spain to learn more on the company's activities and aspirations in the realm of military air-to-air refuelling.
As French, US and UK platforms test their capabilities in Exercise Atlantic Trident, the Modern Military team examines some of the capabilities on display and potential intelligence gathering activities that these NATO allies could be conducting against each other.
The US State Department approves a possible multi-billion-dollar sale of F-16 fighters to the Philippines, the UK eyes its future H-47 (ER) Chinooks helicopters. Meanwhile, we chat to Swedish aerospace and defence OEM Saab for the latest JAS-39 Gripen fighter developments and prospective export opportunities
(-) Military (11633)
(-) Defence (259)
Flight Simulation (1543)
(-) Podcast (134)
(-) Company Bio (1)
Whitepaper (18)


text:
__author__ = 'Joe Linn'

import unittest
import pylastica
from tests.base import Base

class WildcardTest(unittest.TestCase, Base):
    def test_search_with_analyzer(self):
        client = self._get_client()
        index = client.get_index('test')
        index_params = {
            'analysis': {
                'analyzer': {
                    'lw': {
                        'type': 'custom',
                        'tokenizer': 'keyword',
                        'filter': ['lowercase']
                    }
                }
            }
        }
        index.create(index_params, True)
        doc_type = index.get_doc_type('test')
        mapping = pylastica.doc_type.Mapping(doc_type, {
            'name': {'type': 'string', 'store': 'no', 'analyzer': 'la'}
        })
        doc_type.mapping = mapping

        doc_type.add_document(pylastica.Document(1, {'name': 'San Diego'}))
        doc_type.add_document(pylastica.Document(2, {'name': 'San Luis Obispo'}))
        doc_type.add_document(pylastica.Document(3, {'name': 'San Francisco'}))
        doc_type.add_document(pylastica.Document(4, {'name': 'Chicago'}))
        doc_type.add_document(pylastica.Document(5, {'name': 'London'}))
        index.refresh()

        query = pylastica.query.Wildcard()
        query.set_value('name', 'sa*')
        result_set = doc_type.search(query)
        self.assertEqual(3, len(result_set))

        query = pylastica.query.Wildcard()
        query.set_value('name', 'ch*')
        result_set = doc_type.search(query)
        self.assertEqual(1, len(result_set))
        index.delete()

if __name__ == '__main__':
    unittest.main()


As of September 2012, Super Excavators wrapped up work on the Sunnydale Auxiliary Sewer Project – a $44,893,000 project contracted with the San Francisco Public Utilities Commission (SFPUC). The project consisted of 3,070 lineal feet of a 12-ft diameter finished segmented tunnel installed with a Lovat 167 SE EPB TBM. The project also consisted of 2,010 lineal feet of 85-in Hobas jacking pipe installed with an Akkerman SL90 MTBM. Sunnydale included many design and construction challenges including an assortment of ground conditions, and various overlying urban infrastructure. Despite any obstacles, the project was completed on time and on budget – the result is a high quality product that the client, the community, and Super Excavators are all very pleased with.


... are manufactured at THM (thm-carbones.de), a northern German specialist for the development and production of carbon products following industrial standards (except for the Delta-Slalom-Carbon). THM is also well-known for high-tech carbon mountain bike components.
Their extraordinary know-how in R&D and manufacturing allows us to produce the best fins with the highest precision and lowest weight possible. When using RTM technology (Resin Transfer Moulding), pre-heated resin is vacuumed into a steel form that already contains the precisely cut and arranged carbon layup. Our carbon fins have a perfect surface since there is no manual finish needed on the blade. Therefore, every fin is identical to its specifications in form, weight and stiffness.
To sum it up, RTM production at THM allows us to realize very exact and thin fin profiles with the necessary stiffness and superb sailing characteristics.


text:
Cypress Gardens to miss out on summer crowds
By sunshine,
June 15, 2004 in Florida
WINTER HAVEN -- By the time Cypress Gardens reopens as Cypress Gardens Adventure Park with three dozen new thrill rides, kids will be back in school and the peak summer season will be over.
Owner Kent Buescher wanted to open the gates this summer. Instead, when the venerable theme park reopens in October it will have been a year and half since it last welcomed visitors.
Why the delay?
Buescher's deal to buy the park took longer than he would have liked. Also, buildings on the property were too far gone -- the worst were razed and the rest are getting new roofs. Another obstacle: Maps of utility lines buried where the foundations for roller coasters are going were incomplete. Plus finding the 13,000 cubic yards of concrete he needs has been difficult due to an international shortage.
"It's going to be extremely difficult to do all we need to do," Buescher said during a tour Monday, but he is comfortable with an October reopening.
He had hoped to gauge attendees' reaction when things were running at full tilt over the summer and use the feedback to guide him in designing the new water park he hopes to open in the spring.
"I wanted to see how my concept worked in peak time instead of at off time," said Buescher, who also owns Wild Adventures theme park in Valdosta, Ga.
Now he will move into designing the new water park this fall before the rest of his vision to revitalize Cypress Gardens, which originally opened in 1936 and closed in April 2003 due to a falloff in attendance, is put to the test.
If there's an advantage to the delayed reopening of the revamped park, it's that there will be more time to make sure everything is as close to perfect as possible. There will be time to work the bugs out before the big winter crowds.
Work on the site is moving from the "tear-down" phase, during which Buescher was discovering just how the bad the condition of his property was, to the building phase where steel and wooden roller coasters are beginning to take shape. By July, the pace of construction should double with 600 to 700 workers on site, Buescher said.
Having Polk County as a partner has been a huge advantage, he said. Many developers would love to have a full-time county building inspector on site to immediately make a decision. "This is government at its finest, really trying to get this park reopened," Buescher said. "We're not bogged down in process."
Though he considered trying to open part of the park earlier to catch some summer visitors, he decided it wouldn't be worth it.
"We will lose some operating income," but the impact will not be long term, Buescher said.
Some of the delays have been the result of design decisions. If the old parking area where most of the new rides are going would have been bulldozed, designers would have had an easy time working on a blank canvas.
Instead, Buescher and Hugh Darley, president of the Orlando design firm International Design and Entertainment Associates, decided to create "Adventure Grove." Long rows of mature oak trees have been left in place to shade kids as they run from ride to ride. A wooden coaster nestled among oaks dripping with Spanish moss gives a distinct feel for an amusement park.
"Trying to keep so many trees added two or three weeks to the design process," Buescher said. "We lost some precious time, but the final product is going to be worth it."
Darley, whose firm designs attractions all over the world, including work at Buescher's park in Georgia, said, "this is going to be opening a mature park, and that almost never happens."
The nature of the park's layout is intended to reflect the botanical gardens. That means trails are not necessarily the shortest distance between two points but instead meander in the shade.
"It makes the park softer, more family friendly," Darley said. "It won't feel like any of the other parks in Florida."
Its better to miss out on this summer and get everything built first, than to open up early with a half completed park.
Urban_Legend
Location: Nashville, TN
I really want to go to the new park. I love tree-shrouded amusement parks. It'll be so nice. The developer is advertising Cypress Gardens in his sister-park, Wild Adventures in Valdosta. Hopefully, it'll be successful.
Green thumb for success
Since he was a boy, Kent Buescher hasn't shied away from taking risks in the business world. Now he has taken on the challenge of putting the bloom back on Cypress Gardens.
Kent Buescher plows his golf cart through a jungle of vines, bounces over wooden foot- bridges in various states of disrepair, and pauses at the famous Florida-shaped pool, now green with algae.
His new project, the world-renowned Cypress Gardens, looks tattered and forlorn.
"What I inherited," says the park's new owner, "was a run-down place with run-down buildings and run-down everything."
Yet Buescher is what many would call a cockeyed optimist. Though some people think he's nuts for pouring millions of dollars into an old theme park off the beaten path, Buescher is a true believer.
He believes in history and in himself. He believes that if he rebuilds one of Florida's oldest attractions, tourists will come.
Now Buescher, the consummate salesman, must persuade everyone else to believe it too.
Hands-on style
With his boyishly flushed cheeks and wire-frame glasses, Buescher, 48, looks like a nice accountant. Yet he wears a cell phone on his belt and carries a large flashlight -- for poking into the dark, damp corners of his new playground. He doesn't wear a suit, preferring khaki shorts and running shoes.
Buescher (pronounced Bisher) may need those sneakers. He -- along with a construction crew of 300 -- is making a mad dash to October, when the park is set to reopen. The renovation, he says, is a five-year project squeezed into a seven-month timeline.
Behind the wheel of his golf cart, Buescher rumbles past landscapers restoring the park's enormous topiaries. He checks on construction workers scrambling to build a wooden roller coaster and discusses plans for an adjacent water park.
The theme-park business demands detail-oriented visionaries. It's a business that suits Buescher nicely. To oversee the renovation, Buescher pilots a small plane from Valdosta, Ga., to Winter Haven three days a week, zipping home to see his wife and 11-year-old daughter each night.
"This is not a management-from-afar kind of deal, where I'm here once a quarter," says Buescher.
That's not his style.
At Wild Adventures, the Valdosta theme park Buescher built from scratch, it's not uncommon to find him picking up trash, flipping burgers when lines get long or standing outside the gates saying goodnight.
So when he offered to buy into Cypress Gardens, industry observers thought he was crazy to buy a run-down park in the highly competitive Florida market. His wife thought so too.
Wild Adventures "is very time-consuming," says Dawn Buescher. "I didn't see how we could split our time with another one. But as we talked, I knew that if anybody could do it, he could."
Horse led to park
Buescher has always been driven. At age 9, he sold greeting cards to neighbors in Valdosta. By 11, he was selling Amway. But young Kent had bigger dreams than selling soap to homemakers.
One day, while reading the classified ads, he spotted a notice that a nearby Air Force base needed 55-gallon drums of industrial cleaner to clean its jets. The base wanted bids for the contract, so Buescher applied.
He won the contract -- and by age 16 was earning $1,000 a month from Amway.
When he was 18, he opened a ski and scuba school while studying at Valdosta State University. Dawn worked for him part-time while in high school.
"He's a very high-energy person," she says. "He's always trying to think of bigger and better things."
In 1981, Buescher started a printing company he named U.S. Press. By 1999, the Bueschers had sold the business to a Houston company. Dawn Buescher remains active in the company's management.
Kent Buescher attributes his success to being a quick study.
"I'd never run a printing press," he says, "but I knew I could learn."
Although most of his business decisions have been calculated moves, Buescher fell into the theme-park business.
His theme-park adventure started in 1990, when his wife wanted a horse. So he bought two. That led to a 100-acre farm for the horses. Figuring that a "farmer" needed farm animals, Buescher soon acquired an assortment of goats and chickens.
Soon, he invited school groups to visit. Before long, his accountant warned that Buescher was pouring money into a farm and earning no profit.
So Buescher regrouped. In 1996, he reopened the farm as an animal park, but that soaked him too. When he hired a carnival to set up rides for a few weeks, however, he stumbled onto a winning formula.
Attendance jumped dramatically -- so Buescher marched to an amusement convention and spent $3 million on rides.
Since then, Wild Adventures has morphed into a theme park that attracts 1.5 million visitors a year.
But that was south Georgia. Central Florida is the big leagues.
Music and family budgets
There is no handbook for those who dream of becoming theme-park magnates. But a park such as Cypress Gardens needs the vision of one man, says Dick Pope Jr., son of the park's legendary founder, Dick Pope Sr.
So far, Buescher's frank style has impressed Pope. "He's a straight shooter," says Pope. "He's a little bit like my father was. He's keeping his word, doing what he promised."
Although the world's northernmost banyan tree and a bevy of water-ski shows didn't lure tourists, Buescher thinks he can if he sticks to his plan:
Create an amusement park where visitors don't have to wait an hour to board a roller coaster. Price it reasonably, so families can afford an annual pass.
Buescher estimates a Cypress Gardens annual pass will cost about $60, which would put him in line with the Sea World or Busch Gardens Fun Pass. By contrast, Universal Studios and Walt Disney World charge from $169 to $299 for an annual pass.
Buescher also plans to bring in musical acts to keep the locals coming back. In Valdosta, 15,000 people crowded into the park recently to see Lynyrd Skynyrd. Upcoming headliners include country stars Trace Adkins and Darryl Worley, Christian pop star Michael W. Smith and comedian Jeff Foxworthy.
Though he can't outspend Disney or Universal, he's banking that many locals, particularly the nearly 500,000 residents of Polk County, will welcome a park that incorporates thrill rides, a water park and entertainment.
Add the incalculable public-relations value of stories on the park's rebirth -- from The New York Times to National Public Radio -- and Buescher thinks he has tapped into a fountain of youth for what was once the grand dame of Florida's attractions.
Not everyone is confident Buescher can revive the park. "It's going to be difficult," says Steve Baker, an Orlando theme-park consultant. "And no matter what, he's still in competition for people's time and money. There's only so much time and so much money."
If the critics are right, the bankers may be in luck -- Buescher put up his Valdosta park as collateral. "This is pure risk," he says, scanning the disheveled buildings and contemplating the $30 million he's pouring into the park. "But I like making things happen."
With that, Buescher cranks up the golf cart and roars down the sidewalk -- back to the business of building his dream.
What an incredible story. This guy really takes action! I'm definetly going to this park when it opens!


text:
Special K steht für:

 Special K, Slang für Ketamin
 Kellogg's Special K, ein Produktname der Firma Kellogg's
 Kevin Keaton, amerikanischer Oldschool-Rapper, Mitglied der Gruppe Treacherous Three und Bruder von T La Rock

redpajama_set_name: RedPajamaWikipedia


text:
O Troféu Fair Play é um prêmio dado à equipe mais disciplinada da Série A do Campeonato Brasileiro, organizado pela Rede Globo, em parceria com a Confederação Brasileira de Futebol (CBF). Sua cerimônia ocorre na primeira segunda-feira após a última rodada do campeonato, na cidade do Rio de Janeiro, junto com as demais premiações do final da temporada.

O regulamento da competição leva em conta diversos fatores para formular a pontuação final das equipes no quesito fair play: cartões amarelos possuem peso 1 e cartões vermelhos peso 2, que também é o mesmo peso para expulsões de membros da comissão técnica; já a expulsão de treinador tem peso 3. Cada falta cometida pela equipe gera 0,1 ponto, que somados com os pontos anteriores são divididos pelo número dos jogos das equipes. Assim sendo, o clube com o menor número de pontos ao final da temporada é o vencedor. Caso haja empate, vence a equipe com menor número de cartões vermelhos; persistindo o empate, aquela que possuir o menor número de cartões amarelos; por fim, caso ainda haja igualdade, o prêmio é dividido.

O primeiro vencedor foi o , em 2013. O  é o único clube com três conquistas, sendo estas em 2014, 2018 e 2019. O último campeão é o , que venceu o prêmio na edição de 2020.

Vencedores

Conquistas por time

Ver também
 Bola de Prata

Prêmios de futebol do Brasil
Campeonato Brasileiro de Futebol


Luis Camnitzer exhibits in Doing and Undergoing at Teachers College, Columbia University, curated by Robert Gero. The site-specific, multi-media exhibition celebrates the 125th anniversary of Teachers College.
Included in the exhibition are three works from Camnitzer's The Assignment Books series, in which Camnitzer presents unresolved conundrums and questions. The series is intended to stimulate critical multidisciplinary thinking on the questions raised, prompting viewers to leave responses that serve as new stimuli for dialogue.


text:
National neglect and our death penalty struggle
Also in The Daily Texan
In August the nation saw the result of months of the Texas anti-death penalty movement's tireless work: the commutation of Kenneth Foster's death sentence, mere hours before his scheduled execution. In September the U.S. Supreme Court announced that it would take a Kentucky case to decide if the method of lethal injection used by many states, including Texas, constitutes cruel and unusual punishment. As a result, there could be a de facto moratorium on executions nation-wide, and possibly in Texas, until there is a ruling on this case. However, despite the recent successes at the Supreme Court and of the Kenneth Foster campaign, the Texas anti-death penalty movement is in troubling shape. Major foundations and national anti-death penalty leaders see Texas as a lost cause and are choosing not to fund a grassroots infrastructure here.
An enormous opportunity looms in Texas to actually achieve a moratorium on executions because of growing awareness that innocent people can be caught up in the system. But, lacking support on the national scale, Texas groups working to stop executions are not as well-equipped as they could be to take advantage of this ripe political moment.
The Kenneth Foster campaign taught us that organizing at the grassroots level works. Gov. Rick Perry would not have stopped Kenneth Foster's execution if there had been no public outrage concerning the planned death of a person who had not killed anyone. The group that played the biggest role in stopping Foster's execution was a student organization right here at UT: the Campaign to End the Death Penalty. In a thank-you letter after his commutation, Kenneth Foster wrote, "these people are gladiators when it comes to grassroots activism, and they definitely were the force behind this frontline."
The Texas nonprofit groups dedicated to abolishing the death penalty are run mainly by volunteers, and they lack funding and professional staff. There is not a single person in any grassroots anti-death penalty organization in Texas who is paid to work full-time. However, other states with far fewer executions than Texas have several full time staff members and much more funding.
Hundreds of thousands of dollars have been directed to fight the death penalty in states such as New York and New Jersey, where there have not even been any executions since the 1960s. If that kind of money could come to Texas, it would be much easier to put pressure on policymakers. A bill to create an Innocence Commission in Texas died last May in the House Criminal Jurisprudence Committee, and its failure to pass was a direct result of misplaced priorities by the national anti-death penalty movement.
The Tides Foundation's Death Penalty Mobilization Fund donated $50,000 last year to the Wisconsin Coalition Against the Death Penalty and $20,000 to Iowans Against the Death Penalty. What's wrong with this picture? Neither Wisconsin nor Iowa even has a death penalty. Wisconsin has not executed anyone since the mid-19th century. Meanwhile, five Texas executions were scheduled in September alone, and more than 400 people have been executed in Texas since 1982. Still, a group of several Texas anti-death penalty organizations applied to the same Tides funding program but received nothing.
The JEHT Foundation (Justice, Equality, Human dignity and Tolerance) gave a total of $542,400 to New Yorkers Against the Death Penalty from 2004 to 2006, but there hasn't been an execution in New York since 1963, and there is one person on that state's death row.
Working against the death penalty in Texas is not a lost cause, as working against segregation in Montgomery, Ala., was also not a lost cause during the civil rights movement in the 1960s. While Texas is ground zero in the fight to abolish the death penalty, we are making progress. But to continue this progress, the national anti-death penalty movement should invest more time and money in our state. How many lives could have been saved, as was Kenneth Foster's, if national campaigns channeled more funds into Texas over the last 10 years?
Posted by Hooman Hedayati at 10:34 AM
Labels: Daily Texan, Hooman Hedayati, Tides Foundationm
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Written on June 30, 2014 . Posted in Announcements + Updates, Fine Arts.
Fred Lynch (Senior Critic, Illustration Department) is featured in the Spring Issue of Drawing magazine. The article features six artists from around the globe who are known for their mastery of drawing in ink.
The Spring 2014 issue of Drawing focuses on ink and the many ways artists use it in their work. Articles include a survey of artists who work with the medium and a rundown of the different types of inks available.


Many people use cleaning detergents with harsh chemical consistence. Let`s think about that for a second – do you think that poisoning the place you prepare your food, is healthy? I will give you a hint – no, it`s not! There are many cleaning materials, which are easy to find, and are harmless to your health. And health is the most precious thing in our lives, we should always be cautions when our well-being is on the line. In this article, I will give you some green cleaning tips, and a short info about the most commonly used of them.
First – white vinegar. White distilled vinegar has done a perfect job, for helping our ancestors and most cleaners in Melbourne with their domestic cleaning needs. With its acidity levels up high, vinegar is considered as a great disinfection tool, and also the perfect weapon for fighting grease. It is also good for removing unpleasant odours and even as a weed killer.
The lemon fruit comes second. Lemons also contain acids. But their acidity level is not as high as vinegar, so this is why lemons are not highly recommended for disinfecting purposes. But lemon juice sure does a great job for washing dirty dishes, or making your silver utensils shine as new. You may also use lemon juice to clean your microwave. Just pour the juice from one lemon into a mircowave-safe cup, add just a little bit of water, and turn the microwave on high for 2-3 minutes. When the concoction starts to boil, the separated steam helps loosening up the debris stuck onto the oven's surface. It should be easy to wipe it with a paper towel.
Third comes everyone's favourite – baking soda. By applying just a little bit of water, you can create a thick paste, which is great for scrubbing away almost anything. Greasy grills tremble from the powers of baking soda. And if you combine it with some of the earlier mentioned products – there is no dirt, spill, stain or filth that can scare you.
Using natural products is a real benefit to your`s and your family`s health. Cleaning services Melbourne and many more professional cleaning companies, recommend the usage of green cleaners on a daily basis.


Cook noodles according to package directions, omitting salt and fat. Drain and set aside.
Heat oil in a medium skillet or wok over medium-high heat. Add garlic cloves and cook for 1-2 minutes, until garlic is tender. Stir in pork and cook 2-3 minutes, until it begins to brown. Stir in broccoli, pepper, mushrooms, and scallions, and continue cooking for 6-8 minutes, until vegetables are tender and pork is cooked through.
Turn off heat, add soy sauce, and toss with noodles. Serve immediately.


The Metropolitan Museum of Art, New York, The H.O. Havemeyer Collection, March 10–November 2, 1930, no. 8.
Pennsylvania Museum of Art, Philadelphia, Cézanne, November–December 1934 (exhibition catalogue; introduction by Jerome Klein). A loan exhibition in which drawings, watercolors and prints were also shown, no. 42, as Rocks—Fontainebleau, lent by Met.
San Francisco Museum of Art, San Francisco, Paul Cézanne, September 1–October 4, 1937 (exhibition catalogue; foreword by G.L. McCann Morley and introduction by Gerstle Mack). Nos. 71–83 are prints, no. 31, ill., lent by Metropolitan Museum of Art.
Wildenstein Galleries, New York, Six Masters of Post-Impressionism, April 8–May 8, 1948, no. 9, as Rocks - forest of Fontainebleau, lent by Metropolitan Museum of Art.
Wadsworth Atheneum, Hartford, Connecticut, Twentieth Century Painting from Three Cities: New York, New Haven, Hartford, October 19–December 4, 1955, no. 9.
Nationalgalerie, Schloss Charlottenburg, Berlin, Die Ile de France und ihre Maler, September 29–November 24, 1963, no. 5.
N.B. This is the first of three venues. The catalogue numbers are different from the forthcoming French edition and therefore listed separately here, no. 8, pl. 67. Traveled to: Museum of Fine Arts, Houston, January 26–March 19, 1978. Grand Palais, Paris, Cezanne: Les dernières années (1895–1906), April 20–July 23, 1978 (see Paris 1978a for a separate listing because the catalogue numbers are different from the two American venues).
N.B. This is the last of three venues (see 1977–78 New York and traveling). The catalogue numbers are different from the English edition and therefore listed separately here, no. 58, ill.
Grand Palais, Paris, Cézanne, September 26, 1995–January 14, 1996. Organised by Réunion des musées nationaux / musée d'Orsay, Tate Gallery and Philadelphia Museum of Art. Initially scheduled to end on January 7 the Paris exhibition was prolonged until January 14. (exhibition catalogue; text by Françoise Cachin and Joseph Rishel with contributions by Isabelle Cahn, Walter Feilchenfeldt and Henri Loyrette; English edition: Cézanne, Philadelphia Museum of Art, 1996), no. 158, ill. Traveled to: Tate Gallery, London, February 8–April 28, 1996. Philadelphia Museum of Art, Philadelphia, May 26–September 1, 1996.
Musée des Beaux-Arts, Marseille, France, Right Under the Sun, Landscape in Provence: From Classicism to Modernism (1750–1920), May 18–August 21, 2005 (exhibition catalogue), no. 34, ill., p. 176, as Rochers à Fontainebleau. Traveled to: Museum of Fine Arts, Montreal, September 22, 2005–January 8, 2006.
Musée du Luxembourg, Paris, Cézanne et Paris, October 12, 2011–February 26, 2012 (exhibition catalogue), no. 60, ill., p. 134, as Rochers à Fontainebleau, lent by Metropolitan Museum.
National Art Center, Tokyo, Paris—Provence, March 28–May 11, 2012 (exhibition catalogue in Japanese and French; text by Denis Coutagne, Maryline Assante di Panzillo, Michel Fraisset, Philippe Cézanne, Mitsue Nagaya and Koji Kudo), no. 35, ill.
Mather, Frank Jewett, Jr. "The Havemeyer Pictures." Arts 16 (1930), p. 483.
Wehle, Harry B. "The Exhibition of the H.O. Havemeyer Collection." Bulletin of the Metropolitan Museum of Art 25, no. 3 (March 1930), p. 58, mentioned.
H.O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Object of Art. Portland, Me.: [privately published], 1931, p. 57 as Landscape – Forest of Fontainebleau.
Loran, Erle. "Cézanne at the Pennsylvania Museum." Magazine of Art 28, no. 2 (February 1935), p. 89, ill.
Venturi, Lionello. Cézanne: Son Art, Son Oeuvre. Paris: Editions Paul Rosenberg, 1936, no. 673, ill. vol. II as Rochers.
Goldwater, Robert J. "Cézanne in America: The Master's Paintings in American Collections." Art News Annual 36, no. 26 (March 26, 1938), p. 156, ill.
Barnes, Albert C, and Violette de Mazia. The Art of Cézanne. New York: Harcourt Brace, 1939, no. 171, listed.
Schapiro, Meyer. Cézanne. New York: Harry N. Abrams, 1952, pp. 118–19, ill.
Uchida, Sono. Cézanne. Tokyo: Misuzu-Shobo, 1960, p. 63, ill.
Reidemeister, Leopold. Auf den Spuren der Maler der Ile de France. Berlin: Propyläen Verlag, 1963, p. 35, ill.
Sterling, Charles, and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of the Metropolitan Museum of Art, vol. III. New York: The Metropolitan Museum of Art, 1967, p. 117, ill.
Murphy, Richard W. The World of Cézanne, 1839–1906. New York: Time-Life Books, 1968, pp. 90, 91 (detail).
Ikegami, Chuji. Cézanne. Tokyo: Shueisha, 1969, pl. 54.
Schapiro, Meyer. Paul Cézanne. Translated by Louis-Marie Ollivier. Paris: Nouvelles Editions Françaises, 1973, pl. 36, with comments.
Elgar, Frank. Cézanne. New York: Praeger, 1975, fig. 100.
Reff, Theodore. "Painting and Theory in the Final Decade." In Cézanne: The Late Work. New York: The Museum of Modern Art, 1977. Exhibition catalogue, p. 22, ill.
Gordon, Donald E. "The Expressionist Cézanne." Artforum 16, no. 7 (March 1978), p. 38, ill.
Baetjer, Katherine. European Paintings in the Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue. New York: The Metropolitan Museum of Art, 1980, p. 27, ill. p. 618.
Hibbard, Howard. The Metropolitan Museum of Art. New York: Harper & Row, 1980, fig. 796.
Moffett, Charles S. Impressionist and Post-Impressionist Paintings in the Metropolitan Museum of Art. New York: Harry N. Abrams, 1985, pp. 202–03, ill.
Kendall, Richard, ed. Cézanne: By Himself. London: Macdonald, 1988, p. 218, ill.
Wold, Gretchen. "Appendix." In Splendid Legacy: The Havemeyer Collection. New York: The Metropolitan Museum of Art, 1993. Exhibition catalogue, no. 79, ill.
Machotka, Pavel. Cézanne: Landscape into Art. New Haven: Yale University Press, 1996, p. 95, fig. 62, with photograph of similar motif, p. 94, fig. 61 as Rochers à Fontainebleau, dated c. 1897–98.
Rewald, John. The Paintings of Paul Cézanne, A Catalogue Raisonné, 2 vols. In Collaboration with Walter Feilchenfeldt and Jayne Warman. New York: Harry N. Abrams, 1996, no. 775, ill. vol. 2 as Rochers à Fontainebleau.
Bach, Friedrich Teja. "The Stake in the Pictorial Flesh: Disruptions in Cézanne's Oeuvre." In Cézanne: Finished, Unfinished. Ostfildern-Ruit: Hatje Cantz, 2000. Exhibition catalogue, p. 79, fig. 28 as Rochers à Fontainebleau.
Conisbee, Philip. "Le Tholonet, Bibémus, and the Château Noir." In Cézanne in Provence. Washington, D.C.: National Gallery of Art and New Haven: Yale University Press, 2006. Exhibition catalogue, p. 199, fig. 14 as Rochers à Fontainebleau.
Janssen, Hans. "'Wanneer men het inner lijke beeldt...!' Mondriaan en de invloed van Picasso en Cézanne op zijn werk." In Cézanne, Picasso, Mondriaan: in nieuw perspectief. Zwolle: Waanders, 2009. Exhibition catalogue, fig. 34 as Rochers à Fontainebleau.
Coutagne, Denis, and Raymond Hurtu. "Paysages des années 1888–1905." In Cézanne et Paris. Paris: Éditions de la Rmn-Grand Palais, 2011. Exhibition catalogue, p. 134, ill. as Rochers à Fontainebleau.
Mothe, Alain. Ce que voyait Cézanne: Les paysages impressionnistes à la lumière des cartes postales. Paris: Éditions de la Rmn-Grand Palais, 2011, pp. 100–01, ill. as Rochers à Fontainebleau, with old post card view of rocks and forest at Fontainebleau.
Société Paul Cézanne. P. Cézanne: À Paris et en Île de France. ed, Denis Coutagne. Marseille: Éditions Crès, 2011, p. 110, ill. as Rochers à Fontainebleau, with contemporary view of rocks by C. Crès.
Machotka, Pavel. Cézanne: Landscape into Art. Prague: Arbor Vitae, 2014, p. 161, fig. 58b, with black and white photo of similar motif, fig. 58a as Rochers à Fontainebleau.
Eiling, Alexander, Anett Göthe, Astrid Reuter, Bettina Kaufmann, Eva-Maria Höllerer, Juliane Betz and Julia Lachenmann. "Catalog." In Cézanne Metamorphoses. Munich and Karlsruhe: Prestel and Staatliche Kunsthalle Karlsruhe, 2017. Exhibition catalogue, p. 287 fig. 1.
Record last updated October 6, 2014. Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: Feilchenfeldt, Walter, Jayne Warman, and David Nash. "Rochers à Fontainebleau, c.1893 (FWN 322)." The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. http://www.cezannecatalogue.com/catalogue/entry.php?id=752 (accessed on April 21, 2019).