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Katherine S. Dreier papers / Société Anonyme archive
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Beinecke Rare Book and Manuscript Library
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The Katherine S. Dreier Papers / Société Anonyme Archive documents the life of Katherine S. Dreier and the activities of the Société Anonyme. The collection consists of correspondence; manuscripts and notes for articles, books, fiction, and lectures; clippings; brochures; programs; press releases; advertisements; tax records; photographs and artwork; meeting minutes; and ephemera and printed material. The papers span the years 1818 to 1952, but the bulk of the material is from 1920 to 1951.
The collection is organized into two parts: the Katherine S. Dreier Papers (Series I-VI and XI) and the Société Anonyme Archive (Series VII-X). Series in the Katherine S. Dreier Papers include Correspondence, Writings, Subject Files, Personal Papers, Photographs & Artwork, Dreier Family Papers, and Katherine S. Dreier Papers Addition. The Société Anonyme Archive is organized into Correspondence, Public Programs, Business Records, and Subject Files about Artists. The collection is housed in 158 boxes. The papers are chiefly in English, but there are also some materials in German, French, and Spanish.
Series I, Katherine S. Dreier: Correspondence , contains letters to and from Dreier, as well as third party letters. The series is organized into General Correspondence and Third Party Correspondence. Each subseries is arranged alphabetically.
The first subseries, General Correspondence, contains holograph drafts and carbons of letters from Dreier, as well as typescript and holograph versions of letters to her. Family correspondence, however, is filed in Series VI. Letters from people not listed individually may be found in "letter" general files. Dreier corresponded with a broad spectrum of artists, friends, and art-related organizations, including Constantin Alajalov, Josef Albers, Annot, Alexander Archipenko, the Arts Club of Chicago, the Arts Council of the City of New York, Christian Brinton, the Brooklyn Museum, David Burliuk, Heinrich Campendonk, Werner Drewes, Marcel Duchamp, Suzanne Duchamp, Friedel Dzubas, Naum Gabo, Paul Gaulois, the George Walter Vincent Smith Art Museum, Elisabeth du Quesne van Gogh, John Graham, Walter Gropius, Hans Hildebrandt, Wassily Kandinsky, Fernand Léger, El Lissitzky, Jan Matulka, László Moholy-Nagy, Johannes Molzahn, the Museum of Modern Art (New York, N.Y.), Ivo Pannaggi, Kurt Schwitters, Ted Shawn, Joseph Stella, Alfred Stieglitz, John Henry Bradley Storrs, Sturm, and Jacques Villon. Some of her correspondence concerns art purchases and the packaging and shipping of art (e.g., the files of George F. Of, Inc., W. F. Collins & Co., and W. S. Budworth & Son). Correspondence with publishing companies and journals (e.g., Harry N. Abrams, American Art Student, and Wittenborn and Company) concerns Dreier's writing on art-related topics. There are also many letters and receipts from the Bank of New York and Trust Company that document Dreier's patronage of artists (lists have been made of the artists represented). Several Yale University departments (especially the Yale University Art Gallery) are well represented; generally these letters concern the transfer of the Société Anonyme's art collection to Yale. There are also a number of exchanges, mostly about German politics from 1919 to 1939, with Dreier's friend, Katherine Hanfstaengl, who lived in Germany.
The second subseries, Third Party Correspondence, consists of a few exchanges between artists and art-related organizations.
Series II, Katherine S. Dreier: Writings , is organized into six subseries: Articles, Books, Lectures, Notes, Other Writings, and Writings of Others.
The first subseries, Articles, contains typescript, typescript carbon, and printed versions of articles about art, politics (regarding Germany and China), art exhibitions, the history of the Société Anonyme, and artists, including Wassily Kandinsky, Kurt Schwitters, Walter Shirlaw, and Joseph Stella.
The second subseries, Books, contains research notes, outlines, drafts, page proofs, galley proofs, advertisements, and reviews. The most extensive material is that for Shawn the Dancer. For Burliuk, there is a typescript version of Marcel Duchamp's notes on Dreier's draft. For Collection of the Société Anonyme: Museum of Modern Art 1920, there are draft versions of the questionnaires that were sent to each artist represented in the book. The draft versions of the entries on artists (as well as the questionnaires that were filled out and returned by the artists) are filed in Series X, Société Anonyme: Subject Files about Artists, under each artist's name. Other books represented in this series are: 40 Variations; Duchamp's Glass: La mariée mise à nu par ses célibataires, même. An Analytical Reflection (co-authored with Roberto Sebastián Matta Echaurren); "Dynamic Imagination"; Five Months in the Argentine, from a Woman's Point of View, 1918 to 1919; Modern Art; Personal Recollections of Vincent van Gogh by Elisabeth du Quesne van Gogh, translated by Dreier; Three Lectures on Modern Art; and Western Art and the New Era: An Introduction to Modern Art.
The third subseries, Lectures, consists of holograph and typescript drafts and final versions of lectures that Dreier delivered to a variety of audiences, including the Academy of Allied Arts, the Brooklyn Museum, the Long Ridge Women's Club, the New School for Social Research, and the Rand School of Social Science; and on various radio programs. Most of the lectures are about modern art, but in some, Dreier describes her travels in China, Germany, and Spain.
The fourth subseries, Notes, contains notes that Dreier took on lectures by Sum Nung Au-Young, Frances de Villa Ball, Louis M. Eilshemius, Manly Hall, and Ted Shawn, as well as on works by Albert Bernhardt Faust and Franz Kuhn. Other files consist of extensive notes from classes that Dreier attended between 1921 and 1943 with Pedro P. Pequeno, on meditation, breathing, spiritual life, and self-help techniques; Dreier's index to these notes, made in 1944, is also included (Box 51, folder 1460). The Notes subseries also contains remarks and charts derived from discussions with Aso Neith Neypá Cochran about numerology as it related to Dreier and her friends and relatives. There are a few notes on art-related topics, including expressionism, the use of flowers in art, and symbolism in art. There are also notebooks and loose pages of notes from classes that Dreier took on the history of painting (1900) and painting techniques (1903-1904 and 1912).
The fifth subseries, Other Writings, contains a notebook entitled "As It May Have Been," Dreier's autobiographical description of her early life in Brooklyn, New York, which she wrote in 1951. In addition, there are two plays, three short stories, and several poems. Three of the poems were probably written by Dreier, while the others are Dreier's transcriptions of German poems for children.
The sixth subseries, Writings of Others, contains articles by several artists and by friends of Dreier. Artists represented include Josef Albers, Fernand Léger, Johannes Molzahn, and Kurt Schwitters, among others. Although most of this subseries is art-related, there are a number of articles by Ziang-ling Ching about China, a horoscope of Dreier by A. G. Porter, and a draft of a novel, "Barbara Richards," by Dreier's sister, Mary E. Dreier. There are several biographical sketches about Dreier's mentor, Walter Shirlaw, written by various authors, including Dorothea A. Dreier, William Henry Fox, Florence Heywood, and Pierre Loving.
Series III, Katherine S. Dreier: Subject Files , contains clippings, brochures, programs, press releases, and advertisements. The material was grouped topically by Dreier, but the file titles were supplied by the Library, and then arranged alphabetically. The files, which are arranged alphabetically, include assorted manuscript and printed ephemera about art, the Bauhaus, China, dance, music, and American and world politics. A number of files relate to prominent individuals who, because they are not artists, were not represented in Series X, Société Anonyme: Subject Files about Artists. They include Kitty Cheatham, John Dewey, Hans Hildebrandt, Ted Shawn, and Vassily Zavadsky, among others.
These subject files also document organizations with which Dreier was affiliated, such as the Long Ridge Women's Club in West Redding, Connecticut, and the Society of Independent Artists. There is material about Dreier's efforts, from 1935 to 1936, to found (with others) the Carnegie Guild and College of Art, and her attempt in 1941 to turn her house, the Haven, in West Redding, Connecticut, into the Country Museum.
One file contains correspondence and receipts for repairs done by Marcel Duchamp in 1936 to his "Bride stripped bare by her bachelors, even." Other files contain lecture notes, lists of slides, and lists of grades for a course on art appreciation that Dreier taught from 1946 to 1947 at Weylister Secretarial Junior College in Milford, Connecticut. This series also contains a sound recording and a transcript of an interview with Dreier in 1937 on the radio program, "Let's Talk it Over," regarding her withdrawal of artwork from the exhibition, "Fantastic Art, Dada, Surrealism," at the Museum of Modern Art.
Series IV, Katherine S. Dreier: Personal Papers , is organized into five subseries: Diaries, Exhibition Catalogs Collected by Katherine S. Dreier, Exhibitions of Katherine S. Dreier's Work, Financial Records, and Other.
The first subseries, Diaries, contains three diaries in volume form, covering the years 1897 to 1907, and loose pages of diary entries for the years 1927 and 1928.
The second subseries, Exhibition Catalogs Collected by Katherine S. Dreier, contains volumes dating from 1901 to 1947 that were annotated by Dreier (unannotated exhibition catalogs are cataloged separately, with the provenance traced). Some annotations are comments about the particular artwork in the exhibition, while others are about the artist generally. Some annotations include the price of the artwork shown. Many of the shows represented in this subseries were held in Germany and France.
The third subseries, Exhibitions of Katherine S. Dreier's Work, contains mostly printed ephemera relating to one-artist shows. (Material for exhibitions in which Dreier was one of many artists represented has been filed in Series VIII: Société Anonyme: Public Programs; appropriate cross references have been made.) The files include invitations, flyers, posters, tickets, catalogs, and clippings. The earliest material is for an exhibition at the Doré Galleries in London, England, in 1911; the latest is for a show at the American Woman's Association in 1941.
The fourth subseries, Financial Records, contains correspondence with various law firms regarding Dreier's personal finances, such as her taxes, investments, and property purchases. There are also stock dividends, pages from an account book from 1916, and undated pages of notes regarding expenses.
The fifth subseries, Other, contains mainly ephemeral material, including versions of Dreier's business card; proofs and a printed copy of a brochure about Dreier; an unused piece of stationery and envelope with Dreier's New York City address (88 Central Park West); the pedigree for Dreier's Russian wolfhound; and directions for Dreier's secretary about how to file her correspondence.
In Series V, Katherine S. Dreier: Photographs and Artwork , the Photographs are organized into seven sub-subseries: Katherine S. Dreier, Photographs of Artwork by Katherine S. Dreier, Dreier Family, Artists, Exhibitions, People, and Places. When a folder contains one print, only the folder title is given. When a folder contains more than one print, or any other type of item (such as a proof or slide), this information is given in parentheses after the folder title. In addition to photographic prints, several negatives are in this collection (though stored separately). In the case of negatives for which there was no corresponding print, the Library had one copy print made; this information is specified after the folder title.
The first sub-subseries, Katherine S. Dreier, contains photographs of Dreier (alone and with others), and her houses and apartments. All of the titles have been supplied. Photographs of Dreier range from 1902 to 1950 and include candid shots, as well as studio portraits. In some of the candid photographs, Dreier appears with friends (including Marcel Duchamp and Ted Shawn) and family. The photographs of Dreier's homes (her apartment at 135 Central Park West, in New York City; the Haven, in West Redding, Connecticut; and Laurel Manor, in Milford, Connecticut) often include views of her collection of artwork. In addition, there are two groups of photographs taken by Dreier during her trips abroad. One group, taken during her travels in China, 1921-1922, mainly shows scenes of Chinese landscapes and people, but there are a few scenes of Dreier and some unidentified fellow travelers. The second group of travel photographs, housed in an album, documents Dreier and Marcel Duchamp's trip to Spain in 1929. Most of the photographs are scenes of Málaga, Granada, Seville, Guadalupe, and Toledo, but there are a few shots of Dreier and Duchamp. (Cross-references for the photographs of Duchamp have been made under his name in the Artists sub-subseries.)
The second sub-subseries, Artwork by Katherine S. Dreier, consists of photographs of paintings by Dreier. If the title of the painting was known, it was placed in quotation marks. Representational paintings with unknown titles were given a descriptive title in brackets; abstract paintings with unknown titles were labeled "Unidentified." In this sub-subseries, there are four oversize portfolios that contain matted photographs of Dreier's artwork. In cases where the main files contain regular size versions of photographs also represented in the portfolios, cross-references have been made.
The third sub-subseries, Dreier Family, includes photographs of Dreier's family members, including Dreier's sister, Mary E. Dreier; her great-nephew, Theodore Dreier, Jr.; and relatives in Germany, Kläre Dettmann, Invana Maler, and Willi Maler. Photographs in which Dreier is depicted with family members, however, are filed in the sub-subseries, Katherine S. Dreier.
The fourth sub-subseries, Artists, contains photographs of artists, their artwork, and their families, including Willi Baumeister, Ilya Bolotowsky, David Burliuk, Max Ernst, El Lissitzky, Louis Lozowick, Johannes Molzahn, and Kurt Schwitters. All of these photographs were originally enclosed in letters to Dreier, and cross-references have been made to and from their original locations. Similar photographs (of artists and their artwork) that were not enclosures in letters are located in Series X, Société Anonyme: Subject Files about Artists. The only exception is Marcel Duchamp; all of the photographs of Duchamp and his artwork are located in this sub-subseries, Artists, since it was unclear whether or not these photographs were originally enclosures.
The fifth sub-subseries, Exhibitions, contains photographs of exhibitions, including the Society of Independent Artists' exhibition at Grand Central Palace in 1917; "Fernand Léger" at the Anderson Galleries in 1925; the Sesqui-Centennial International Exposition in Philadelphia in 1926; the International Exhibition of Modern Art at the Brooklyn Museum from 1926 to 1927; "4 Painters" at Bennington College in 1936; and the Leon Carroll Memorial Exhibition and "Some New Forms of Beauty," both at the George Walter Vincent Smith Art Museum in 1940.
The final two sub-subseries, People, and Places, contain photographs of people who are not artists, including Elisabeth du Quesne van Gogh, Burton Mumaw, Hilla Rebay, Ted Shawn, and Vassily Zavadsky; and photographs of houses of several of Dreier's friends, as well as of unidentified locations.
The second subseries, Artwork, is arranged alphabetically by artist and includes pencil sketches and drawings, ink drawings, prints, watercolors, and one engraving. The artists represented include Constantin Alajalov, David Burliuk, Suzanne Duchamp, Ivo Pannaggi, and Dreier, herself. There are two artworks by Marcel Duchamp: his "Rotoreliefs" and an imitative rectified ready-made in the form of a postcard sent to Dreier by Duchamp and Wassily Kandinsky in 1933.
Series VI, Katherine S. Dreier: Dreier Family Papers , is organized into: Correspondence; Notebooks and Other Papers; and Skits, Songs, and Poems for Family Members. Within each subseries, the files are arranged alphabetically by name.
The first subseries, Correspondence, contains typescript and holograph letters to Dreier from relatives in the United States and in Germany, as well as her typescript carbon letters to those relatives. Individuals with the greatest number of letters are: Antoinnette Storrs Dreier (Dreier's niece), John Caspar Dreier (Dreier's nephew), Mary E. Dreier (Dreier's sister), Johanne Kellner, and Meta Knoch. There is also a small amount of unidentified correspondence.
The second subseries, Notebooks and Other Papers, contains a typescript, "Palästina," by Renate Sauerländer, and a journal by Dreier's sister, Dorothea A. Dreier, documenting her trip to Europe with Dreier and Mary Quinn from 1902 to 1903. The other notebooks in this subseries are by unidentified authors and are in German. They include a nineteenth-century account book, a deposit book, a nineteenth-century recipe book, a notebook containing a student's notes on philosophy and art history, and two other notebooks, both with German titles ("Erinnerungen ans Neuenkirchen" and "Predigt-Fragmente von Gottfried Menken").
The third subseries, Skits, Songs, and Poems for Family Members, contains compositions created by and for members of the Dreier family. The material is filed under the name of the person for whom it was written. There are pieces for H. Edward Dreier, Hans Dreier, Dreier herself (including an album made for her fifteenth birthday), Mary E. Dreier, and Theodore Dreier, plus one file of material for unidentified family members.
Series VII, Société Anonyme: Correspondence , is arranged alphabetically and contains typescript and holograph letters from Société Anonyme members, people interested in the Société, and organizations who did business with the Société, as well as typescript carbon letters from the Société to these individuals and organizations. However, letters of people who were Société Anonyme members but who also corresponded with Dreier outside of the Société (e.g., Marcel Duchamp and Man Ray) are filed in Series I, Katherine S. Dreier: Correspondence. Cross references have been made from this subseries. In the case of people who agreed to be members, there are also consent forms, on which people signed their names and circled the amount of their pledge. Letters from correspondents not listed individually may be found in "letter" general files. Most files contain only a few letters, but the following individuals or agencies are well represented: Blandy, Mooney & Shipman; Chambers, Clare & Morris; Laurence Gomme; Paul Gross (Treasurer of the Société Anonyme); Isaac McBride (who coordinated the Société Anonyme's participation in the Sesqui-Centennial International Exposition in Philadelphia in 1926); and Andrew R. McLaren (Vice-President of the Société Anonyme).
Series VIII, Société Anonyme: Public Programs , is organized into four subseries: Exhibitions, Lectures, Music, and Other.
The first subseries, Exhibitions, contains flyers, announcements, press releases, invitations, catalogs, and clippings for exhibitions that were sponsored by the Société Anonyme. The material is arranged alphabetically by the name of the institution where the exhibition was held. There are also some shows represented in this subseries that were not sponsored by the Société, but to which the Société lent artwork. Exhibitions that included artwork by Dreier have been cross-referenced in Series IV, Katherine S. Dreier: Personal Papers. This subseries also contains undated lists of artwork owned by the Société Anonyme, notes on the Société's exhibition space, a sketch and a blueprint of the Société's exhibition space at 19 East 47th Street in New York City, and a log book that gives details of shows sponsored by the Société from 1920 to 1928 (including dates, artists, works, dimensions, and media).
The second subseries, Lectures, includes announcements for and invitations to lectures sponsored by the Société Anonyme, and an undated list of lectures that the Société organized from 1920 to 1942.
The third subseries, Music, contains clippings, correspondence, invitations, and programs for musical events that the Société Anonyme sponsored.
The fourth subseries, Other, contains annotated copies of Brochure Quarterly (from July 1928), as well as advertisements and clippings regarding the publication; two scrapbooks (1920 to 1924, and 1921 to 1930) that contain clippings, programs, invitations, postcards, and other ephemera; unused stationery and envelopes; and a draft of the Société Anonyme's motto.
Series IX, Société Anonyme: Business Records , is organized into five subseries: Finances, Legal Materials, Membership, Structure/Management of the Society, and Transfer to Yale University.
The first subseries, Finances, contains account statements (from 1920 to 1927), a checkbook for the Société Anonyme's account at the Bank of New York and Trust Company (from 1927 to 1930), a certificate from the city of New York authorizing the collection of sales tax, and an insurance policy from Security Insurance Company of New Haven.
The second subseries, Legal Materials, contains the by-laws, amendments to the by-laws, and drafts of the certificate of incorporation (dated 29 April 1920).
The third subseries, Membership, contains lists of members and potential members, from 1924 to 1928, divided into two categories: general lists of members, and lists of members to whom publications were sent. Also included are drafts and printed versions of an early membership brochure, as well as of the 1948 brochure for reopening the membership after the Société Anonyme's art collection had been transferred to the Yale Art Gallery; blank consent forms to be filled out by members who had agreed to join the Société; blank membership cards; and cards for specific people, including Marcel Duchamp, Wassily Kandinsky, Man Ray, and Joseph Stella.
The fourth subseries, Structure/Management of the Society, contains lists of the committees and officers of the Société Anonyme, directions for the Custodian of the Société, meeting minutes (from 1920 to 1946), mission statements, a list of the Société's publications, material regarding publicity for the Société, a list of the contents of the Reference Library, and a typescript draft of the 1920-21 report.
The fifth subseries, Transfer to Yale University, contains material concerning the transfer of the Société Anonyme's art collection to the Yale University Art Gallery in 1941, and the dissolution of the Société in 1950. Files includes notes, posters, announcements, and clippings, as well as material regarding the catalog that was published about the art collection in 1950, Collection of the Société Anonyme: Museum of Modern Art 1920.
Series X, Société Anonyme: Subject Files about Artists , is arranged alphabetically by last name. These appear to be Dreier's working files for the catalog (on which she collaborated with Marcel Duchamp) to document the art collection that the Société Anonyme gave to the Yale Art Gallery (Collection of the Société Anonyme: Museum of Modern Art 1920, Yale University Art Gallery, 1950). The files contain background material on each artist represented in the catalog (there are also files for some artists who are not represented in the catalog), as well as notes and drafts of the catalog entries, which were written by Dreier, Marcel Duchamp, George Heard Hamilton, and others. Some files also contain questionnaires that were filled out and returned by the artists. The content of the file for each artist is arranged in the following order (where present): questionnaire, notes, manuscripts, catalogs and pamphlets, clippings, photographs of artists, and photographs and postcards of artwork.
Series XI Katherine S. Dreier Papers Addition is arranged chronologically by accession and contains correspondence, photographs, printed material, artwork and other papers by or relating to Katherine Dreier.
Majority of material found within 1920 - 1951
Dreier, Katherine S. (Katherine Sophie), 1877-1952
Chiefly in English; some material in German, French, and Spanish.
The materials are open for research.
Boxes 133-144: Restricted fragile material. Reference surrogates have been substituted in the main files. For further information consult Access Services.
The Katherine S. Dreier Papers / Société Anonyme Archive is the physical property of the Beinecke Rare Book and Manuscript Library, Yale University. Literary rights, including copyright, belong to the authors or their legal heirs and assigns. For further information, consult the appropriate curator.
Gift of Katherine S. Dreier, with additional gifts from Theodore and Barbara Dreier, 2006-2008.
75.4 Linear Feet (158 boxes)
A record for this collection is available in Orbis, the Yale University Library catalog
Persistent URL
https://hdl.handle.net/10079/fa/beinecke.dreier
The Katherine S. Dreier portion of the collection contains correspondence between Dreier and artists and friends (including Constantin Alajalov, David Burli︠u︡k, Marcel Duchamp, Wassily Kandinsky, Man Ray, and Ted Shawn); and art-related organizations (including the Arts Club of Chicago, the Brooklyn Museum, the George Walter Vincent Smith Art Museum, and the Museum of Modern Art).
There is some correspondence regarding art purchases and the packaging and shipping of art, such as that with George F. Of, Inc.; W. F. Collins & Co.; and W. S. Budworth & Son. There is a large amount of correspondence between Dreier and various departments at Yale (especially the Yale Art Gallery) regarding the transfer of the Société Anonyme's art collection to Yale. The collection contains manuscripts and notes for Dreier's articles, lectures, and books; her early diaries; and a brief autobiographical account; as well as some writings by others. There are subject files regarding organizations with which Dreier was affiliated, including the Cooperative Mural Workshops, the Long Ridge Women's Club, and the Society of Independent Artists.
The collection contains exhibition catalogs that were annotated by Dreier; exhibition catalogs of one-artist shows of Dreier's artwork; and material regarding Dreier's personal finances. There are many photographs of Dreier's artwork, of Dreier and her friends and family (including scenes in China from a trip that Dreier took, 1921-22), of artists and their artwork, and of exhibitions. There is also some original artwork by various people, including sketches, drawings, prints, and watercolors. The Dreier Family papers contain correspondence, poetry and skits, and writings (including a diary by Dreier's sister, Dorothea).
The Société Anonyme portion of the collection includes correspondence with members, potential members, and businesses; a logbook regarding exhibitions; financial material, including a checkbook; by-laws and amendments, and drafts of the certificate of incorporation; membership lists and cards; lists of officers and committees; meeting minutes; ephemera regarding exhibitions, lectures, and musical events sponsored by the Société; scrapbooks; and files of background material about artists represented in the published catalog of the Société Anonyme's art collection at Yale.
KATHERINE S. DREIER (1877-1952) AND SOCIETE ANONYME
Katherine Sophie Dreier was born on 10 September 1877 in Brooklyn, New York to Dorothea Adelheid and John Caspar Theodor Dreier, both immigrants from Bremen, Germany; she was the youngest of five children. Early on, Dreier manifested her dual interests in social issues and art. She was treasurer of the German Home for Recreation of Women and Children and helped to found the Little Italy Neighborhood Association in Brooklyn, New York. She studied art privately, then at the Brooklyn Art School and at Pratt Institute, and then with Walter Shirlaw (with whom Dreier's sister, Dorothea, also studied). There was a strong identification in the Dreier home with German culture, and the family often traveled to Europe to visit relatives. Between 1907 and 1914, Dreier spent much of her time abroad, traveling, studying art, and exhibiting her work in one-artist shows.
In New York, in 1916, through her work with the Society of Independent Artists, Dreier met Marcel Duchamp. He was to become a close friend and colleague, and an important figure in the history of the Société Anonyme.
In January 1920, Dreier, Duchamp, and Man Ray met in Dreier's apartment in New York City to found the Société Anonyme, a society to promote modern art among the American public. Dreier had wanted to call the society "The Modern Ark," but Man Ray later claimed that he was the one to suggest the French phrase for "incorporated" instead. Dreier added the subtitle "Museum of Modern Art: 1920."
The Société Anonyme sponsored many lectures, concerts, publications, and exhibitions concerning modern art, including the International Exhibition of Modern Art at the Brooklyn Museum in 1926. In spite of a major membership campaign in 1925, the Société's headquarters in New York City closed in 1928, and from this point on, the Société Anonyme existed only through Dreier's efforts. She continued to organize events that were sponsored by the Société, and she accumulated artwork to add to the Société Anonyme's collection.
In 1939, Dreier began developing a plan to open the Country Museum at her house in West Redding, Connecticut (the Haven), which would house the Société Anonyme's collection of artwork, as well as her private collection. After little success with other potential investors, Dreier approached Yale University about funding and maintaining the museum. Yale was hesitant, because of the high costs of renovating the Haven and maintaining it as a fire-proof museum, and instead offered as a compromise to take over the Société Anonyme's collection if it were moved to the Yale Art Gallery. Dreier agreed, and she began sending the collection to Yale in October 1941.
In 1942, Dreier was still adamant about her desire to open the Country Museum and to use her private collection as its basis. She continued her attempts to convince Yale to fund her project, but when Yale gave a final negative answer in April, Dreier decided to sell the Haven.
In April 1946, she moved to a new home, Laurel Manor, in Milford, Connecticut. She continued to add artwork to the Société Anonyme collection at Yale, through purchases and through gifts from artists and friends. In 1947, she attempted to reopen membership to the Société Anonyme and printed a brochure, but Yale blocked distribution of the brochure because of the ambiguous connection between Yale and the membership campaign. In 1948, Dreier and Duchamp decided to limit the activities of the Société to working on a catalog of the collection and to acquiring artwork.
On the thirtieth anniversary of the Société Anonyme's first exhibition, 30 April 1950, Dreier and Duchamp hosted a dinner at the New Haven Lawn Club, where they formally dissolved the Société Anonyme. In June, a catalog of the Société's collection at Yale, Collection of the Société Anonyme: Museum of Modern Art 1920, was published. Dreier died on 29 March 1952.
For further information about the Société Anonyme and about Dreier's life, consult The Société Anonyme and the Dreier Bequest at Yale University: A Catalog Raisonné (Yale University Press, 1984) edited by Robert L. Herbert, Eleanor S. Apter, and Elise K. Kenney; and The Société Anonyme's Brooklyn Exhibition: Katherine Dreier and Modernism in America (UMI Research Press, 1982) by Ruth L. Bohan.
This collection had been partially arranged by the editors of The Société Anonyme and the Dreier Bequest at Yale University: A Catalog Raisonné in preparation for the publication of the catalog. Only two series (Series II, Katherine S. Dreier: Writings, and Series X, Société Anonyme: Subject Files about Artists) appeared to be relatively unchanged from Dreier's original arrangement. Aside from these two series, a new arrangement has been adopted for the collection in an attempt to provide clear access to the two parts of the collection (the Katherine S. Dreier Papers and the Société Anonyme Archive).
The gifts received from 2006 to 2008 were added to the collection in 2013 as Series XI. Katherine S. Dreier Papers Addition.
Alajalov, Constantin, 1900-1987
Albers, Josef, 1888-1976
Annot, 1894-1982
Archipenko, Alexander, 1887-1964
Art -- Collectors and collecting
Art patrons -- United States
Art, Modern -- 20th Century
Arts -- United States -- Societies, etc.
Arts Club of Chicago
Arts Council of the City of New York
Brinton, Christian, 1870-1942
Burli͡uk, David, 1882-1967
Campendonk, Heinrich, 1889-1957
China -- Pictorial works
Co-operative Mural Workshops
Community arts projects -- United States
Drewes, Werner, 1899-1985
Duchamp, Marcel, 1887-1968
Duchamp, Suzanne, 1889-1963
Dzubas, Friedel, 1915-1994
Ephemera (general object genre)
Gabo, Naum, 1890-1977
Gaulois, Paul
George F. Of, Inc
George Walter Vincent Smith Art Museum
Gogh, Elisabeth du Quesne van, 1859-1936
Graham, John, 1881-1961
Gropius, Walter, 1883-1969
Hildebrandt, Hans, 1878-1957
Kandinsky, Wassily, 1866-1944
Lissitzky, El, 1890-1941
Long Ridge Women's Club (West Redding, Conn.)
Léger, Fernand, 1881-1955
Man Ray, 1890-1976
Matulka, Jan, 1890-1972
Moholy-Nagy, László, 1895-1946
Molzahn, Johannes, 1892-1965
Mural painting and decoration -- United States
Museum of Modern Art (New York, N.Y.)
Pannaggi, Ivo
Schwitters, Kurt, 1887-1948
Shawn, Ted, 1891-1972
Society of Independent Artists (New York, N.Y.)
Stella, Joseph, 1877-1946
Stieglitz, Alfred, 1864-1946
Storrs, John Henry Bradley, 1885-1956
Traveling exhibitions -- United States
Villon, Jacques, 1875-1963
W. F. Collins & Co
W. S. Budworth & Son
Watercolors (paintings)
Women -- Connecticut -- West Redding -- Societies and clubs
Women artists -- United States
Yale University. Art Gallery
Guide to the Katherine S. Dreier Papers / Societe Anonyme Archive
by Miriam B. Spectre
Beinecke Manuscript Unit Archival Processing Manual
Finding aid written in English.
Part of the Beinecke Rare Book and Manuscript Library Repository
http://beinecke.library.yale.edu/
P. O. Box 208330
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Katherine S. Dreier Papers / Société Anonyme Archive. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. https://archives.yale.edu/repositories/11/resources/1398 Accessed January 26, 2023.


text:
The 50 worst commutes in America, ranked
James Pasley
Jun. 28, 2019, 8:00 AM
The New York metro area had the worst commute, according to US Census data.
Drew Angerer/Getty Images
Greater New York has the longest daily commute to work, according to the 2017 American Community Survey.
The top 50 worst commutes in the United States range from 25.3 minutes to 37 minutes, each way.
Some studies show time added to a commute translates to poorer performance, less satisfaction with work, and more stress at home.
Commuting data include where people work, when their trip starts, how they get there, and how long it takes. Here are the 50 cities with worst commutes in the US.
Visit BusinessInsider.com for more stories.
Everyone may feel like their commute is the worst at times.
People with long commutes tend to pay more for gas, typically get less sleep, have more fat, and are less happy than people who don't, according to the Dallas Business Journal.
A half-hour commute adds up to 125 hours spent commuting every year (using a 50-week, five-day schedule as the baseline).
Across the United States, some areas are definitely getting a rougher deal than others.
We've ranked the top 50 worst commutes in the country, using data from the 2017 American Community Survey.
50. Deltona – Daytona Beach, Florida.
Deltona, Florida.
Michael Rivera / Wikimedia
Average trip to work: 25.3 minutes
The City of Deltona took things into its own hands after new developments and increasing traffic caused frustrated drivers to ignore speed limits and take local roads.
The city decided to release a Traffic Calming Handbook outlining how to reduce excessive traffic and speeding.
49. Greater New Haven, Connecticut.
New Haven.
John Moore / Getty
Despite spending millions of dollars on improving the area, including new train cars, a new rail line, and a completely redesigned highway interchange, the area's transportation infrastructure is still failing to meet the needs of the city, the New Haven Register reported in October.
48. Minneapolis – Saint Paul, Minnesota.
Scruggelgreen/Shutterstock
According to Minnesota's Department of Employment and Economic Development, the Twin Cities metro area has more available jobs than workers, so more than 242,000 people commuted into the Twin Cities from outside the seven-county region in 2014.
47. St Louis, Missouri.
St Louis.
Charlie Riedel/ AP
While the city still makes the ranking for worst commutes in the US, its population is declining. The city even started selling single-family homes for $1 this year to save the Rust Belt town from decay.
46. Richmond, Virginia.
Richmond.
Steve Helber/ AP
Ridership on trains and buses in the city has dropped by more than 20% since 2013, according to the St Louis Post-Dispatch.
Fears around security and the low cost of driving to work in a spread-out region have been two major factors for the drop.
45. New Orleans, Louisiana.
New Orleans.
Gerald Herbert/ AP
Commuters using public transport dropped from 13% in 2000 to 6% in 2017, according to The Data Center. But the share of bikers in New Orleans rose to 3%, giving the city the fifth-highest share of bike commuting of the largest 70 cities in the United States.
44. Charleston, South Carolina.
Charleston.
Bill Ward's Brickpile via flickr
Between 2009 and 2017, pedestrians and cyclists were more likely to die in the Charleston region than anywhere else in South Carolina, especially if they were people of color, The Post and Courier reported.
43. San Diego, California
San Diego.
Reuters/Mike Blake
Average trip to work: 26.3 minutes each way.
San Diego Magazine put together some tips on commutes to avoid in the area.
42. Providence, Rhode Island.
Traffic heading into Providence.
I-95, which connects Miami to Maine, runs straight through the Rhode Island capital.
41. Jacksonville, Florida.
Jacksonville.
City of Jacksonville, North Carolina
Jacksonville has nine major bridges to get commuters to work, taking them over rivers, canals and the Intracoastal Waterway.
40. San Antonio, Texas.
San Antonio.
Eric Gay/ Associated Press
According to the US Census Bureau, 79% of San Antonio drivers commuted to work alone in 2016.
39. Raleigh, North Carolina
Raleigh.
Chuck LIddy/ Raleigh News & Observer/ MCT via Getty Images
As bad the average is — it could be worse. One local couple run a restaurant in Wilmington, North Carolina and drove 292 miles (round trip) every time.
38. Birmingham, Alabama.
Birmingham.
Butch Dill/ AP
Interestingly, and definitely not helping daily commute times, 52% of city-based jobs are held by non-residents, the Montgomery Advertiser reported.
37. Santa Rosa, California
Santa Rosa.
Bob Carey/ Los Angeles Times/ Getty
The city in California's wine country has a population under 200,000.
36. Detroit, Michigan.
Detroit.
Rebecca Cook / Reuters
This might seem like a long time every day, but it could be worse. In 2015, Detroit man James Robertson made headlines due to his 21-mile walk to and from work, which no doubt took a lot longer than 27 minutes.
35. Baton Rouge, Louisiana.
Baton Rouge.
Reuters/Allen Fredrickson
In 2018, only 1% of all commuters used public transport to get to work, according to Business Report.
34. Phoenix, Arizona.
Phoenix.
Ross D. Franklin/AP
According to the Arizona State Climate Office, Phoenix is sunny 86% of the time, so at least the daily commute is pleasant.
33. Greater Austin, Texas.
Philip Lange/Shutterstock
Average trip to work: 27 minutes
Here are some tips from Austin traffic reporters: Understanding Austin's toll road system and staying on top of construction could pay dividends.
32. Lehigh Valley, Pennsylvania.
Lehigh Valley.
Alex Potemkin/ iStock / Getty Images Plus
The area is home to two Amazon fulfillment centers, and a few large healthcare networks.
31. Pittsburgh, Pennsylvania.
Pittsburgh.
Melissa Ross/Getty Images
Pittsburgh had 1,704 bike commuters in 2010 and 2,964 in 2016. But with 77.5 % of commuters driving alone, cars are still by far the most popular transport choice, Pittsburgh City Paper reported in 2018.
30. Charlotte, North Carolina.
Charlotte, North Carolina.
Streeter Lecka / Staff/ Getty Images
Here's a list of five of the worst commutes in Charlotte, courtesy of the Charlotte Agenda.
29. Greater Sacramento, California.
Sacramento.
Cassiohabib/Shutterstock
While Sacramento is the state capital, it's only the sixth-largest city in California.
28. Portland, Oregon.
Portland.
Keep Smiling Photography/Shutterstock
In 2016, 70% of commuters drove alone, and 48% of fatal crashes involved walking or biking, according to Oregon Metro.
27. Tampa Bay Area, Florida.
Tampa Bay.
Flickr / Creative Commons
Between 2017 and 2018 Tampa had the ninth most growth of any city in the United States, according to the U.S. Census Bureau. At least there's sunshine and Gulf Coast beaches.
26. Nashville, Tennessee.
Nashville.
Flickr/cmroman
Commuting 28 minutes each way might be getting to people, because nearly a quarter of Nashville employees said they quit their job over a bad commute, four percentage points higher than the national average.
25. Cape Coral – Fort Myers, Florida.
Fort Myers, Florida.
Fort Myers is one of the fastest-growing metro areas in the country, with the Census Bureau ranking it No. 7 in April, the Fort Myers News-Press reported.
24. Winter Haven, Florida.
Downtown Winter haven, Florida
Set in the middle of Tampa and Orlando, Winter Haven is home to attractions including LEGOLAND and Cypress Gardens.
23. Thousand Oaks, California.
Thousand Oaks.
Mark J. Terrill / AP
The city is 40 miles from downtown Los Angeles. It was ranked the 3rd-safest city in a nationwide ranking, before a mass shooting left 13 people dead in November 2018.
22. Denver, Colorado.
Doug Pensinger/Getty Images
Despite 70% of commuters driving alone, Denver's mayor Michael Hancock has his sights set on getting 30% of commuters out of single-person cars by 2030, unveiling a $2 billion plan to increase the number of people taking public transit, walking, and biking to work.
21. Dallas – Fort Worth, Texas.
Tony Gutierrez / AP
Dallas-Fort Worth grew the most out of any metropolitan area in the country between 2017 and 2018, according to the US Census Bureau.
20. Worcester, Massachusetts.
Cars in Worcester.
John Tlumaki / The Boston Globe via Getty
One thing Worcester commuters can hold onto, at least, is that on average their commute is about a minute faster than the rest of the state.
19. Urban Honolulu, Hawaii.
Traffic in downtown Honolulu, Hawaii.
Cathy Bussewitz / AP
Back in 2012, a transportation analytics firm ranked Honolulu the absolute worst city for traffic in the US, so this is at least an improvement.
18. Greater Orlando, Florida.
Traffic in Orlando, Florida.
John Raoux / AP
Orlando is a booming tourism destination with 68 million visitors every year, which likely doesn't help the daily commutes of people who live there.
17. Greater Miami, Florida.
Miami.
Joe Skipper/Reuters
It's not all cars and buses — the Miami Herald reported that at least one man commutes by paddleboard, among dolphins and pelicans.
16. Greater Houston, Texas.
Houston.
Stan Honda/Getty Images
At 600 square miles, Houston is a sprawling city, making the daily commute hard to avoid. Houston could fit Manhattan, Chicago, and D.C., and Boston inside its borders.
15. San Jose – Santa Clara, California.
AP/Marcio Jose Sanchez
The Mercury News rounded up Bay Area commuters' horror stories, including one man who built his own "Mad Max" cargo bike he folds up and takes on the train, and one couple who drive, take the lightrail, take a shuttle, and walk to get to and from work.
14. Greater Philadelphia, Pennsylvania.
Traffic in Philadelphia 2019.
Jacqueline Larma / AP
Interestingly, nearly 40% of city workers leave Philadelphia to get to their jobs, the Inquirer reported.
13. Modesto, California.
Modesto, California.
flickr/tomhilton
The commute time in Modesto might be a hard one to swallow for director George Lucas, whose first film " American Graffiti", was based on his memories of growing up and cruising around the city.
12. Los Angeles, California.
Los Angeles.
REUTERS/Jonathan Alcorn
While this is based on a daily average, a 2018 University of Southern California study showed commuters spend a lot more time traveling home from work. The study found this was because people clog the roads after work to run errands or go to dinner.
11. Seattle – Tacoma, Washington.
Seattle.
Elaine Thompson/AP
Seattle Magazine highlighted Kent, SeaTac, and Issaquah among the best suburbs for a "quick" commute, and they all ranged from 30 minutes to an hour.
10. Greater Boston, Massachusetts.
Boston.
AP/Elise Amendola
There are nearly 500,000 more jobs in Massachusetts than 10 years ago, putting some serious pressure on Boston's transportation system.
9. Central Maryland, Maryland.
Ben Schumin/Wikimedia Commons
Home to the National Institutes of Health, the Food and Drug Administration, and Johns Hopkins University, Maryland is a biotech powerhouse, driving $17 billion in economic activity.
8. Greater Bridgeport, Connecticut.
Bridgeport, Connecticut.
Craig Ruttle / AP
A 2018 study from the Connecticut Department of Transportation found commute times could substantially improve if Interstate 95 was widened, Patch Reported.
7. Chicago, Illinois.
Scott Olson/Getty
A report from location and data analytics company INRIX ranked Chicago the third-most congested city in the US and the 23rd-most congested city in the world. According to their data, the average driver spent 138 hours stuck in traffic in 2018.
6. Metro Atlanta, Georgia.
Atlanta, Georgia.
David Turner / Getty Images.
And most Atlantans are making the trip solo — 73% drive alone, and only 7% take public transit, according to Flowing Data.
5. Inland Empire, California.
Inland Empire traffic.
Ric Francis, AP
This Californian area used to be called "Orange Empire" due to a booming citrus industry.
4. Stockton – Lodi, California.
Stockton, California.
Justin Sullivan/Getty
The commute might be near the longer end for the United States, but at least it's a repeat winner of the All-American City award, which recognizes civic engagement.
3. San Francisco, California.
AP/Eric Risberg
Unfortunately on top of a long daily commute, the cost of living in San Francisco is also 62.6% higher than the rest of the country.
2. Washington Metropolitan Area, Maryland and Virginia.
Bill O'Leary / The Washington Post / Getty
The United States' capital comes in at No. 2 for the longest commutes in the country. Reason called D.C.'s metro system a "national embarrassment" and the Washington Examiner called it "the worst in the world".
1. Greater New York, New York.
Greater New York has the longest commute in the country, and a huge proportion of commuters don't live in New York City — over 1.6 million people come to Manhattan from another county every day. With most New Yorkers taking the crumbling subway to work, getting to the office in New York isn't always a breeze.
SEE ALSO: The 5 best US cities to commute from — and the 5 worst
More: Features Traffic Commute Census Bureau
Politics Slideshow
INSIDER Data

redpajama_set_name: RedPajamaCommonCrawl


Blooming 'ell. No sooner have we put our books at that place in Hwood (that I even advertised on Facebook - free publicity for them) and we add in a CD, and the "other" lady calls me and tells me we must pick up the CDs again - they don't want to sell CDs because of risk of theft. But... they have other people's CDs there.
In the same breath she tells me that she'll give our books one more month and then we must pick them up because no copy has sold yet. But I've seen clearly that there's one copy less of our small book than I left there on consignment. What about that copy? Was it stolen...?
This right after the primary lady there and I were talking about launching something there next year.
Well, who cares? It's a cute place, I'm sure a launch would have been nice, but I'm sure there are hundreds of cute coffee places that would welcome the patronage of a launch, first and foremost Karoo Cafe who already hosted two of ours.
There are large book chains that pay cash upfront. Time to talk to them.
I'm sorely tempted.... but never mind, all it means is that P'kaboo will have to look for sales avenues other than SOR, consignment and all that other rubbish.


A dietary supplement for hair.
As a dietary supplement, take 1 capsule daily, preferably with a meal.
Accidental overdose of iron-containing products is a leading cause of fatal poisoning in children under 6. Keep this product out of reach of children. In case of accidental overdose, call a doctor or poison control center immediately. KEEP OUT OF THE REACH OF CHILDREN.


The Petitioner, a former Senior Custodian in the Springfield Public School System, has not met his burden of proving that he is totally and permanently disabled as a result of a work-related injury to his lower back that occurred when he was head-butted by a five-year-old child on April 30, 2010.
The Petitioner, Michael Foley, is appealing from the May 4, 2016 decision of the Respondent, Springfield Retirement System (SRS), denying his application for Section 7 accidental disability retirement benefits. (Exhibit 18.) The appeal was timely filed with the Division of Administrative Law Appeals on May 11, 2016. (Exhibit 19.) A hearing was scheduled to be held on June 15, 2017 at the offices of the Worcester Registry of Deeds, 90 Front Street, Worcester, MA.
In a letter dated June 2, 2017, the parties notified the Administrative Magistrate that they wished to submit their respective cases on the documents and waive the hearing. (Exhibit 25.) See 801 CMR 1.01(10)(c). The Petitioner submitted a pre-hearing memorandum and an attached exhibit list on January 20, 2017. (Attachment A and Exhibits 1-19.) The Respondent submitted a pre-hearing memorandum, a response to the Petitioner's proposed facts, and Exhibits 20-24 on March 6, 2017. (Attachment B.) The parties submissions in lieu of the hearing were received on June 30, 2017 (Petitioner-Attachment C) and July 31, 2017 (Respondent-Attachment D) thereby closing the record.
July 27, 2011 report of Alan H. Bullock, M.D.
Transcript of April 19, 2012 deposition of Alan H. Bullock, M.D.
September 7, 2012 report of James G. Nairus, M.D.
July 1, 2015 report of John R. Corsetti, M.D.
Medical Records from Concentra Medical Center, George Moore, M.D.
Medical Records from Pioneer Spine and Sports Physicians, Ronald Paasch, M.D.
Medical Records of SV Pain Management, Thenu Manikantan, M.D.
IME report of Charles Kenney, M.D.
Gentleman presents for follow-up several weeks after being head-butted in the low back. His history is significant for chronic mid-back pain and opiate dependence for pain control. He has remained long term at a full duty capacity but presently demonstrates signs that put him at greater risk for long-term disability. It is my opinion that he should have the MRI ASAP in order to return him to his work activities as soon as medically possible. It is unlikely that the mechanism of injury caused a structurally significant problem. Facet irritation and/or myotendinous pain are most likely.
It is our opinion that Mr. Foley is disabled from his work as a senior custodian. It is our opinion that he cannot do the physical duties required of a senior custodian, which include general maintenance and grounds keeping and repair. Mr. Foley's disabilities however are not attributable to his work incident of 4/30/10. It is not felt that the lumbar contusion caused the present symptoms limiting his activities. He has significant preexisting chronic upper back/chest pain for which he takes a multitude of narcotics and medications. This disability is felt to be permanent.
Therefore, based on the examination today, it is our opinion that the member is physically incapable of performing the essential duties of his job as described in the current job description and that said incapacity is likely to be permanent. It is also our opinion that said incapacity is not such as might be the natural and proximate result of the personal injury sustained or hazard undergone on account of which retirement is claimed.
In order to receive accidental disability retirement benefits, an applicant must establish by a preponderance of the evidence, including an affirmative medical panel certificate, that he is totally and permanently incapacitated from performing the essential duties of his position as a result of a personal injury sustained or hazard undergone while in the performance of his duties. The medical panel's function is to "determine medical questions which are beyond the common knowledge and experience of the local board (or Appeal Board)." Malden Retirement Board v. CRAB, 1 Mass. App. 420, 298 N.E. 2d 902 (1973). Unless the panel employs an erroneous standard or fails to follow proper procedures, or unless the certificate is "plainly wrong," the local board may not ignore the panel's medical findings. Kelley v. Contributory Retirement Appeal Board, 341 Mass. 611, 171 N.E. 2d 277 (1961).
The Petitioner has the burden of proof to establish a causal nexus between any injury or hazard and his disability. Campbell v. CRAB, 17 Mass. App. Ct. 1018, 460 N.E.2d 213 (1984). In order to meet this burden, the Petitioner must prove one of two hypotheses: that his disability was caused by a single or series of work-related events, or that his employment exposed him to an "identifiable condition…that is not common and necessary to all or a great many occupations" that resulted in disability through gradual deterioration. Blanchette v. CRAB, 20 Mass. App. Ct. 479, 481 N.E. 2d 216, 220 (1985).
The Petitioner has advanced the first hypothesis: that his disability was caused by the April 30, 2010 incident on the playground when he was head-butted by the five-year- old student. He has not met his burden of proving that this incident is such as might be the proximate cause of his disability. Thus, the Petitioner is not entitled to prevail in this appeal. The Respondent SRS, the Division of Administrative Law Appeals and the Contributory Retirement Appeal Board cannot substitute their collective judgment for that of the medical panel majority when it has performed its function properly. Further, a supportive report of any treating physician cannot outweigh the conclusion derived following a valid medical panel.
The panel doctors took a medical history, performed a detailed clinical examination of the Petitioner and reviewed pertinent medical reports pertaining to his treatments for the injury and the related diagnostic studies. The conclusion of the panel doctors following their review was that the Petitioner's lumbar symptoms were due to a lumbar contusion, the same diagnosis of his treating doctors. Thus, they concluded that his symptoms are related to a soft tissue injury that he sustained on April 30, 2010 and not to any worsening of his degenerative arthritis as a result of that incident.
In this case, the Petitioner has not met his burden of proving either that: the panel majority failed to perform its function properly by virtue of employing an erroneous standard; lacked knowledge of the Petitioner's job description; lacked knowledge of the Petitioner's medical treatment history; or, was improperly comprised. Further, the Petitioner has failed to prove a causal nexus or an exacerbation of a pre-existing degenerative condition in his lumbar spine result of the April 30, 2010 contact with the kindergarten student. They did not conclude that that the Petitioner's current limitations are due to any progression of his pre-existing lumbar spine condition.
The unanimous medical panel asserted at the end of their Assessment that "said incapacity is not such as might be the natural and proximate result of the personal injury sustained or hazards undergone on account of which retirement is claimed." These are the specific words set forth in the statute, and the unanimous panel members have addressed the precise question they were called upon to address. Kelley, supra, at 616.
See also Noone v. CRAB, 34 Mass. App. Ct. 756 (1993).
I will make brief mention here of the May and early June 2010 reports of the medical providers at Concerta. Those reports reflect that the Petitioner informed them in late May that he was still working his normal shift. These assertions raise the question of when the Petitioner actually stopped working. For purposes of this Decision, I have relied on the finding set forth in the Arbitration Decision and that of the Department of Industrial Accidents that he stopped working on or about May 12, 2010 notwithstanding the Petitioner's conflicting comments at Concerta. What is known with certainty is that he did work his normal shift on the day of the injury and he continued to work for at least 12 days thereafter.
Based on the foregoing, the decision of the SRS denying the Petitioner's application for accidental disability retirement benefits is affirmed.
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text:
Browse by Time Period
Select Collection All collectionsArtray CollectionCanadian Pacific Railway CollectionCapturing VancouverCarnegie StoriesChinatown StoriesExpo RetroHellenic StoriesHollywood NorthLeonard Frank CollectionMattie Gunterman CollectionPhilip Timms CollectionRemembering Our DTES WomenStory CityVancouver SpecialWest End StoriesWhat Changes You?
Separate multiple keywords with AND.
Use * for variant word endings: child* for child, children, etc.
British Columbia (x) ›
Advocating for Youth
Dykeman, Rainbow (Interviewee)
Rainbow is active in advocating for Youth and Youth in care and talks about her experience meeting with MLAs and other representatives from Parliament.
Agreements with young adults, Foster children - Services for, Youth - Services for
What Changes You?
Child with sled:
Timms, Philip (Photographer)
A child stands in the snow beside a small sled. Snow covers the ground and trees.
Winter, Children - Playing outdoors, Trees
Philip Timms Collection
CPR Freight Office Interior:
Dominion Photo Co. (Photographer)
C.P.R. freight office - interior.
Offices, Interior architecture, Railroad companies, Canadian Pacific Railway Company
Canadian Pacific Railway Collection
CPR Locomotive New Westminster and Railway Workers:
Macmunn, Charles (Photographer)
Engine #3 - wood burner. Group standing aboard are probably Andrew Onderdonk's workers.
Railroad construction workers, Locomotives, Railroads - Rolling-stock, Canadian Pacific Railway Company
CPR royal train that contains 5 Locomotives with Locomotive No.683 at the front:
Krebs (Photographer)
'Locomotive 683 heads a royal train carrying the Duke and Duchess of York, as it leaves Field on October 4, 1901. Four pusher locomotives (two more than usual) have been assigned to the ten car train, perhaps indicating that the CPR did not wish the future King George to come to grief on the Big Hill. The photograph was taken by renowned mountaineer Edward Whymper.Pole, p. 45.: (1995), The Spiral Tunnels and the Big Hill, Altitude Publishing Canada Ltd., Canmore, Alberta
Locomotives, Railroads - Rolling-stock, Railroads - Track, Railroads - Trains, Canadian Pacific Railway Company
1890s, 1900s
CPR Tunnel # 16 - Men and Handcar - White's Creek, Thompson Subdivision:
Heckman, Joseph W. (Photographer)
Also in CPR Archives; A.1498.
Handcars, Railroads - Employees, Railroads - Maintenance and repair, Railroad tunnels, Canadian Pacific Railway Company
CPR Wooden Bridge Men, Women and Children Beneath Bridge:
CPR wooden bridge under construction - men, women and children beneath bridge - buggy!
Railroad bridges, Bridges, wooden, Railroad construction workers, Trestles, Horse-drawn vehicles, Canadian Pacific Railway Company
Eadweard, Flora and an Extra:
Ghini, Larry (Contributor)
Back in 2013, I participated as an extra in what became the multi-Leo award winning motion picture Eadweard. During the shoot I had the extreme good fortune to become acquainted with the movie's two leads: Sara Canning and Michael Eklund.
Actors, Portraits, Group, Canning, Sara, Eklund, Michael, Television - Production and direction
Hollywood North
East Stope of Queen Mine:
Frank, Leonard (Photographer)
Queen Mine - 8th level East Stope.
Mines and mineral resources, Miners, Portraits, Group
Leonard Frank Collection
Episode 8 - 1998: Investigating The X-Files:
Hanomansing, Ian (Speaker), Harwood, Bruce (Interviewee), Johns, Kirk (Interviewee), Bernard, Julie (Interviewee), McMillan, Tim (Speaker), Lakefield (Musical group) (Performer)
In this episode, Vancouver Special investigates the Hollywood North film industry with a behind the scenes look at shooting The X-Files in 1998 with actor Bruce Harwood, best known as X-Files Lone Gunman John Fitzgerald Byers, and veteran location mangers Kirk Johns and Julie Bernard. CBC's Ian Hanomansing sets the scene for the year and VPL librarian Tim McMillan returns with some great reads you can find at your library. Vancouver actor Bruce Harwood is no stranger to the Vancouver film industry. He has appeared in numerous television series, including The Outer Limits, Stargate SG-1 and Supernatural. However, he probably is best known for his role as John Fitzgerald Byers in The X-Files television series. Veteran location manager Kirk Johns and Creative BC Manager of Production Services Julie Bernard have been a vital part of Vancouver's film industry for more than twenty years. They join us today to talk about filming The X-Files in Vancouver and why our city is such a hot spot for film and television productions. Over the past few decades hundreds of productions have been filmed in Vancouver. With its accessible and diverse landscapes, highly-skilled film crews and world-class talent, the city is a major player in the international film industry. However, it was shows like The X-Files that truly set the scene and established Hollywood North as an ideal film destination. One of the first big network hits to be filmed in Vancouver, the popular award-winning paranormal sci-fi series debuted in 1993. Soon after X-File film shoots began to pop up across the city. Unfortunately in 1998, fans and film crews were shocked and saddened to hear that the show – after filming for five seasons in Vancouver – was moving its production to Los Angeles. Though it was a definite blow to the city's fledgling film industry at the time, Hollywood North weathered the storm. Today, thanks to productions like The X-Files, Vancouver's film crews are known as some of the best in the world and the city has earned a reputation for its ability to become the perfect backdrop for countless movies and TV shows. The theme song is "North Wind" by Vancouver band Lakefield, from the album Sounds from the Treeline.
The X-files (Television program), Television programs, Actors, Harwood, Bruce, Television - Production and direction, Johns, Kirk, Bernard, Julie, Byers, John Fitzgerald (Fictitious character), Creative BC, Lone Gunmen (Fictitious characters)
Vancouver Special
Fans Meet Supergirl:
Ang, Christina (Photographer)
'Supergirl' TV show actress Melissa Benoist poses with fans for a photo.
Portraits, Group, Actors, Benoist, Melissa, Television - Production and direction
Farmhouse:
Farmhouse and outbuildings in a wooded area. Two-part view with 18582A.
Farmhouses, Dwellings, Farm buildings
Great Northern Railway's Track Gang:
Great Northern Railway's Chinese track gang.
Chinese Canadians, Portraits, Group, Railroad construction workers, Railroads - History, Railroads, Canadian Pacific Railway Company, Railroads - Track
Idle Trains During CPR Strike:
Croton Studio (Photographer)
CPR strike. Idle trains - maintenance or damage? Part of series - includes 78880A and 78880B.
Railroad companies, Railroads - Trains, Strikes and lockouts, Canadian Pacific Railway Company
Intercolonial Railway group with Sir Sandford Fleming seated at right
Group portrait of men - unidentified - included in 1881 CPR album.
Portraits, Group, Railroads - Employees, Canadian Pacific Railway Company
Mattie Gunterman, 3 poses
Gunterman, Ida Madeline Warner (Mattie) (Photographer)
Mattie Gunterman, 3 poses.
Photographers, Portraits, Gunterman, Mattie, 1872-1945, Women
Mattie Gunterman Collection
Philip Timms with group of men and boys in the snow
Group of men and boys standing in deep snow in front of a cabin. Philip Timms is the man nearest the camera with a "Timms Photo Co." bag over his shoulder.
Photographers, Log cabins, Timms, Philip Thomas, 1874-1973, Winter
Snow-covered tree stump:
Snow-covered tree stump. Mountains visible in the background. Hand-tinted.
Trees, Winter
Snow on boulders in river, hand tinted:
Snow on boulders in river, hand tinted.
Snow, Rivers, Winter
Stand of Cedar Trees:
Stand of Cedar Trees
Forests and forestry, Trees
1880s (3) + -
Canadian Pacific Railway Collection (10) + -
Philip Timms Collection (8) + -
Hollywood North (2) + -
Leonard Frank Collection (2) + -
Mattie Gunterman Collection (1) + -
Vancouver Special (1) + -
What Changes You? (1) + -
No copyright. For information about how you can use this item, see https://vpl.arcabc.ca/thisvancouver/use-reproduction (17) + -
In copyright. For information about how you can use this item, see https://vpl.arcabc.ca/thisvancouver/use-reproduction (6) + -
Copyright not evaluated. For information about how you can use this item, see https://vpl.arcabc.ca/thisvancouver/use-reproduction (2) + -
Canadian Pacific Railway (10) + -
Industry Canada: Canada's Digital Collections (10) + -
Mr. Derek Lukin Johnston and family (1) + -
Vancouver Public Library is on the unceded homelands of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. We acknowledge that our work requires sincere action towards decolonization.


2015113-How much is coarse 1200*1500 jaw crusher price for line crushing plant.of the enterprise, any infringement may lead to the civil, adm.
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text:
package org.docksidestage.dockside.dbflute.cbean;

import org.docksidestage.dockside.dbflute.cbean.bs.BsSummaryWithdrawalCB;

/**
 * The condition-bean of SUMMARY_WITHDRAWAL.
 * <p>
 * You can implement your original methods here.
 * This class remains when re-generating.
 * </p>
 * @author DBFlute(AutoGenerator)
 */
public class SummaryWithdrawalCB extends BsSummaryWithdrawalCB {
}

redpajama_set_name: RedPajamaGithub


Many new teachers need help adjusting to the growing diversity of today's public schools, according to a survey report from the National Comprehensive Center for Teacher Quality and Public Agenda.
Most first-year educators feel well prepared in areas like direct instruction and classroom management, the report found, but say they were ill-equipped to deal with the ethnic and racial diversity and special learning needs of children in their classrooms.
While most teachers say they were trained in teaching an ethnically diverse student body, fewer than 4 in 10 say that their training helps them a lot in the classroom.
Was how to teach an ethnically diverse student body covered in your classroom?
*Asked of those who said it was covered.
SOURCE: National Comprehensive Center for Teacher Quality and Public Agenda.
And while ethnic diversity is often associated with low-income urban schools, new teachers in high-needs schools (47 percent) were actually less likely to complain about inadequate diversity preparation than those (32 percent) in affluent communities.
Given a list of proposals to improve teacher quality, the teachers ranked two items significantly ahead of the others: reducing class sizes and training in adapting instruction to meet the needs of a diverse classroom.
This chart shows regional changes in student race/ethnicity from 1986-2000.
The percentage of racial/ethnic minority students in public schools grew from 22 percent in 1972 to 43 percent in 2006, according to the National Center for Education Statistics. The change was primarily due to the increase in the proportion of Hispanic students.


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text:
all :
	@echo "Creating package: simplify-opencart-module.ocmod.zip" && git archive HEAD:src -o ./simplify-opencart-module.ocmod.zip


text:
Hot Heads is an album by the Cameroonian band Les Têtes Brulées, released in 1990. The band supported the album with a North American tour.

Production
Recorded in France, the album was produced by Andy Lyden and Jean-Marie Ahanda. The band sang in a Cameroonian vernacular, French, and English. Guitar player Theodore "Zanzibar" Epeme committed suicide before the album was released. Epeme was known for applying foam rubber to his guitar to imitate a balafon. Some songs are about musicians leaving the countryside for city life.

Critical reception

The Gazette deemed the band "Africa's answer to the Red Hot Chili Peppers," writing that "modern bikutsi is a stripped-down sound of chicken-feet guitars, drums that won't quit and the kind of yelping, whooping and singing that says we mean business." The Philadelphia Daily News wrote that Les Têtes Brulées "combine fast tribal rhythms, swirling guitars and abrasive, multi-lingual vocals."

The Chicago Tribune stated: "The star of the show is guitarist Theodore 'Zanzibar' Epeme. His solos are light yet propulsive, building inexorably and seamlessly from skittering rhythm lines." The Houston Chronicle noted that "electric guitars and Western drums have replaced the 'balafon' and percussion, but the vocals are rough, in the ancient folk tradition."

AllMusic wrote: "Consistently inspired, Hot Heads underscores the band's resilient nature." The New York Times listed it among the best albums of 1990. MusicHound World: The Essential Album Guide considered Hot Heads "perhaps the greatest African rock 'n' roll ever made."

Track listing

References

1990 albums
Shanachie Records albums
Albums by Cameroonian artists

redpajama_set_name: RedPajamaWikipedia


High Dolpo, aka « The Hidden Country », in Tibetan, Phoksundo Lake, the salt route and yacks caravans between Indian and Tibet. Trek under tents, dived into an isolated region, with a strong Tibetan culture.
Flight to Nepalganj (1h30). Night in an hotel.
Flight to Juphal (35 min) and then trek to Dunaï.
You continue your immersion into South Dolpo. You discover the mythic monastery of Pematchöling.
You begin the ascent of Tarap Chu valley. Arrival on Lahini.
The pace is slow: paths are steep.
You continue your progression in Trap Chu valley. You foresse the Ribo Bhumpa monastery, which means you are getting near Dho Tarap.
Rest day dedicated to visit of monasteries and acclimation.
You cross the swarming village of Tarap Chu. Then, you get to Tok Kyu and you camp will be at one hour of this village.
This morning, you head to Khyung La. Nigh under tent, just after you manage crossing Langmasia La.
You climb to Sela Mungchung La. You swiftly reach the other face of the col before setting up your camp for night.
You trek towards the remote village of Shey Gompa, which is one of the most religious one in Dolpo.
A long walking day which makes you able to leave Tar valley. You discover the Tsakang monastery. Then you reash Mendok Ding where you sleep.
You begin your descent until Lar Tsa.
You go along a ridge before getting involved in a steep descent which leads to Kangh Gompa. You reach Chunemba where you set camp.
You go along Phoksumdo lake until Ringmo.
You enjoy this day to walk around Ringmo. Temples hold a lot of Buddhist paints and statues.
You leave Ringmo and cross a crest (3780m). Then, you head to one of the highest Nepali fall. (300m). In the afternoon, you reach Hanke.
You find again the green valley and cross several villages.
Flight to Nepalgunj (1h). Breath-taking view over Manaslu, Annapurna and Daulaghiri massifs when weather allows it.
Flight to reach Juphal (45 minutes). This flight can be cancelled in case of bad weather. A hard path leads to the left side of Kakani. The camp is settled near the little village of Hanke.
After several ascents and descents, arrival in the afternoon in front of the tiny Regi's village. Preparation of the camp.
Rest day and acclimation on the edge of the lake.
Series of ascents and descents to eventually get to the other side of the lake.
We reach Gand La Base camp.
The award is great when you reach the col where flag priers are waving. We do get to High Dolpo ! Settling of the camp.
Walk to the little monastery of Tsakhang (4500 m).
Easy path which rises following a broad valley. Accessible ascent to Shey La.
Settling the camp in Saldang. The opportunity to realize the gearwheels of Dolopo society. In the afternoon, walk in the numerous little villages which compound Saldang.
Settling of the camp at the gates of Keheng Chu. Visit of small local villages.
Full day dedicated to the discovery of surrounding areas. Ascent of the right side of Keheng Chu. Then we will continue to the village of Nishal, the "end of the earth". In the afternoon, we get back to Confluence camp.
We go up to Saldang before following our trip to the small village of Cha.
From Rap monastery, wonderful views over the valley. Then, we leave the last habited places of High Dolpo.
A splendid panorama over the Dhaulagiri massif. The camp is settled near Tokkyu.
Crossing of several splendid villages. In the afternoon, ascent towards Pang La. The camp is settled around 4440m.
Ascent et descent until the same river which flows at the foot of Yangser Gompa. The camp is settled towards the next col.
Ascent to Chharka col and then easy but long descent towards Chharka. Small old fortified village, we settle camp between the ancient and the new village.
Ascent of the steep valley until the second camp place, which is a broad high pasture.
The ascent to Nirwa La follows a very large valley. From the col, you will enjoy an aerial view over the near Dhaulagiri. Steep descent towards the highest camp of the trip: 5250m. Take care of the cold night !
After some impressive passages, you will ascent towards the right side until the small village of Sangdag.
During this day, the view on the valley towards Lo Mantang (Mustang's capital) is remarkable. We are at the gates of this ancient kingdom. The shift of the vegetation is absorbing.
Last step of the trek. Lodge in Jomosom. For the braver trekkers, there is an opportunity of going to the awesome village of Marpha (3h).
Flight which can be cancelled in case of bad weather.


text:
European flight bookings see significant drop
By Linda Fox / 10 March 2022 / Contact Reporter
The Russian invasion of Ukraine created an immediate impact on flight bookings in Europe and Russia domestically with sharp declines.
Figures from ForwardKeys revealed that in the week from 24 February to 2 March destinations closest to the conflict saw the biggest falls.
Countries including Bulgaria, Georgia, Hungary and Poland saw bookings fall between 30 per cent and 50 per cent. Domestic flight bookings in Russia fell 49 per cent.
All other European countries saw bookings decline between 10 per cent and 30 per cent except Belgium, Iceland and Serbia which saw declines in single digits.
Flight bookings within Europe were down 23 per cent compared to transatlantic flight bookings from the US which dipped 13 per cent.
Serbia, the last remaining air corridor between Russia and the rest of Europe, saw an increase in capacity, up 50 per cent for flights from Russia to the destination in the first week of March compared to 21 February.


DAVID DRUMMOND received an AudioFile Earphones award for his very first audiobook narration effort. Since then, he has recorded nearly fifty audiobooks for many different publishers and in many different genres. He lives with his family in Seattle.


[saymaListserv] Fwd: Globalization and the Poor: Do Quakers have a realistic view of world poverty?
GLOBALIZATION AND THE POOR: Do Quakers have a realistic view of world poverty?
teachings to reach out and help the poor.
economic goal in the world which Quakers have long sought, i.e.
and potential workers in the rest of the world.
people from a wide variety of cultures and countries.
Chief Economics Commentator at the Financial Times in London.
per head and China nearly a 400% increase in real GDP per head.
only 1.7% per year between 1990 and 2001.
truly poor in other countries.
like effects which Friends would want to support.
the economy kicking and screaming.
country is equally important and deserves our involvement.
process of globalization and outsourcing.


text:
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Pagan Britain: a Review
by frankbeswick
Ronald Hutton has produced a scholarly work which merits reading from cover to cover.
There are some scholarly books that serve best as references for occasional dipping into, but these tend to be turgid tomes written in the excruciating style that characterizes many academics. But Ronald Hutton has produced a well-written book whose style makes for relaxed, if not easy reading, making you want to read from cover to cover. This is the work of a man who has a masterful command of his subject and who can express it in the clarity of those who do not need to be thinking out as they go along. A tome it is, but at no time does it descend into abstruseness.
Image above of Down Tor stone circle on Dartmoor. Courtesy of Helen Hotson.
Academic books derive their credibility from their authors, but the authors stand or fall on the quality of what they have written. The book is well-written and informative. Hutton, who has appeared on British television as an expert in ancient customs, is a professor of History at Bristol University, specializing in paganism ancient, mediaeval and modern, and this book is the expression of this scholarly expertise gained over many years. He takes you through ancient Palaeolithic paganism up to the modern age when there has been something of a small pagan revival. You cannot discern a position about the truth or otherwise of modern paganism in the book, and he refrains from showing any belief commitments. But he is fair to Christian culture and gives an informed and sensitive account of its relationship with the cultures into which Christianity was introduced.
Hutton's command of his subject matter is vast. Every point is supported by reference to archaeological evidence drawn from Britain, about whose archaeology he knows much. There is so much detail that it is hard to grasp it all, so besides being a compelling read this book is one that a scholar of religions or British History would do well to retain it on their shelves as a reference work.
The scope of the work extends from the Palaeolithic age through the Mesolithic and the period up to the arrival of Rome. It then takes you through the Anglo-Saxon period and covers the place of pagan ideas in British life right up to the present day. For an author to have a comprehensive knowledge of prehistory and history for a period extending for many thousands of years is impressive
At no point does Hutton disappoint, as he at all times writes in a clear style without the verbosity that characterizes many academic tomes. There are no abstruse sections of the book and it is therefore suitable for both the scholarly and general reader.
Pagan Britain
The Pagan Religions of the Ancient British Isles: Their Nature and Legacy
Pagan Celtic Britain
Hutton is careful not to draw premature conclusions from inadequate data, so he never makes a claim that cannot be supported by the data. He fully grasps the limitations of archaeology as a means of establishing what people of the past believed, so whenever there are varying interpretations of data he gives them all.
The book is particularly adept at exposing the philosophical and cultural assumptions which archaeologists have brought into their thinking. He notes the way in which imperialist thinking with its superior races conquering simpler natives has distorted the interpretation of British data, and this is especially so with theories of invading Celtic hordes, who did not exist on the scale imagined by Victorian imperialist scholars, and invading Saxons, for whose invasions he presents pros and cons without concluding one way or another.
He enlightens us as to the wide variety of burial practices among ancient Britons, and how burial customs seem to differ according to tribal areas. Thus the text is a useful antidote to excessive simplification which sees countrywide cultures where they did not exist. It is also an antidote to the arrogant cultural assumption found among some earlier scholars that native Britons were culturally unimaginative and had to be taught new ideas by the Romans. a view that derives from the snobbery of Victorians with a classical education.
The book examines the role of the Victorian period in re-imagining paganism, and its account of the evolution of pagan ideas in the nineteenth and twentieth centuries is a good contribution to scholarship.
There is much factual material in the book, but Hutton's insights into the question of whether or not paganism survived through the mediaeval period are important. While he does not believe in a surviving pagan cultus, he accepts that pagan ideas and customs persisted. Mediaeval Catholicism he sees as essentially Christian with much pagan cultural inheritance found in its various forms. This is surely correct. Of particular interest is his account of how during the Roman period the Britons seemed to have taken a renewed interest in the forgotten monuments of previous ages and how some Roman sites contain salvaged bronze age implements. This was entirely new to me.
If I have a reservation about the work it is that it substantially, though not totally, overlooks Ireland. This may be due to pressures of space in what is a four hundred page volume, not to mention the copious references. But the two isles are culturally connected, and one can throw light upon the other.
Another issue is his discussion of the apparent conflict between genetic data, which reveal limited Anglo-Saxon settlement in Britain and linguistic data, which reveal almost no survival of Celtic languages, which would indicate mass Anglo-Saxon settlement at the expense of the Britons. This inconsistency he could have resolved had he considered Oppenheimer's view expounded in The Origins of the British that in Eastern England Welsh/Celtic was not spoken, but that the language there was a Germanic tongue, so the Celtic could not have survived where it was not spoken. This view is based upon Oppenheimer's observation that East and West England were repopulated after the Ice Age by different groups of settlers, so there would have been linguistic differences. He might also have noted that Welsh was spoken across large swathes of Western England until the eighteenth century, evidence of native Celtic survival.
The Triumph of the Moon: A History of Modern Pagan Witchcraft
Here is a book that brings witchcraft out of the shadows. The Triumph of the Moon is the first full-scale study of the only religion England has ever given the world-modern paga...
I enjoyed reading this book and recommend it to readers interested in pre-history, religion and British culture. High class scholarship on an important subject explained in well-written English is a compelling and impressive contribution to any library.
Updated: 02/25/2015, frankbeswick
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WriterArtist on 02/25/2015
I like that Hutton has done a lot of research and produced facts supported by data. It is so important to put the true picture in front of readers of things that are from a bygone era. His portraying the true picture of Paganism without swaying is what counts.
Thinking about Naledi
The new discoveries in the Rising Star cave in South Africa arouse questions ...
The History of the Wedding Dresses: From Beautiful Gowns to Wh...
Wedding dresses have changed a lot over the years. The colour is the most not...
The Start of the Gregorian Calendar: The Missing 10 Days
Think the calendar you know has been around forever? Think again! In 1582, th...
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Wedding dresses have changed a lot over the years. The colour is the most notable of all changes.
100% 12 7 AlexandriaIngham
Think the calendar you know has been around forever? Think again! In 1582, the world started switching to the Gregorian calendar but it meant 10 days went missing!
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(Messy photo, oops!) A couple of friends asked for a space nails tutorial. I never expected to be running a little nail workshop, but that's what ended up happening! It was a lot of fun. I did have trouble getting my nails to come out spacey, but everyone else did very well under my instructions. I guess I had stage fright? Haha.
This entry was posted in Nail Art and tagged galaxy nails, nail resolution, nails, space, space nails. Bookmark the permalink.


Property wealth boosted the retirement standard of living for pensioners living in Yorkshire & Humberside by more than £56.3 million in the first half of this year, according to new analysis from leading over-55s finance specialist Key Retirement.
Key's authoritative Half Year Equity Release Market Monitor shows retired homeowners in the region made around £53,153 tax-free each on average by cashing in on their homes in the first six months of this year, underlining how important housing equity is to enhancing the living standards in retirement.
Total property wealth released climbed 39% to £56.3 million from £40.5 million for the first half of 2016.
Dean Mirfin, technical director at Key Retirement, said: "Property wealth is making a huge contribution to retirement planning, and that is demonstrated by the growth in the value of equity being released in Yorkshire & Humberside.


The Magis Air Table was designed by Jasper Morrison in 2001 for Magis, alongside the Air Chairs.
Magis Air Table is available in either a square or a rounded triangle table top and is suitable for outdoor use.
These tables are stacking, up to 5 high for square and up to 3 high for triangle.


text:
LA hackathon for students moves online amid virus outbreak
Written by Betsy Foresman
Mar 17, 2020 | WORKSCOOP
As large gatherings have swiftly been cancelled in an effort to slow the spread of the novel coronavirus, Southern California's largest hackathon will take place online this year, officials announced last week.
The annual LA Hacks event, which typically hosts more than 1,000 college and high school students on the University of California Los Angeles campus, will take place March 27–29 for its eighth year. But this year will be the first time the event's held online.
"The competition will go on, despite the coronavirus, just in a virtual format," Sriram Balachandran, executive director of LA Hacks, said in a statement.
Opening and closing ceremonies for the hackathon will be streamed online, as well as workshops and panel discussions. The event will also host virtual Q&A sessions so students can interact with recruiters, mentors and experts from various technology fields.
The main competition — in which participants will focus on engineering better ways to navigate life in Los Angeles, leverage technology to grow brands and influence audiences and develop tools to create a more sustainable future — will require that students check in to the competition online so they can compete together remotely. Participants will also submit short demo videos with their projects for judging.
The 36-hour competition allows high school and college students to create new and exciting technologies and strengthen their skills in various aspects of emerging technology, including coding, website design and even cryptocurrency, according to LA Hacks.
"We are glad that LA Hacks will continue this year in a virtual format to ensure the health and well-being of the talented students who are participating, and I look forward to seeing how they push the boundaries of technology to address the challenges of today and tomorrow," UCLA Chancellor Gene Block said in a press release.
coding, distance learning, higher education, K-12, STEM, virtual education


The University of Edinburgh has announced its intention to extend its summer school programme with a new range of courses established by the College of Humanities and Social Science.
The new courses hail from a variety of disciplines including architecture, drama theory, linguistics, psychology, business studies, history, illustration and Swahili.
The summer school will run from June until August 2015 and will offer current Edinburgh University students study abroad programs at partnered institutions in India, Chile and an unannounced country in Africa.
The University says that the courses are "available for all students at home and abroad" though eligibility is actually limited to students achieving marks equivalent to a grade point average (GPA) of 3.0 or above.
Most of the courses cost £575 per week with course length varying from one to eight weeks.
The university will provide summer school students accommodation at Pollock Halls where accommodation fees can cost anywhere from £168 to a whopping £469 per week.
Including accommodation fees, summer school students could be expected to shell out over £3,000 for a three-week course, while students of the summer school's eight week Business in the Arts course could have to pay over £8,000 on tuition and accommodation alone.
Scottish students will also be expected to pay to take part in the summer school's courses.
University of Edinburgh students looking to take part in the summer study abroad programme are eligible to apply for a bursary to partially fund their course.
Whether bursaries will be awarded to summer school students from other institutions remains unclear.
The move to extend the summer school program appears to be part of the university's strategy to attract more international students.
In recent years, competition between universities in the international student market has heightened as international students are worth as much as £3 billion a year to UK universities.
Earlier this year, the Higher Education Funding Council for England reported a significant decrease in international and EU students at English universities.
Though The University of Edinburgh has not experienced as sharp a decline in its admission of international students, the extension of the summer school programme can be seen as a means of remaining competitive in a tough market.
The summer school will also be cashing in on the hustle and bustle of the festival season by boasting that some of its courses will provide "exclusive access" to Edinburgh's numerous summer arts festivals.
Applications for the summer school are set to open on 1 December 2014.
Applicants for the summer school must be current undergraduate or postgraduate students and meet the university's standards of English language proficiency.