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A hot little 'Nutcracker' from Company XIV
By the Butcher of Flatbush Avenue Extension
"The Nutcracker" gets a Baroque makeover in Company XIV's "Nutcracker Rouge," opening Dec. 10 at the dance troupe's Gowanus space.
'Tis the season for "Nutcrackers" of all stripes, be them faithful or irreverent. For a sexed-up retelling that's full of eye candy, Company XIV's reimagining, "Nutcracker Rouge," doesn't disappoint.
The Carroll Gardens-based dance-theater troupe has made a name for itself thanks to its sensual, over-the-top productions that are as much a celebration of the human body as the dance that it performs. And "Nutcracker Rouge," the company's vamped-up contribution to the holiday tradition, now through Jan. 9, turns the classic tale into a sumptuous treat that's certainly not for kids.
At the helm of Company XIV's version is Drosselmeyer, a dramatic narrator who demands as much attention as the characters he introduces — including his goddaughter, the virginal Marie Claire, upon whom he bestows one fateful Christmas a nutcracker who is actually the prince of the Kingdom of the Sweets whose past deeds includes fending off an army of mice but who is now miserably awaiting his queen.
The kingdom itself is the real sweet here, ripe as it is with half-naked dancers who represent chocolates, cherry truffles, licorice and macaroons. Oh, the macaroons.
The dances — set to a jazzy score based off the original Tchaikovsky music — feature a harem of "Turkish delights," perfectly synchronized lap dances, and even a rousing can can number. The climax comes, of course, during the dance of the Sugar Plum Fairy, at which point Marie Claire sheds her girlish, stifling dress for a tiny burlesque number, complete with pasties, for the big reunion.
Choreographer Austin McCormick's sensuous production is playful and cheeky at heart — bubbles descend like snow at the opening dance, sex acts are pantomimed to much laughs, and, in case you missed the cues, there's even a laugh track and drum roll, however tacky.
As our Sugar Plum Fairy, Laura Careless is mesmerizing, her face appropriately angelic or cloying, and she deservedly owns the stage during her anticipated solo. The production also truly leans on our narrator, Jeff Takacs (who wrote the script, and clearly loves every word). He gamely dresses in S&M dungeon-esque duds, operatic drag and traditional Baroque fair, as is the company's aesthetic. His theatricality lends itself well to the company's over-the-top flair, but we were too distracted by the beautiful dancers.
Despite its charms, this "Nutcracker" is not without some sour moments. A big reveal of the Kingdom of the Sweets is underwhelming. Some of the otherwise engaging dancing falls flat; in particular, a Spanish flamenco number. Those eye-popping floor-dropping dances and stripper poles come at a price, and thanks to all that bared flesh, the evident bruises on our poor Careless are a tad distracting.
Still, this "Nutcracker" is a tasty holiday escape, favoring style over substance. And it's nothing without style.
"Nutcracker Rouge" at Company XIV [303 Bond St. between Union and Sackett streets in Carroll Gardens, no phone), now through Jan. 9, with performances Friday through Sunday at 8 pm. No shows Dec. 24-26. Tickets $30, $25 for students and seniors. For info, visit www.companyxiv.com.
Unnamed Grocery Store 'coming soon' to former Met Food site on Smith Street
French-Japanese cafe to open within old Building on Bond in Boerum Hill
G-whiz! G train to extend to Coney Island for two weekends in August
City releases draft plan for School District 15 desegregation


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big wheel casino
A big wheel casino is a big wheel. A wheel is a wheel. But a big wheel is also a huge wheel. A huge wheel is also a huge wheel. But they are all of the same size. It's just a matter of which wheel you prefer to ride on. A big wheel, a wheel, a wheel, a wheel, a wheel, a wheel, a wheel.
A big wheel is a type of wheel that you can roll along, just a little bit larger than a regular wheel. They come in all different shapes and sizes, depending on what they're used for. In the movies, we see them being used for the entire film, but they usually just come in a few different sizes to make it easier to carry around and roll.
Well, in reality they are just a little too small to be useful, but that doesn't make them any less cool, so I can see why they're used. I'd rather roll on a big wheel though, because I think it's more fun.
The new big wheel casino is a game similar to Wheel of Fortune, only you have it in a casino instead of just one big wheel, but with fewer tables and a more interesting set of rules. The game lets you roll a coin and have it land on one of the wheel-like slots. There are six different slot types, with more to come in the future. The game was first released in late October, and is currently available for Windows, Mac, and Linux.
Another new big wheel casino is called Wheel of Fortune 4D. It is a different spin on the wheel, which makes it more fun, but the game also has a different set of rules. Its latest version, Wheel of Fortune 4D Deluxe, has been out for over a year and is now available for Windows, Mac, and Linux. It is a very similar game where you must select an item on a wheel, but it has a few more elements to it.
The new Wheel of Fortune 4D looks very similar to the original Wheel of Fortune 4D, and it's also available for Windows, Mac, and Linux. This time the focus is on being a "big wheel" rather than just being a "wheel". It still has the "go all the way" theme, but it allows you to pick the amount of coins you want to be paid for a win, and the number of players you want to be on the wheel.
You can also play as a table, where you can select a player instead of the wheel as well. This looks very similar to Blackjack, but the game is also a little different. It allows you to bet on a number of people, and the payouts you make depend on how many people you win against.
I know this game sounds like it is really simple, and I'm not sure if it is, but the game is actually quite complex. The number of coins you want to bet on a win depends on the number of players you want to be on the table. This means that the payouts can't be exactly the same every time you play, but you can bet as much as you want, and if you win you will be paid that much in coins.
Deathloop is also interesting because there is a lot to discuss about the game's mechanics. There are a lot of mechanics that you have to work with, and many of them are incredibly complicated. But the reason we discuss this so often, is that Deathloop's mechanics are great to have, and I don't want to ruin the fun.
Deathloops is the most developed of all games, and its more fun to play with because it is the only game that will let you play Deathloops on the fly. But that does not mean you will get bored of Deathloops because you will definitely give your money to play Deathloops. Deathloops games are not the only game that you will need to play with Deathloops.
sincronizar
topfx reviews
russ koesterich

redpajama_set_name: RedPajamaCommonCrawl


You will love this event!
Looking for a night of fun and fulfillment? Then come to the Taste of Dine Originals May 9th from 6:00pm-9:00pm at the Franklin Park Conservatory. Experience Columbus' most exquisite food at the Taste of Dine Originals. Featuring unlimited tastings of signature dishes and handcrafted beverages from more than 20 local restaurants, wineries, breweries, and distilleries. Other fun activities that you can participate in at the Taste of Dine Originals are the wine grab, jewelry pull, and silent auction.
The best part about this event is that we are partnering with The Buckeye Ranch, so a portion of the proceeds are going to that charity and supporting the great work that they do. Together we are making our community stronger one bite at a time! Purchase your tickets today at tasteofdineoriginals.com.


And the hallway. The first room you enter when you get home should really be one of your favorites. It was one of the worst rooms, but with some dark color to it – taaadaaa! Love it!
Thank you for joining me on this journey! Which room is your favorite?


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Written by Ian Thomas Malone, Posted in Blog, Game of Thrones
This recap features analysis from a devoted book fan. As the show has largely deviated from the books I'm not sure how much this matters, but if you hate spoilers you should probably not read these articles. I encourage you to subscribe so you never miss a recap. Thank you for reading.
There was a brief moment during the Benjen is Coldhands reveal when I considered giving up on the show. That theory is one of my least favorite prevalent ones because it's easily debunked in the books. I even wrote an article on it last year. Benjen can be "Showhands," but it just doesn't make sense in the books.
I felt a change of heart as I realized that this is actually a good thing. Benjen as Coldhands isn't a book spoiler at all. It almost has the reverse effect as it reminds us that these are two separate entities. Benjen being Coldhands worked in the show because he revealed himself early on in the rescue (as opposed to leading Samwell and Gilly to the Wall and Bran and his friends to Bloodraven without a single mention of being a Stark) and the show also needed to give us an answer as to what the hell happened to him, something it doesn't have all the time in the world to explain.
The one thing that needs to be criticized is the handling of Hodor's death. For a show that dedicated several scenes last season to Brienne mourning Renly's death that happened three seasons prior, it's disgraceful that neither Bran nor Meera acknowledged the death of their fearless companion considering both ruined his whole life. Hodor's death reminded us that a show with as much death as Game of Thrones can still use it as an emotional hook. Improperly handling the aftermath makes it harder to care.
This episode gave us two plotlines that the show had previously skipped over with Coldhands and the siege of Riverrun, which happened in A Dance with Dragons and A Feast for Crows. I doubt many people expected either Brienne or Jaime in the Riverlands at this point and now they both will be. The show has different obligations than the books, but I like that it still managed to work in good storylines that wouldn't have worked in previous seasons.
The aftermath Red Wedding was never really addressed and didn't necessarily need to be, but Walder Frey is too good of a villain not to feature again. Like many, I questioned Edmure Tully's future on the show given Tobias Menzies' obligations to Outlander. In the books, the Freys get to keep Riverrun after Jaime brokers a deal that sends Lord Tully to Casterly Rock to live a comfortable, yet imprisoned, life. I doubt this will happen this way given the presence of Brienne and Co., but it will be interesting to watch.
I've criticized the show in the past for making the figures in power in King's Landing look ridiculously weak. Sending Jaime to help the Freys shows that the powers that be still have power. What this means long term, when Dany's arrival appears to be in the not so distant future remains to be seen, but it's important to show that KL isn't just a setting for a soap opera.
The payoff for the High Sparrow stuff was rather underwhelming. It's hard to care all that much with the White Walkers and Dany's massive army, but the storyline moved perhaps a little too slow for its own good. We were treated to far too many High Sparrow lectures over the course of this season. I did think there was a good chance that Margaery could be killed, which would have likely pitted the Tyrells and the Lannisters against each other. That would have been far more interesting than what actually happened.
I've been pretty complimentary of Arya's progress in Braavos for most of the season. I don't love her decision to leave the House of Black and White, but it's too early to condemn it entirely. It's only natural that she feels a sense of loyalty to her family. Her driving force to leave Westeros, both in the books and the show, is that they're all gone. There's nothing left for her. We, the viewers, know this isn't true. Bran and Rickon are alive and Sansa has escaped. She doesn't. It seems almost unfair to Jaqen, who's been fairly loyal to her.
Mixed feelings about the Sam/Horn Hill storyline. It was good TV. The presence of James Faulkner, who played a similarly sinister patriarch on Downton Abbey, enhanced the soapiness of the whole plotline. In the books, Lord Tarly is a highly respected battle commander, even recommended for Hand of the King by Kevan Lannister. Here, he's quarreling with his son away from anything meaningful.
That goes for Sam as well. This season has really done a number on the credibility of the Night's Watch. Jon is allowed to quit and Sam can go off gallivanting with Gilly. What do vows even mean anymore?
Dany didn't do much. I talked about the fast pacing of her storyline two weeks ago. The Drogon appearance was very cool although as my sister noted, her horse seemed to have vanished.
It's clear that Yara/Reek will supply at least some of Dany's ships. I'm curious to see where she goes from there. The mainland of Westeros seems like the logical choice, but Euron/the Slaver's could take her in a number of directions.
That's it for this week. No Tyrion, Jon, Sansa, Ramsey, or Hodor… ever again. See you next week.
coldhands game of thrones
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Prince Philip: The Royal Family Remembers is a touching tribute to the Duke of Edinburgh


A 53-million-year-old spider has been revealed in exquisite detail by scientists from the UK and Belgium. The spider Cenotextricella simoni is about 1mm in length (see scale-bar). The scientists say that it would have inhabited a wooded area and lived in a warm climate. Internal details can be seen in the view at bottom-right.
The ancient creepy-crawly had been trapped in amber and preserved in a lowland area around Paris, France. The scientists reconstructed the creature's original appearance using an X-ray-based medical imaging technique. The pictures, published in the journal Zootaxa, "digitally dissect" the tiny spider to expose amazing details such as the preservation of internal organs.
"This is definitely the way forward for the study of amber fossils," said David Penney, from Manchester University and lead author on the study.
This is the first time that the medical imaging technique, known as Very High Resolution X-Ray Computed Tomography, has been used to investigate a fossil in amber – and Dr Penney said it had the potential to "revolutionise" the way fossils were studied.
In the 1960s, Dr. Peter Witt gave spiders various kinds of drugs and alcohol to observe the effects on their webs. The results were pretty interesting.
In 1995, NASA scientists seeking to measure toxicity relationships examined the webs of spiders dosed with various chemicals. Their experiments have shown that common house spiders spin their webs in different ways according to the psychotropic drug they have been given. Nasa scientists believe the research demonstrates that web-spinning spiders can be used to test drugs because the more toxic the chemical, the more deformed was the web.
* Those on Benzedrine – "speed" – spin their webs "with great gusto, but apparently without much planning leaving large holes", according to New Scientist magazine.
* Spiders on marijuana made a reasonable stab at spinning webs but appeared to lose concentration about half-way through.
* Caffeine, one of the most common drugs consumed by Britons in soft drinks, tea and coffee, makes spiders incapable of spinning anything better than a few threads strung together at random.
* On chloral hydrat, an ingredient of sleeping pills, spiders "drop off before they even get started".
You are currently browsing the archives for the Arachnology category.


Watch Crush in Jaipur (2016) : Full Movie Online A light hearted romantic-road comedy produced by Big Band Story in association with the French TV network TF1. The film had its world premiere in Festival de la Fiction TV, La Rochelle. The film stars popular French TV stars Rayane Bensetti, Lucie Lucas, Cécile Rebboah & Xavier Robic.


Shelfie Sunday is a blog meme on Cafe Manon. I was thinking about a way to showcase my books, but my bookcase isn't pretty like some of the bookcases I adore seeing on Pinterest or Instagram.. So, I decided to cheat a bit and create 'shelf-categories'.
Today, on the first day of Fall, I'm sharing my fourth shelf-category, which is Autumn colored Books.
Curious to know more about the books on my Autumn colored Book Shelf?
1 / A picture and/or list of the books on this shelf.
2 / Have you read all the books on this shelf?
I've read 7 of the 11 books on this shelf. The non-fiction books, Ons Creatieve Brein and Thinking Fast and Slow, are still on my TBR. So is Clash of Kings, although I'm thinking about listening to the audiobooks of the Song of Ice and Fire series instead of reading the books.
There aren't a lot of new books on this shelf.. The newest addition is Illuminae, which I bought in April.
I've had all the books on this shelf for quite some time. But Harry Potter and the Prisoner of Azkaban is the oldest book on this shelf.
5 / Your favorite book on this shelf.
I really enjoyed reading The Illicit Happiness of Other People, so I think I'll choose that one.
I also adored the story of The Goldfinch and off course Harry Potter is wonderful.
I really tried to like it, but I just didn't feel The Happiness Project. The subject of the book is fun, light and uplifting, but it reads like a rich woman's guide to an entitled life.
7 / Tell a story about one of the books on this shelf.
I really can't wait to start reading S. This is such a unique book.. Illuminae has a format that stands out, but S. is even more exceptional. The book looks like a distressed library book and the pages have handwritten notes in the margins. In the book there are lots of notes, postcards and little bits and pieces.
If you want to share your Autumn colored Books Shelfie too, please let me know! Use #ShelfieSunday. I would love to see what books are on your shelf and what your answers to these questions are.


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Timelapse Shows Rainfall as Thunderstorms Move Across Houston
28 November 2020, 9:46 am
Heavy rain fell in Houston, Texas, on November 27, a timelapse shared on Twitter shows.
The National Weather Service reported a "slow moving line of showers and thunderstorms" in the area on Friday. Flooding was reported in metro Houston. Credit: Anna Crawford via Storyful


The two countries agreed on October 30 to begin the returns to Myanmar in mid-November. The UN refugee agency has already said that conditions in Rakhine state were "not yet conducive for returns".
She had not seen any evidence of the government of Myanmar creating an environment where the Rohingyas can return to their place of origin and live in safety with their rights guaranteed.
The root causes of the crisis must first be dealt with, including the right to citizenship and freedom of movement, she said. Myanmar does not consider the Rohingyas a native ethnic group. Many in the Buddhist-majority country call the Rohingyas "Bengalis", suggesting they belong in Bangladesh.


Does perceptual learning require consciousness or attention?
Julia D. I. Meuwese, H. Steven Scholte, Victor A. F. Lamme; Does perceptual learning require consciousness or attention?. Journal of Vision 2010;10(7):1105. doi: 10.1167/10.7.1105.
It has been proposed that visual attention and consciousness are separate (Koch and Tsuchiya, 2007) and possibly even orthogonal processes (Lamme, 2003). The two converge when conscious visual percepts are attended, and hence become available for conscious report. A lack of reportability can however have two causes: the absence of attention or the absence of a conscious percept. This raises an important question in the field of perceptual learning. It is known that learning can occur in the absence of conscious reportability, but given the recent theoretical developments it is now suddenly unclear which of the two ingredients – consciousness or attention – is not necessary for learning. We present textured figure-ground stimuli, and manipulate reportability either by masking (which interferes with consciousness) or with an inattention paradigm (which only interferes with attention). During the second session (24 hours later) learning is assessed via differences in figure-ground ERPs and via a detection task. Preliminary findings suggest that early learning effects are found for stimuli presented in the inattention paradigm, and not for masked stimuli. These results suggest that learning requires consciousness, and not attention, and further strengthen the idea that consciousness is separate from attention.


Since its creation in 1948, Kingston Housing Authority has evolved to provide leadership in meeting the needs and aspirations of its Residents and their communities.
We're proud to note that Colonial Gardens looks as good today as it did when it opened 62 years and stands as a testament to what affordable housing can and should be in today's complex world.
The Kingston Housing Authority provides homes for low-income City of Kingston Families and is an organization with a proud history and enviable reputation. In 1948 its dream of quality, affordable housing for area citizens was formalized. In 1953, it was put into action with the opening of Colonial Gardens. Over the years, hundreds of apartment were constructed and have provided the foundations for family and elderly communities around Kingston.


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Speakers from 2019
Christian Sagmeister, Head of Railway Systems, ÖBB-Infrastruktur AG
Christoph Wahrenberger, Head of Data Management, Modelling & Reporting – Tracks, SBB
Juergen Maier, Head of International Affairs, BLS Cargo
Marco Gallini, Head of Diagnostics Services and Maintenance Machines, RFI
Marcus Franz, Chief Information Officer, ÖBB-Holding AG
Michael Hitzelberger, Head of IT at TechLOK, DB Cargo
Patrick Soerg, Project Manager Asset Intelligence, SBB Cargo
Philippe de Laharpe, Project Manager for Telediagnostics, SNCF
Sebastian Denis, Programme Manager for Innovation Programme 3, Shift2Rail
Martin Zsifkovits, Head of Innovation Management, Rail Cargo Group
Florian Auer, Director of Technology & Innovation, Plasser & Theurer
Daniel MacGregor, Co-Founder, Nexiot
Lazos Filippidis, Tech Lead Digitalization Railway Systems, Deutsche Bahn
Jean-Michel Evanghelou, Jean-Michel Evanghelou, Head of Telecom & Signalling, UIC
Jack Schneider, Program Leader ATO (Automatic Train Operation) Smart Rail 4.0, SBB
Dr Albert Joerg, Corporate Product Management, Voestalpine
Tommaso Spanevello, Public Affairs Manager, UNIFE
Benjamin Jansen, VP of Sales, Konux
Patrick Zanchetta, Head of RailData, Haslerrail
Gerhard Paal, Head of Sales for Digital Services, Siemens
Marco Quarta, Sales Area Manager - Railway Division, TESMEC S.p.A.
Daniele Di Felice, Senior Manager, Accenture
Digital initiatives of ÖBB-Infrastruktur AG
Subheadings:
Train Running Checkpoints
Christian Sagmeister manages the Railway Systems division of ÖBB Infrastruktur AG. During the last 15 years he has been responsible for various tasks within the ÖBB Group (among others implementation of the Austria-wide digital train system GSM-R, introduction of the European Train protection system ETCS L2, and build up of the Lifecycle Management Unit Telematics).
In his current position, he is responsible for ensuring the availability, security and economic operation of the energy and telecommunication networks as well as the control and security systems. In addition, securing the energy supply of the ÖBB Group by generating and distributing traction energy, as well as by purchasing and selling energy, is the core competence of the Railway Systems division.
Mr. Sagmeister also acts as Chair of ITS Austria and is a member of the Management Board of the Austrian Energy Agency and of the Austrian Traffic Telematic Cluster (ATTC). He has been a member of various international working groups for many years.
Asset Maintenance 4.0 – About the challenge to build an innovative system for predictive track maintenance
Operational and strategic asset management: with respect to data just two sides of the same coin
Not yet big data but a lot of data: building a common platform to centralize, collect and analyze track data
Building upon a Datalab: from the successful prototype to the productive system
Christoph Wahrenberger studied and acquired a Ph.D. in natural sciences in Zürich (Switzerland). He worked for 15 years as a product manager and business consultant for software producers in the financial sector. In August 2014 he joined SBB as a business project manager for track condition monitoring systems. Since 2015 he is member of the strategic track asset management and is leader to its data management team. He participates in a major programme to transform asset management from reactive to proactive maintenance and is product owner of the data platform that is one of the centre pieces of this programme.
European Rail Freight Undertakings at the crossroad – last chance to play an important role in logistics?
RU's are not able to deliver the required performance/quality for the end-customers. Why?
European Commission is investing billions of Euros in infrastructure, but there is no change in modal shift!
National ministries mostly don't have no clear view in terms of fulfilling CO2-targets. What could be some measures?
Jürgen Maier-Gyomlay, 48 years, Swiss and German
Actual: Head International Affairs & Projects, BLS
8 years - Railway Industry, Holding, BLS AG
Political Affairs & Projects (National and International), especially EU-policy.
Following core activities:
Associations work as e.g. UIC and support CEO of BLS as UIC Chairman Europe for 2 years, further chairman of Quality Task-Force to improve member's satisfaction
Acting in different freight corridor activities, e.g. so called CEO-Task-Force freight with "Noah Train" or "Vision Paper "30% in 2030" to support an improved railway sector
Participation in various innovation and development activities (e.g. S2R Innovation program or EU-regulation for rail)
Rapporteur for TEN-T / Rail Freight Corridors (Trans-European-Network for Transportation) towards the EU-commission
Member of Swiss Transportation Association to develop a strategy for rail freight and it's modal shift instruments
3 years - Railway Industry, Freight, BLS Cargo AG
Project - and Risk Management, Business Development
4 years - Railway Industry, Infrastructure, SBB AG
Different management positions in: Support- / Process-Management, Strategy Development Freight, Quality- and Risk Management
3 years - Aviation Industry, Airport Zurich
Different positions in: Innovation Management/Business Development, Corporate Development, and Consulting for Airlines and Airports worldwide
6 years - Aviation Industry, Airlines Crossair and Swissair
Different positions in: Route Development/Strategy, Market Research, and Consulting for Airlines
Since 1999 - Teacher for transportation topics
Education - Executive MBA, mcl (European University / University of Dallas)
The evolution of the diagnostic process in RFI
Diagnostic visual inspections vs human visual inspections
Unattended diagnostics for track geometry
Switches mobile diagnostics
Integrated analysis of defects and the visual 3D integrated database of the infrastructure
Marco Gallini graduated in 2000 in civil engineering at "La Sapienza" University of Rome. His experimental thesis concerned the use of elastic waves for the evaluation of the cracking state of tunnels on the high speed railway line between Rome and Florence. After an experience as an infrastructure designer in a private engineering company, he began his 18 years long experience in RFI, the Italian national railway network management company, as an engineer of the Operation and Maintenance Central Department first, where he introduced innovative procedures for the evaluation of the maintenance level of bridges, and then as the head of the Operation and Maintenance Organisational Unit of Bari. From 2013 to 2015 he has been in charge as the Regional Director of the Operation and Maintenance Department in Naples, and in 2016 moved back to RFI headquarters in Rome as the head of the Safety Department. Since 2017 he is serving as the head of the Central Diagnostics and Maintenance Vehicles Department in Rome.
Digital Business Strategy Update at ÖBB
Focus on connected assets and connected operations
Impact on CBM (Condition Based Maintenance) and predictive maintenace
PoC's first impact and outlook
Marcus Frantz assumed management of the Strategic Group IT Management division of ÖBB-Holding AG on April 1 2017. The business manager, who holds a degree in Business Administration, studied at the universities of Konstanz and Trier in Germany. Mr Frantz embarked on his professional career as a project manager at international consulting firms, focusing on organisational and HR development as well IT strategy in the areas of financial services and energy supply. After moving to OMV in 2004, his areas of responsibility focused on operational IT management as well as on the harmonisation of the entire application landscape, the implementation of a global IT service centre and the development and implementation of an operational IT strategy. From 2013, as CIO of the OMV Group - including Petrom and Petrol Ofisi -, he controlled all strategic agendas of Group IT with a specific focus on new technologies and the digitisation of the company. In his position as CIO of ÖBB, Mr Frantz is responsible for the development and coordination of the Digital Business Strategy of ÖBB as well as the strategic orientation of IT/OT within the Group.
Digitalisation of locomotive assets – Challenges and opportunities
Collecting data from locomotives: Data transfer and processing
Overcoming challenges emerging from heterogeneous locomotive fleets
Building value on asset data
Michael Hitzelberger studied Bioinformatics in Tübingen (Germany). After working as a full stack web developer in web and e-learning projects with focus on NGOs, he worked as IT project manager for several digital agencies with focus on data driven projects for companies in the customer goods sector. Since 09/2018 he is leading the IT development within the locomotive digitalisation project "TechLOK" at DB Cargo..
SBB Cargo on the way into a digital logistic ecosystem
New digital technologies enable the automation of traditional railway processes
Wayside intelligence combined with a rolling IoT sets the stage for centralized visual train inspections
Developing digital products and services based on smart data is key for a competitive supply chain visibility
With an MBA and a master's degree in international management and a specialization in innovation management Patrick Sorg is one of the main drivers for digital transformation within SBB Cargo.
As a passionate digitizer Patrick started his career as project manager in the major transformation and automation project where he pushed the buildup and development of a rolling IoT based on intelligent and smart assets.
Since 2018 Patrick additionally took over the role as product owner for the digitization project Cargo Digital where he and his team are connecting the dots, bringing various data sources and information together to design and develop new business concepts for a digital logistics ecosystem for their external and internal stakeholders.
Philippe Citroën, Director General, Unife
UNIFE – The future of rail: Innovate with the EU Rail Supply Industry
UNIFE's vision on the future rail transport system
Research and Innovation is key to build up the future rail transport system
Digitalisation is a priority of the EU Rail Supply Industry to boost capacity, reduce maintenance costs and energy consumption, and optimise traffic management
Philippe Citroën joined UNIFE - The European Rail Industry Association in June 2011 as Director General. He began his career as a Transport Advisor at the French Permanent Representation to the EU and then became Member of the Cabinet of the French Transport Minister. In 1993, Philippe became Manager and Chief of Staff at RATP Paris, and then joined the SNCF as Strategy Director in 1999. Prior to assuming his position at UNIFE, Philippe served for eight years as CEO of Systra – one of the world's leading public transport engineering companies. Philippe is a graduate of Paris II University in Public Law, holds a Diploma from the Paris Institute of Political Studies (Sciences Po) and also studied at the Ecole Nationale d'Administration (ENA), where he also lectured about rail and urban transport.
How digital innovation and technology can help face the challenges of Alpine Rail? Technological innovations offer many opportunities, choosing among those and implementing them in an efficient way may be the difficult part of the job.
Do more and install less hardware with shared platforms
Open operational data to other usages like maintenance and alerting
Reduce downtimes, maintenance cost and improve operational management with data sharing
S2R Vision on Integrated Intelligent Asset Management as part of cost-efficient, sustainable and reliable high capacity infrastructure
S2R Mission and Vision
Contribution of Shift2Rail on Cost-efficient, sustainable and reliable high capacity infrastructure
How Shift2Rail is contributing to Innovative Intelligent Asset Management Maintenance Execution
Sébastien Denis is working as Programme Manager in Shift2Rail since 2018. In March 2019, he has been appointed to the management of the Innovative Programme 3: Cost-efficient, sustainable and reliable high capacity infrastructure. Before joining S2R, Sébastien worked for almost 10 years in various positions at ALSTOM, mainly involved in contract execution and tendering in Signalisation – ERTMS.
Sébastien studied in Ecole Normale Supérieure de Cachan and holds a M.Sc in Mechanical Manufacturing.
Digitalisation in Rail: How to overcome perfect concepts and simply get started in in a traditional and complex environment
How you get the people involved – mindset and bottom-up approach
Starting with small pilots – the right topics, commitment and a good team setup
The challenge of scaling pilots – keeping the energy up
Martin Zsifkovits joined the Rail Cargo Austria AG in 2018 and currently manages the "Smart Cargo" project, digitalizing the wagon fleet using IoT-wagon-trackers. Since 2019, he has taken the role of Head of Innovation Management at the Rail Cargo Group (RCG). Today, his main topics are wagon fleet digitalization, process automation, and business intelligence/analytics. Martin received his Diploma and his Ph.D. from the University of Vienna, he was a Visiting Scholar at Stanford University and TU Delft and project manager of numerous projects in the domain of innovation management, change management, and modern decision support. He is a speaker and lecturer on Digitalization and Innovation and Technology Management at various events and lectures at numerous European Universities.
Use-cases digital maintenance
Track surveying via inspection vehicle
Turnout assistance System using Artificial Intelligence
Possibilities of Image-recognition
Technical University of Graz; Civil Engineering with focus on Railway Engineering at Prof. Rießberger
2002 – Dec. 2012 Austrian Federal Railways, Maintenance Engineering, Track Design Engineer, head of life cycle management team
PhD on "How to reduce wear in sharp curves"
International Activities: Member of a couple of Euronorms, head of UIC working group "Under Sleeper Pads in track"
Since Dec 2012 working for Plasser & Theurer (as Senior Expert Track Technology)
Since May 2017 Director of Technology
Digital rail freight transformation delivers for all stakeholders.
Transparency is a stipulation not a 'nice to have'
What does the complete solution look like
Collecting use cases and defining business cases
Co-Founder, Nexiot AG
Business Development for the EmbeddedLab, a research and engineering lab at the ETH Zurich for Physical Computing/IoT, the foundation of Nexiot AG
Industrial IoT evangelist and digital shaper
Daniel MacGregor has over 20 years' experience in applying technology to business needs. Since 2014 he has focused on digitisation of the supply chain. Daniel has worked for the EmbeddedLab at ETH Zurich, going on to become a founder of multi-million Swiss technology company Nexiot AG.
Daniel focuses on uncovering business needs and applying Nexiot's cutting edge IoT solutions to optimise operations and the clients own service portfolio. This is done through an end-to-end solution from sensor, to information intelligence, to knowledge sharing. Supply chain participants can deploy IoT to differentiate their services and monetise digital insights. The philosophy is to leverage knowledge derived from big data for continuous business improvement.
Digital Railway – Approach to utilize opportunities of digitalization
Expected benefits resulting from digitalization of the railway system
Systematic approach to derive key requirements for a digital railway system
Possible technologies for digitalized railway systems, their benefits and challenges
Lazos is working with DB as a Technical Lead of Product Management and Development for the Digital Railway. Prior to that he had several leading positions with a large railway industry enterprise including research & development and strategy of railway signalling products and computer platforms. Lazos holds an master's degree in physics and a Ph.D. in computer science in the field of causal analytics.
Jean-Michel Evanghelou is the Head of Telecom & Signalling of UIC. He held various positions of Director within Orange Group and then joined Nortel Networks where he had different roles in the international business, serving as Vice-President for various telecom technologies and segments. He was more recently Director of the Railway Business Unit of Kapsch Group. Jean-Michel graduated as engineer from the Ecole Centrale of Paris.
SmartRail 4.0 and ATO
SR40 Introduction/Update
Basics for interoperable ATO applications
ATO Activities in the SmartRail 4.0 System and the ATO Challenge
After receiving a bachelor's degree in electrical engineering, Jack Schneider participated in the development of high-performance computer systems for the use of military and aerospace. In 1995 he established an electronics development department for high-precision automated space systems and scientific experiments and he was also responsible for various strategic programs. Between 2004 and 2007 he led the IT department as the CEO of an international industrial company, namely OIS (Oerlikon IT solutions). After that he moved to the railway sector. With the experience in managing vehicle developments and being responsible for the safety systems at SBB Passenger Traffic, he received a knowhow of an overall vehicle technology. In 2015 he setup the ETCS Competence Centre for the ETCS L2 rollout in Switzerland. Now he is part of the smartrail 4.0 leading team , being responsible for the SBB Automated Train Operation subprogram at smartrail 4.0 since the beginning of 2017.
DR ALBERT JOERG, CORPORATE PRODUCT MANAGEMENT, VOESTALPINE.
Use of data to optimize availability of critical railway issues
Create valuable information from field data for infrastructure operator and manufacturer
Smart infrastructure components – Crosslink data and exchange of information
From find and fix to predict and prevent
Dipl.- Ing. Dr. techn. Albert Jörg (41).
Studied Civil Engineering at Graz University of Technology and spent several years as Scientific Assistant at the Institute of Railway Engineering and Transport Economy under the Management of o.Univ.-Prof. Dipl.-Ing. Dr. techn. Klaus Rießberger. Albert Jörg joined voestalpine in January 2009 and is currently Head of Product Management and Technical Customer Service at voestalpine Schienen and Head of Corporate Product Management at voestalpine VAE GmbH.
Address: voestalpine Schienen GmbH, 8700 Leoben, Austria.
E-Mail: albert.joerg@voestalpine.com
Tommaso Spanevello is public affairs manager at UNIFE where he is responsible for innovation policy, digitalisation and sustainable mobility. Since January 2018, he is also the Executive Secretary of Rail Forum Europe, the Members of the European Parliament's association dedicated to rail transport. Prior to join UNIFE, Tommaso was in charge of the policy department of the association of the European rail infrastructure managers, in Brussels.
With a background in International law, Tommaso studied and worked in Italy, United States, Finland and Hungary.
Actionable Insights, Easier - Using AI to Enable Predictive Maintenance for Switches
Digitalization starts with a quick win
Reliable predictions require continuous monitoring and AI-powered analysis
For a predictive maintenance system to be adopted, it has to provide actionable insights and make people's lives easier in the process
As a Vice President, Sales at KONUX, Benjamin is helping rail infrastructure managers in Europe and Asia switch to predictive maintenance. Benjamin has over 20 years of experience in sales, particularly in driving the digital transformation from traditional software sales to the new subscription-based models (Cloud and SaaS models). Prior to KONUX, he held a managerial position at T-Systems Digital Division, Nemetschek Allplan, and SELLBYTEL Group.
"Data Waste Management": Do you still store or are you already using data?
Same data for operators, asset owners and infrastructure managers
Events: connecting the dots
Think big versus start small
Patrick Zanchetta joined HaslerRail AG early 2019 where he has taken the position as Head of RailData within the HaslerRail Group. In this role, he is responsible for the product definition and development as well as the business development and sales of all server and cloud based evaluations tools for data and event recorders as well as energy metering.
He gained his proven track record over more than 15 years in the field of Software related products with the major part spent in the Railways sector. Over the last 10 years, he held various global positions in Bid Management, Locomotives and Services Sales Management and Executive Engineering Management for Integration of Train Protections Systems, especially ERTMS, at Bombardier Transportation.
He holds a degree in mechanical engineering and industrial management and is based in Switzerland.
Gerhard Paal
Railigent the open ecosystem for smarter Asset Management
Targeting 100% operational availability
Integrated Digital Services are the key to achieving 100% availability
Siemens has proven system availability and highest customer satisfaction
Gerhard Paal has worked over 15 years in the field of IT and Telecommunication for Siemens and Nokia, where he was responsible for Billing and Charging Systems.
Since 2015 he is heading the Sales of Digital Services within Mobility Customer Services.
His focus is the Sales of Digital Services, which includes the Railigent Application Suite for Data Services, helping its customers to increase the availability of their assets through predictive services.
Integrated Railway Technologies
Digital eyes for artificial intelligence – Falco Diagnostic Vehicles
Diagnostic Professionals enhanced by talented analytics – Tesmec Integrated Platform
Less people on the track, higher Operational Efficiency and Safety - Automated Catenary Installation Vehicles
Daniele Di Felice joined Accenture 16 years ago where he started to work since the beginning on complex projects for major European companies.
He has a multi-year experience in supporting clients across different countries and industries such as Manufacturing, Transportation, Telco on innovation and digital transformation projects.
Prior to join Accenture Daniele worked as intern at the "Institut National de Recherche en Informatique et en Automatique (INRIA)" in France, as part of a parallel computing research team. He holds a degree in Computer Science and a Project Management Professional certification.


text:
Tenee' Hart
Tenee' Hart (°1988, Fairfax, United States) makes sculptures and paintings. With a conceptual approach, Hart tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
Her sculptures sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By examining the ambiguity and origination via retakes and variations, she tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By emphasising aesthetics, she seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. Tenee' Hart currently lives and works in Tallahassee.


text:
namespace YAF.Types.Interfaces
{
  using System;
  using System.Data;

  /// <summary>
  /// The i favorite topic.
  /// </summary>
  public interface IFavoriteTopic
  {
    #region Public Methods

    /// <summary>
    /// The add favorite topic.
    /// </summary>
    /// <param name="topicId">
    /// The topic ID.
    /// </param>
    /// <returns>
    /// The add favorite topic.
    /// </returns>
    int AddFavoriteTopic(int topicId);

    /// <summary>
    /// The clear favorite topic cache.
    /// </summary>
    void ClearFavoriteTopicCache();

    /// <summary>
    /// The clear favorite topic cache.
    /// </summary>
    /// <param name="topicId">
    /// The topic Id.
    /// </param>
    /// <returns>
    /// The favorite topic count.
    /// </returns>
    int FavoriteTopicCount(int topicId);

    /// <summary>
    /// the favorite topic details.
    /// </summary>
    /// <param name="sinceDate">
    /// the since date.
    /// </param>
    /// <returns>
    /// a Data table containing all the current user's favorite topics in details.
    /// </returns>
    DataTable FavoriteTopicDetails(DateTime sinceDate);

    /// <summary>
    /// The is favorite topic.
    /// </summary>
    /// <param name="topicID">
    /// The topic id.
    /// </param>
    /// <returns>
    /// The is favorite topic.
    /// </returns>
    bool IsFavoriteTopic(int topicID);

    /// <summary>
    /// The remove favorite topic.
    /// </summary>
    /// <param name="topicId">
    /// The favorite topic id.
    /// </param>
    /// <returns>
    /// The remove favorite topic.
    /// </returns>
    int RemoveFavoriteTopic(int topicId);

    #endregion
  }
}

redpajama_set_name: RedPajamaGithub


Had mentioned that long positions for the day can be taken above 10575 and short positions can be taken below 10555 . Nifty initially triggered our long trade and took our stoploss . It then triggered our short trade completed all our targets .
Now this week Nifty needs to break and sustain / close above 10585 for a test of 10610 - 10615 initially and above it till 10635 - 10655 .Similarly Nifty needs to break and sustain / close below 10540 to test 10520 - 10515 initially and below it till 10495 - 10475 .
Now in the coming session Nifty needs to break and sustain above 10572 to test 10580 - 10583 initially and sustaining above it we can see a further upmove till 10590 - 10598. Similarly breaking and sustaining below 10556 we can see a test of 10548 - 10545 initially and breaking and sustaining below it we can see a further correction till 10538 - 10530.


Brother Colour Inkjet Multi-Function Centres or MFCs are the most ideal solution for your home or office printing requirements. The MFC range enables you to print, copy, scan and fax in colour from a single compact and user-friendly machine.
Increased Performance and Reliability – Since the printhead does not harbour additional weight, it will be subjected to less vibration and movement, consequently reducing the overall wear and tear of components.
Quieter Operation – There is less vibration and mechanical movement in the MFC range because of the lighter printhead. This results in quieter and smoother print operation.
Reduced Energy Consumption – You save not only money, but the environment as well since the lighter printhead operates faster and more efficiently.
Compact Yet Powerful Design – The MFC range features a sleeker, more compact design without sacrificing print quality and operation.
With separate ink cartridges, if only one colour runs out, you'll only have to replace that specific ink cartridge instead of having to deal with the full set of colours. While the initial purchase cost of any Brother machine and its consumables is crucial, you must also consider its cost-effectiveness in the long run. Let's say you purchased an all-in-one machine at a fraction of the price of a Brother MFC. If you add up all your expenses from the initial purchase cost, cost of consumables, maintenance costs and ongoing operating costs, it will actually be more expensive than purchasing a Brother MFC, along with required Brother consumables and ongoing operating costs, in the first place.


Take the worry and stress out of Los Angeles airport transfers: Los Angeles airport transfers can create stressful situations in this car-crazy city notorious for its traffic congestions. If you're visiting Southern California and aren't used to navigating the freeways during busy times of day, your trip to the airport can be downright worrisome. At Charter Breeze, we take the stress and worry out of Los Angeles airport transfers. Our experienced drivers and state-of-the-art technologies ensure you'll make your flight in plenty of time.
If you're visiting the city with a large group for a wedding, reunion, or corporate event, we've got your airport transportation covered. We are pleased to offer charter bus service to all Southern California airports, giving you affordable and convenient options for group transportation.
We also provide airport limousine services for smaller groups, ensuring you'll arrive in style and on time. All our airport-bound vehicles are equipped with up-to-date GPS units and flight information interfaces. If traffic becomes a problem, our drivers will find a way around it. If your departure time or gate changes, we'll know about it, and we'll pass the information along promptly. We're licensed to operate in major airports throughout Southern California, including Los Angeles, Burbank, Orange County, and Long Beach.
If you would like to learn more about our Los Angeles airport transfer services, or if you need any assistance completing your booking, please contact a Charter Breeze customer service representative. We're here to help make your visit to Southern California enjoyable, relaxing, and free of worry and stress.


text:
Q: Issues while reading .xlsb file in python I am facing below issue while reading .xlsb file using pd.read_excel
df = pd.read_excel('path.xlsb',engine='pyxlsb')

Traceback (most recent call last):

  File "<ipython-input-37-d18a69e21482>", line 1, in <module>
    df = pd.read_excel('D:/Praneeth/Bot_Factory/File_rename/FCR_Sample_input_file.xlsb',engine='pyxlsb')

  File "C:\ProgramData\Anaconda3\lib\site-packages\pandas\util\_decorators.py", line 177, in wrapper
    if old_arg_value is not None:

  File "C:\ProgramData\Anaconda3\lib\site-packages\pandas\util\_decorators.py", line 177, in wrapper
    if old_arg_value is not None:

  File "C:\ProgramData\Anaconda3\lib\site-packages\pandas\io\excel.py", line 307, in read_excel

  File "C:\ProgramData\Anaconda3\lib\site-packages\pandas\io\excel.py", line 369, in __init__

ValueError: Unknown engine: pyxlsb

Python version : 3.6.5
pandas version : 1.0.1 / 1.0.3 (faced same issue with both versions)

redpajama_set_name: RedPajamaStackExchange


text:
Department of Theatre and Dance
Theatre Alumni
Costume Design and Technology
A Note for Prospective Students
Where We're Working
Scenes from Metamorphoses
These Shining Lives
This is Our Youth
Love and Information
She Kills Monsters: Virtual Realms
The Complete Works of William Shakespeare (Abridged)
You on the Moors Now
Stories of Dislocation
MFA Solo Shows
I and You
Shakespeare in Love
Double Durang
Platonov
By the Bog of Cats
Wonder of the World
Aphra Behn: Wanton. Wit. Woman.
The Water Station
The White Liars/Black Comedy
CPE Fall Rep
MFA Actor Solo Shows
Summer Drama Conservatory
Dance Alumni Update
USC Board of Dance
BA in Dance, Emphasis in Performance and Choreography
BA in Dance, Emphasis in Dance Education K-12 Certification
What You'll Become
Dance Minor
USC Dance Days
USC Dance Company Fall Concert
Fall Student Choreography Showcase
USC Dance Company Spring Concert
12th Annual Ballet Stars of New York
Spring Student Choreography Showcase
Fall 2018 Student Choreography Showcase
Spring 2019 Student Choreography Showcase
Student Choreography Showcase
Fall Concert
Spring Concert
Excavating Movement
Conservatories & Workshops
SC Summer Dance Conservatory
Friends of Dance
Save the Seats Fundraising Campaign
Thank You to Our Donors
My Theatre and Dance
Travel Policy and Forms
Spring Concert | February 10-13, 2021
Posted on: February 1, 2021; Updated on: January 26, 2021
The University of SC Department of Theatre and Dance will make a long-awaited return to live performance February 10-13 as the UofSC Dance Company presents its annual spring concert.
Show times are 7:30pm, February 10-12 and 2pm, February 13. In accordance with University policy, seating will be limited to allow for appropriate social distancing. Tickets will be available only for the purchase of a single seat or a pair of seats, with single seats priced at $15 for students, $20 for UofSC Faculty/Staff, Military and Seniors and $22 for the general public, and ticket pairs priced $30-$44. Tickets may only be purchased online; there will be no ticket sales at the door. Drayton Hall Theatre is located at 1214 College St, across from the historic UofSC Horseshoe.
Featuring three brand-new contemporary works by dance faculty Erin Bailey, Jennifer Deckert and André Megerdichian, the concert will mark the dance program's first onstage performances since the beginning of the COVID-19 pandemic. Concerts during the fall semester were filmed and streamed online.
To help ensure a healthy environment for all gathering in the theatre, a number of safety measures are being implemented by the department. In addition to socially distanced seating, facial coverings will be required of all audience members, performers and theatre staff. To help ensure distancing, patrons will be seated upon entering the building and asked to leave immediately after the performance. Patrons are asked to monitor their own health and not attend if they have been previously diagnosed with COVID-19 within 14 days, have been in contact with anyone diagnosed with the disease or are exhibiting any symptoms of illness. The theatre will be cleaned before each performance.
Precautions have also been in place during rehearsal, with dancers required to report their temperature and health conditions daily and wear face coverings. Additionally, the choreographers have incorporated social distancing into their works. Dancers are only allowed to be in close contact if they share a living space.
About the Works
Pandemic-related limitations have directly inspired the creation of Jennifer Deckert's A Season of Echoes. Set to the music of Vivaldi's Four Seasons, the contemporary ballet explores how the solitude of social distancing has, for many, provided a chance for personal reflection.
"I think this forced stillness that we've all been put into allows us to reflect on past experiences and emotional baggage that we may not have had the time, energy or space to acknowledge in our lives," says Associate Professor Deckert. "It's very much a reflection of managing this pandemic, managing the social unrest and managing how we're reflecting on ways of being and interacting."
The impact of the pandemic has similarly informed Megerdichian, an assistant professor in the dance program. However, his work, Meetings Along the Edge, intends to give audiences a more visceral experience.
"We've all been sort of cooped up in these times and that has put us in this state of external stillness," says Megerdichian. "But, internally the wheels are spinning at 90 miles an hour. I thought what we need is a release of that internal spinning, projected physically."
Contrasting emotions also fuel dance instructor Erin Bailey's under. Inspired by a trip to a Berlin museum, the piece brings to light conflicting feelings of contrition and redemption.
"I felt… an overwhelming sense of shame," Bailey says of her powerful experience with history. "At the same time, I felt very much alive and pure. This experience of simultaneously feeling heavy and light, unclean and clean, inspired me to explore the complexities of these relationships through movement."
One feeling shared by all of the artists in this concert, choreographers and dancers alike, is a sense of excitement at finally being able to get back on stage
"This is what we live for," says Deckert. "We're craving interaction with each other and that creative energy. There are a lot of artists who aren't able to have that right now and I'm just grateful that we're in a place where we can."
"Our hearts feel a little calmer than they had," she adds, "knowing that we get to be on stage in front of an audience and living the life that we were born to live."
For more information about the UofSC Dance Spring Concert or the dance program at the University of South Carolina, contact Kevin Bush by phone at 803-777-9353 or via email at bushk@mailbox.sc.edu.
COVID-19 SafetyFind out about the COVID-19 precautions being implemented for our productions.
Show Times and Ticket Information
Drayton Hall Theatre
1214 College St.
Show Times:
February 10-12: 7:30pm
February 13: 2pm
Single Tickets:
$15 | Students
$20 | USC Faculty/Staff, Military and Seniors 60+
$22 | General Admission
Ticket Pairs:
Tickets available only online.


text:
Wearing clothing with images on them
Clothing & Adornment, Fatwa, Shaykh Muhammad ibn Saalih al-'Uthaymeen 25th April 201622nd February 2017 Abu 'Abdullaah
Reference: Fataawa Noor 'alad-Darb – Question No.5645, Page 94-95, Volume 11
Question: Is it permissible to wear clothes which have images printed on them, such as fish and birds?
Response: It is not permissible to wear anything which has an image [printed] on it, whether it is a thobe, [a pair of] trousers, a headscarf, a hat, a t-shirt or other than that. That is based upon what has been authentically reported from the Prophet (sal-Allaahu 'alayhi wa sallam) that the angels do not enter a house in which there are images[1].
Likewise, it is not permissible for a woman to wear jewellery in the shape of an animal, whether that animal is a bird, or a snake, or other than that; and this is based on the hadeeth which we have alluded to in which [it is mentioned that] angels do not enter a house in which there are images.
[1] Transmitted by al-Bukhaaree No.3053, and Muslim No.2106.
clothes, clothing, image, photograph, picture
The most authentic book after the Book of Allaah
Ask for me at the graveyard
Abu 'Abdullaah
- from London, UK. He is a graduate of the Islaamic University of Madeenah, having graduated from the Institute of Arabic Language, and later the Faculty of Sharee'ah in 2004.
'Umar's Advice for Winter
Not from the muttaqoon until…
Which part of my body should I conceal?
His love of reading
Give the benefit of the doubt
A welcoming and humble heart


Last year astronaut Donald R. Pettit (NASA/Johnson Space Center) was aboard the International Space Station preparing his weekly Saturday Morning Science program, in which he performed various experiments highlighting the fun things one can do in microgravity. Before him were plastic bags containing salt, sugar, and coffee grounds. The demonstration he had planned that morning was fairly mundane – shake the bags and watch what happens. Little did Pettit know he might be about to solve experimentally one of most perplexing paradoxes surrounding the formation of planets.For decades theorists have had trouble growing planets starting from small dust grains in a protoplanetary gas-and-dust disk. Given a turbulent disk environment with high winds and high-velocity (100 meters/second) impacts between objects, small, millimeter-size clumps should have difficulty growing to centimeter size and larger without breaking back into millimeter fragments. No one had ever seen it work experimentally.
Both Pettit and Love are the first to admit that the experiment is hardly quantitative science. The details are far from controlled or precise. But, even though some quantities may be unrealistic for a protoplanetary disk — such as the particle density and air density — the effect works for different materials that are both homogeneous (salt) and inhomogeneous (coffee grounds). It also works for particles of various sizes, from 0.5 mm through to 6 mm in diameter.
The pair have proposed an explanation for the phenomenon — electrostatics. When Pettit rubbed his finger on the bag, the particles inside were instantly drawn to the place he poked. While the electric charge on each grain is unknown, most experts agree that electrostatics and charge exchanges between particles do occur in protoplanetary nebulae. "We know electrostatics are there. There is definitely charge in nebulae," says Stuart J. Weidenschilling (Planetary Science Institute). Observations like these are "icing on the cake" for proving that electrostatics matter in planet formation, he says.Steven Desch (Arizona State University), also notes that the idea of electrostatics is hardly far-fetched. He and others have even predicted that lightning is possible in planetary nurseries. We see lightning in various dry environments on Earth such as volcanic ash and sandstorms, says Desch.


text:
Q: io.appium.java_client.remote.AppiumCommandExecutor$1 lambda$0 I'm unable to click on a particular element in a virtual device, using XPath to find the element.
This is the syntax I am using:
//tagname[@attribute='value']

Refer the code:
AndroidDriver<AndroidElement> driver=capability();
driver.manage().timeouts().implicitlyWait(10, TimeUnit.SECONDS);
driver.findElementByXPath("//android.widget.TextView[@text='Preference']").click();

This is the error:
io.appium.java_client.remote.AppiumCommandExecutor$1 lambda$0
INFO: Detected dialect: W3C
Exception in thread "main" java.lang.NoClassDefFoundError: org/apache/commons/lang3/StringUtils
    at io.appium.java_client.internal.ElementMap.getElementClass(ElementMap.java:77)
    at io.appium.java_client.internal.JsonToMobileElementConverter.newRemoteWebElement(JsonToMobileElementConverter.java:67)
    at org.openqa.selenium.remote.internal.JsonToWebElementConverter.apply(JsonToWebElementConverter.java:55)
    at io.appium.java_client.internal.JsonToMobileElementConverter.apply(JsonToMobileElementConverter.java:61)
    at org.openqa.selenium.remote.RemoteWebDriver.execute(RemoteWebDriver.java:561)
    at io.appium.java_client.DefaultGenericMobileDriver.execute(DefaultGenericMobileDriver.java:41)
    at io.appium.java_client.AppiumDriver.execute(AppiumDriver.java:1)
    at io.appium.java_client.android.AndroidDriver.execute(AndroidDriver.java:1)
    at org.openqa.selenium.remote.RemoteWebDriver.findElement(RemoteWebDriver.java:323)
    at io.appium.java_client.DefaultGenericMobileDriver.findElement(DefaultGenericMobileDriver.java:61)
    at io.appium.java_client.AppiumDriver.findElement(AppiumDriver.java:1)
    at io.appium.java_client.android.AndroidDriver.findElement(AndroidDriver.java:1)
    at org.openqa.selenium.remote.RemoteWebDriver.findElementByXPath(RemoteWebDriver.java:428)
    at io.appium.java_client.DefaultGenericMobileDriver.findElementByXPath(DefaultGenericMobileDriver.java:151)
    at io.appium.java_client.AppiumDriver.findElementByXPath(AppiumDriver.java:1)
    at io.appium.java_client.android.AndroidDriver.findElementByXPath(AndroidDriver.java:1)
    at First.main(First.java:21)
Caused by: java.lang.ClassNotFoundException: org.apache.commons.lang3.StringUtils
    at java.net.URLClassLoader.findClass(Unknown Source)
    at java.lang.ClassLoader.loadClass(Unknown Source)
    at sun.misc.Launcher$AppClassLoader.loadClass(Unknown Source)
    at java.lang.ClassLoader.loadClass(Unknown Source)
    ... 17 more


text:
Joaquín Torres García (28 July 1874 – 8 August 1949) was a Uruguayan-Spanish artist, sculptor, muralist, novelist, writer, teacher, and theorist born in Montevideo, Uruguay.  As an adolescent emigrated to Catalunya, Spain, where he began his career as an artist. He lived and worked primarily in Spain, and was also active in the United States, Italy, France, and Uruguay. Torres-García is known for creating the prominent art movements Modern Classicism and Universal Constructivism.

Torres-García collaborated as a young man with Antoni Gaudí on the stained-glass windows for the Palma Cathedral and the Sagrada Família. He decorated the medieval Palau de la Generalitat de Catalunya with monumental frescoes in the Modern Classic style. Torres-García in later years developed a unique style known as Universal Constructive Art during the 1930's in Paris.

Torres-García published over 150 books, essays and articles in Catalan, Spanish, French and English, and gave more than 500 lectures. He founded art schools in Spain and Montevideo and a number of artistic groups, including the first European abstract-art group Cercle et Carré (Circle and Square) in Paris in 1929.

First posthumous retrospectives in Paris (1955) and Amsterdam (1961) are the earliest shows documenting Torres-García importance in the world of abstract art.The Museum of Modern Art opened its Latin American collection with an acquisition of Torres-García's painting. The Solomon R. Guggenheim Museum had a retrospective exhibition in the 1971, and more-recent retrospectives in New York 2015 and 2018.

Early Life

1874–1900
Torres-García was born on 28 July 1874 in Montevideo, Uruguay, a port city surrounded by the South American Pampas. He was the first child of Joaquim Torras Fradera (an emigrant from Mataró, Spain) and María García Pérez. Torres-García grew up in the Almacen de Joaquín Torres, his father's general store. As a child, he "examined the picturesque store situated in the old Square of the Wagons, the arrival point of the raw material of the country for export to Europe. The colonial Montevideo had a port, trains, and a vibrant population dotted with countless gauchos wrapped in capes with whip ready in hand." "Much of his early education in that predominantly agricultural society came from his observation of the things around him ... He received his first formal art training when his family returned to Spain."

Torres-García's father, frustrated with a century of civil wars, returned to his homeland with his family in 1891; they became Spanish citizens. Torres-García studied with a local painter, and soon showed an aptitude for art. When the family moved to Barcelona, he enrolled in the School of Fine Arts in Barcelona (Escuela de Bellas Artes de Barcelona), the Baixas Academy (Academia Baixas) and the Saint Lluc Artists Circle. "Torres-García and Picasso were contemporaries. Both began their artistic lives in modern Barcelona ... whose privileged epicenter was the cafe Els Quatre Gats ...The language came from Paris; the favorite models were Toulouse-Lautrec and Steinlen." Classmates and friends included Ricard Canals, Manolo Hugue, Joaquim Mir, Isidre Nonell, Pablo Picasso, and Julio Gonzalez. Torres-García contributed his drawings to the principal newspapers and magazines of the time: La Vanguardia, Iris, Barcelona Cómica and La Saeta. In 1900, his father died.

1901–1909
Miguel Utrillo wrote an article entitled "Joaquin Torres-Garcia, Decorator", which was published in Pèl i Ploma with a portrait by Ramon Casas, photographs of several paintings by Torres-García (one on the magazine's cover) and his first article, "Impressions". In 1903, Antoni Gaudí commissioned Torres-García to create stained-glass windows for the Palma Cathedral. "One of the key events in his career was his intervention (between 1902 and 1905) in the High Altar of the Cathedral of Palma de Majorca, a masterpiece of Spanish Gothic, for which he made the lateral stained glass windows and the small rose window in the apse. His interpretation, of the Marian symbols ... from the Song of Songs — in the words of Baltasar Coll Tomas — is one of the many dialogues proposed by Torres ... these symbols ... will be reinterpreted in every stage of Torres's long career: the sun, the moon, the star, the well, the garden, the tower, the temple." He was also commissioned for murals for the Church of San Agustin, the Church of the Divina Pastora, and the Torre del Campanar house.

Eugeni d'Ors, who coined the term noucentisme, praised artworks which Torres-García exhibited at the Sala Parés and the Cercle de Sant Lluc in 1903. D'Ors wrote the programme for Torres-García's show at the Galeries Dalmau in 1912 and frequently referred to his work in La Ben Plantada, a book summarizing the movement. Torres-García was not an adherent of D'Ors, however; his evolution was apparent in two texts published before the development of noucentisme around 1910: "Augusta et Augusta" (1904) and "La nostra ordinacio I el nostre cami" (1907). In classicism, he searched for a model of order, a language, and a cultural reference to overcome realism and develop Catalan art with universal proportions. Torres-García separated from the noucentista artists Sunyer, Canals, Aragay, and D'Ors.

He began teaching art in 1907, and "gradually became involved with an experimental school Colegio Mont d'Or founded by his friend the progressive educator Joan Palau Vera. Contrary to the academic expectations of the day, at Mount D'Or here were no copies from casts, prints, or books; drawing went directly to reality: all the common objects of the house from the kitchen to the laboratory were paraded in front of students, as well as leaves, fruits, fish, flowers, animals. The vocabulary of his Universal Constructivism was developed as an exercise in progressive pedagogy." Torres-García married the Catalan Manuela Piña i Rubíes in 1909, and the couple had four children. They included Eduardo Díaz Yepes (es), who married the artist Olimpia Torres (es) – their daughter was the ceramicist Eva Díaz Torres.

1910–1919

Torres-García traveled to Brussels to paint a pavilion at the Brussels International World Fair. During a prolonged stay in Paris, he visited friends, museums and galleries. Torres-García's art later shared aspects of cubism and the theories exemplified in Du "Cubisme" (published in 1912), indicated by the 1912 Paris exhibition organized and named by the Section d'Or. During his first trip to Italy and Switzerland, Torres-García was exposed to futurism.

He exhibited the painting Philosophy X Musa at the sixth International Exhibition of Art in Barcelona in 1911, donating it to the Institut d'Estudis Catalans. "From the moment of its public appearance until today this work has been unanimously interpreted by the historiography as the foundational reference of noucentisme." Torres-García then painted a second version of the painting, which is part of the collection of the Reina Sofia Museum in Madrid.

In 1912, two exhibitions were held at the Galeries Dalmau: Torres-García (works from his Noucentista period) and Pablo Picasso, with drawings from his Blue Period (February - March 1912). Torres-García published his first book, Notes sobre Art (Notes on Art), in May 1913. In the introduction, he wrote: "Aquestes curtes notes poden tenir interès, demes, per anar estretament lligades, com quelcom de viu, a tot o que arrencant de la nostra tradició, en el pensament i en la realitat, tendeix a formar el ver Renaixement e Catalunya" ("These short essays may be of interest also because they are closely related to, something that is alive, sprung from our tradition, in thought and in reality, to form the true Renaissance of Catalonia"). Torres-García then founded the Escuela de Decoración (School of Decoration/Decorative Arts) in Sarrià. "Prat de la Riba (president of the Council) had then his newly formulated conception of Catalan nationalism, and sees in the Mediterranean tradition proposed a positive content for the national profile, rich in spiritual substance."

Prat de la Riba commissioned Torres-García frescoes for the atrium of the Municipal Palace of Barcelona, a 15th-century Gothic palace and seat of government in Catalonia. During the next five years, he painted four large frescoes and studies for another two. The paintings became the new symbol of the Catalonia noucentista. "In one of the frescoes ... Torres-Garcia represented a gigantic Pan-god with a quote from Goethe's 'Faust' at his feet: 'The temporal is only a symbol'. 'That is the key to all the poetics of Torres-García, the will to surrender to the ephemeral in order to reach eternity,' explained Llorens. For Torres-García, classicism was the door of a better future, not a brake for modernity." Torres-García used iconostatic composition for pagan subjects adapted to modern themes, demonstrating that classicism is not unique to the Greeks. He painted the rhythm of a structure, as he described in "El Descubrimiento de si mismo" and "Evolucionista" (both published in 1917). Torres-García later used the same composition in his constructivist works. He designed, built, and decorated his home in Tarrasa ("Mon Repos") with frescoes, and invited friends and pupils to a housewarming party.

In 1918, "Torres-García can be seen exploring the grid structure,' on the one hand as an inherent characteristic of a modern city and on the other as a form to explore the symbolic potential of everyday motifs. He also explored the potential for language within images, as in the 1916–17 drawing 'Descubrimiento de si mismo (Discovery of Oneself)." He presented an exhibition at Galeries Dalmau of "Joguines d'Art (Artistic Toys)": "The toys teach children which are the correct colors, the correct forms. Each toy is a form, a color that mixes with other shapes and colors and finally becomes a whole: a dog, a car, a city. The toys guide future generations to acquire a natural eye."

In 1919, Torres-García visited the United States: "He determined to take the pulse of the greatest and most modern of cities, New York." "Despite being one of the most important artists of the moment, Torres García did not lull, and in 1920 he went to New York to continue exploring what they called modernity and began to cling to the ephemeral and temporal, what he drew in the city of skyscrapers connects with what John Dos Passos reflected in Manhattan Transfer."

1920–1929
Torres-García visited Paris for a second time with thirty-two crates of paintings after an encounter with his friend Picasso, who advised him to remain there: "Do not to go to America, because it will be like leaping into a void". His work evolved from classicism to Cubism, as Picasso's work did the reverse. Wanting to experience a modern city, Torres-García traveled to New York with the intention of staying for two years. He lived in Manhattan: first on 49th Street, then on 14th Street and finally on West 29th Street. Torres-García continued his series of sketchbooks of the cities he visited, reflecting the city's movement and atmosphere. He painted a series of portraits, including one of Joseph Stella. Torres-García depicted Broadway's cityscape and people. He exhibited at the Whitney Studio gallery and the Society of Independent Artists with Stuart Davis and Stanisław Szukalski in 1922, describing his work as "expressionistic and geometric at the same time, and very dynamic".

Torres-García returned to Italy that year, developing his classic and evolutionistic works. Spain banned the Catalan language, including his writings. During this period, Torres-García's mother died. He settled in Villefranche-sur-Mer in 1925, and had another solo exhibition at Galeries Dalmau in Barcelona the following year.

Torres-García returned to Paris for the third time in 1926, and was a key animator of the interwar abstract movement over the next six years. He exhibited 34 works, a series of large, classical nudes, and paintings from New York at the Galerie A. G. Fabre. "Forty works make up this presentation of Torres-Garcia first exhibit here at Galerie Fabre: frescoes, fragments of large murals, assembled architectural maquettes, still life or figures ... They show the artist under different aspects manifesting all the fiery wealth and complex diversity. Some urban landscapes will give an idea of the passage of Torres-Garcia by New York were a feverish spectacle of the business city captivated some time his artistic inquietude in search of its rhythm. Although he has played a major role in the development of the Mediterranean school, Garcia is bent with such a force towards his personal inclination he has always cleared away from the prejudices of isms (schools) that might limit his personal growth." "However, by returning to the Classicism of his early work he made it clear that this was not an artistic language he had sought to vanquish through abstraction". Torres-García was part of a May 1927 group show with Stanislaw Eleszkievicz and Runser at the Galerie d'art du Montparnasse, and had a solo exhibition of paintings at the Galerie Carmine from 16 to 30 June 1927.

He had a solo exhibition at the Galerie Zak in December 1928, and was part of a group exhibition at the Galerie des Editions Bonaparte with John Graham, Kakabadze, Tutundjian, and Vantongerloo in August 1929. Torres-García then had another solo exhibition at the Galerie Carmine. As a correspondent for the Catalan literary magazine Mirador he wrote a series of articles on painters, including an interview with Georges Braque. "But if Mondrian wanted to explore modernity by a single path, he (Torres-García) wanted to get to the bottom by two paths at the same time, starting from reason but not avoiding intuition".

1930–1939

Constructivism to Torres-García was the same as neoplasticism just a label. What mattered was creating a new image a new language respecting the traditional structure, in which he balanced representation and abstraction with signs. He had two solo exhibitions in 1931 at the Galerie Jeanne Bucher and the Galerie Percier, and a group show in October of that year at the Galerie Georges Petit with Giacometti, Ozenfant, Max Ernst, Miro, and Salvador Dalí. The following year, Torres-García presentd a solo exhibition of paintings and sculptures at the Galerie Pierre. "The friendship between van Doesburg and Torres-Garcia will create the foundations for the three most important movements to promote abstract art: "Cercle et Carre" (1929–1930), "Art Concret" (1930); and "Abstraction-Creation"(1931–1936)." He founded the magazine Cercle et Carre with van Doesburg, and assembled a group of 80 artists. Torres-García left for the Community of Madrid and finished the manuscript of Arte Constructivo, which was published in 1935 under the name of "Estructura" and dedicated to his friend Piet Mondrian.

He returned to Montevideo in April 1934 for the first time since childhood. In August of that year, Torres-García exhibited paintings, sculptures and the work of the Cercle et Carre group and reedited the magazine as Circulo y Cuadrado. He published Historia de mi vida (Story of My Life) an autobiographical novel, in 1937. Two years later, Torres-García began work on the pink-granite Monumento Cosmico, a representative work from this period.

1940–1949
Torres-García announced the closing of the Association of Constructive Arte school in the last of 500 lectures he gave between 1934 and 1940. In 1941, he published Ciudad sin Nombre (A City With No Name). Torres-García presented a solo exhibition at the Society of Architects of Uruguay in November of that year. In July 1942, he received a visit from Committee of Inter-American Relations curator Lincoln Kirstein and Nelson A. Rockefeller. Torres-García founded the Taller Torres Garcia, similar to the European Bauhaus, two years later; the school included future artists Olga Piria, Gonzalo Fonseca, José Gurvich, Alceu Ribeiro, Julio Alpuy, Lily Salvo and his sons, Horacio and Augusto. Torres-García returned to the maternity theme from his 1914 Barcelona mural that year, creating a mural for the Sindicato Médico del Uruguay; he also painted seven monumental mural frescoes for the Hospital Saint Bois tuberculosis sanitarium. Torres-García died on 8 August 1949 while preparing two exhibitions: one at the Sidney Janis Gallery in New York and other at the Pan American Union in Washington. He died of a heart attack.

Influences and legacy
Influenced by European, North American and South American modern art, his work evolved into a more abstract structure; Picasso, seven years younger, was a follower. Joan Miró was a student of Torres-García in Barcelona who acknowledged his teacher's influence, and Torres-García's constructive paintings influenced the evolution of Latin American geometric abstraction.

Works

Mon Repos frescoes (1914)

Palau de la Generalitat (1913-1917)

The Joaquín Torres-García Hall in the Palace of the Generalitat of Catalonia houses the frescoes painted by the artist on the walls of Salon Sant Jordi from 1912 to 1916, commissioned by President of the Council and the Commonwealth of Catalonia Enric Prat de la Riba. Torres-García worked on the first mural for 13 days, beginning on 28 July 1912, and it was unveiled on 13 September of that year. The four completed frescoes are entitled La Catalunya Eterna (Catalunya Eternal), L'Etat d'Or (The Golden Age), Les Muses (The Muses) and Lo temporal no es mes que simbol (The Temporal is Nothing But a Symbol). The murals were hidden from 1926 to 1966.

Paintings (1918-1943)

Monumento Cosmico (1938)

Selected writings
Augusta et Augusta, Barcelona, Universitat Catalana, 1904
Dibujo educativo en el colegio Mont D'Or, Barcelona, 1907
Notes sobre Art, Barcelona, 1913
Diàlegs, 1914
Descubrimiento de sí mismo, 1914
Consells als artistes, Barcelona, Un enemic del poble, 1917
Em digué tot aixó, Barcelona, La Revista, 1917
D'altra orbita, Barcelona, Un enemic del poble, 1917
Devem Caminar, Barcelona, Un enemic del poble, 1917
Art-Evolució, Barcelona, Un enemic del poble, 1917
El Públic i les noves tendéncies d'art, Barcelona, Velli nou, 1918
Plasticisme, Barcelona, Un Enemic del poble, 1918
Natura i Art, Barcelona, Un Enemic del poble, 1918
L'Art en relació al home etern i l'home que passa, Sitges, Imprenta El eco de Sitges. 1919
La Regeneració de si mateix, Barcelona, Salvat Papasseit Editor, 1919
Poemes en ondes hertzianes, 1919 (illustrator)
Foi, París, 1930
Ce que je sais, et ce que je fais par moi-même, Losones, Suiza, 1930
Pére soleil, París, Fundación Torres García, 1931
Raison et nature, Ediciones Imán, París, 1932
Estructura, Montevideo, 1935
De la tradición andina: Arte precolombino, Montevideo, Círculo y cuadrado, 1936
Manifiesto 2: Constructivo 100 %, Montevideo, Asociación de Arte Constructivo, 1938
La tradición del hombre abstracto (Doctrina constructivista). Montevideo, 1938
Historia de mi vida. Montevideo, 1939
Metafísica de la prehistoria indoamericana, Montevideo, Asociación de Arte Constructivo, 1939
Manifiesto 3, Montevideo, Asociación de Arte Constructivo, 1940
La ciudad sin nombre. Montevideo, Uruguay, Asociación de Arte Constructivo, 1942
Universalismo Constructivo, Montevideo, 1944
Con respecto a una futura creación literaria y dos poemas, Divertimento 1 y Divertimento 11, Montevideo, Revista Arturo, 1944
La decoración mural del pabellón Martirené de la colonia Saint Bois. Montevideo, Gráficas Sur, 1944
En defensa de las expressiones modernas del arte, Montevideo, 1944
Nueva escuela de arte de Uruguay. Montevideo, Asociación de Arte Constructivo, 1946
La regla abstracta. Montevideo, Asociación de Arte Constructivo, 1946
Mística de la pintura, Montevideo, 1947
Lo aparente y lo concreto en el arte, Montevideo, 1948
La recuperación del objeto, Montevideo, 1948

Selected paintings
La colada, oil on canvas, 1903
La casa del lavadero, oil on canvas on wood, 1903, Museo Abadía de Montserrat, Barcelona
El pintor con su familia 1917
  (1938)
Constructive City with Universal Man
Composition

Major exhibitions

 April 12 - June 29, 2018, The Worlds of Joaquín Torres-Garcia, Acquavella Galleries, New York.

 25 October 2015 – 15 February 2016, Joaquín Torres-García: the Arcadian modern, Museum of Modern Art, New York
 29 December 2013 – 2 March 2014, Art & Textiles: fabric as material and concept in modern art from Klimt to the present, Kunstmuseum Wolfsburg, Germany
 22 Apr 2013 – 30 Jun 2013, From Picasso to Barceló: Spanish Sculpture of the 20th Century, National Art Museum of China
 16 May – 11 September 2011, Torres-García a les seves cruïlles (Torres-García at his Crossroads), Museu Nacional d'Art de Catalunya (MNAC), Barcelona
 27 March 2009, Trazos de Nueva York, Museo Torres-Garcia, Montevideo
 December, 2008 - April 2009, Torres García a Vieira da Silva, 1929–1949, IVAM, Valencia, Museu Colecção Berardo, Portugal
 8 October 2005 – 15 February 2006, Le feu sous les cendres : de Picasso à Basquiat, Fondation Dina Vierny-Musée Maillol, Paris
 7 October 2005 – 19 February 2006, Obras maestras del siglo XX en las colecciones del IVAM, Valencia
 25 November 2003 – 11 April 2004, Torres-Garcia, Museu Picasso, Barcelona
 2003, Jean-Michel Basquiat-Gaston Chaissac-Jean Dubuffet-Joaquin Torres-Garcia, Jan Krugier Gallery, New York
 September 2002, From Puvis De Chavannes to Matisse and Picasso : Toward Modern Art, Palazzo Grassi, Venice
 24 May – 8 September 2002, Joaquin Torres-Garcia : un monde construit : Musée d'art moderne et contemporain, Strasbourg
 31 May – 23 August 1992 Joaquin Torres-Garcia en Theo van Doesburg, The Stedelijk Museum, Amsterdam

Bibliography
Joaquim Torres i García; Estherde Cáceres, Carmelo de Arzadum, Alfredo Cáceres, Pablo Purriel, Juan R. Menchaca, i Guido Castillo, the decoration mural of the Martirené pavilion of the colony Saint Bois. Murals paintings of pavilion J.J. Martirené Hospital of the colony Saint Bois. South graphs. Montevideo, 1944.
Claude Schaefer, Joaquin Torres García. Ed. Poseidón. Library Argentina de Arte. Buenos Aires, 1949.
Josep Francesc Ràfols, Biographical Dictionary of artists of Catalonia. Torres-Garcia, Joaquin, Volume III, p. 153. Barcelona, Milà, 1966.
Daniel Robbins, Joaquin Torrers-Garcia, 1874–1949. Ed. by Museum of Art Rhode Island School of Design. Providence, 1970.
Enric Jardí, Torres García. Editorial Polígrafa, S. A., Balmes, 54 – 08007, Barcelona, 1973.
Jacques Lassaigne, Ángel Kalenberg, Maria Helena Vieira da Silva, Michel Seuphor, Jean Hélion, Torres-Garcia. Construction et Symbols. Published by the Museum of Modern Art of Villa of Paris. Catalogue of the exhibition made between June and August 1975. Paris, 1975.
Jacques Lassaigne, Torres-Garcia. Works destroyed in the fire of the museum of modern art of Rio de Janeiro, Published by the Torres Foundation Garci'a. Montevideo, Uruguay. 1981.
Margit Rowell, Theo van Doesburg, Joaquín Torres-García, Torres Garcia Structure. Paris-Montevideo 1924–1944 Edited by Foundation Joan Miró. Catalogue of the exhibition in the Fundació Joan Miró, Parc de Montjuic in March 1986. Barcelona, 1986.
Ángel Kalenberg, Seis Maestros De La Pintura Uruguaya: Juan Manuel Blanes, Carlos Federico Saez, Pedro Figari, Joaquin Torres García, Rafael Barradas y José Cúneo. Edited by Museo Nacional de Bellas Artes de Buenos Aires. Catálogo de la exposición realizada entre Septiembre y Octubre de 1987. Avda. del Libertador, 1473. Buenos Aires, 1987. Montevideo, 1987.
Alicia Haber, Joaquin Torres Garci'a. Eternal Catalonia. Sketches and drawings for the fresh airs of the Delegation of Barcelona. Edited by Foundation Torres García. Montevideo, 1988.
María Jesús García Puig, Joaquin Torres Garcia and the Constructive Universalismo: The education of the art in Uruguay. Editions of Hispanic culture. Collection Art. Madrid, 1990.
Jorge Castle, Nicolette Gast, Eduardo Lipschutz-Villa, and Sebastián López, The antagonistic Link. Joaquin Torres Garcia-Theo van Doesburg. Published by Institute of Contemporary Art. Ámsterdam, 1991.
Pilar Garcia-Sedas, Joaquin Torres the Striped Garcias and Rafael. Dialeg escrit: 1918–1928. Publicacions of l' Abbey of Montserrat. Barcelona, 1994.
Joan Sureda Pons, Narcís [Narciso], Comadira and Mercedes Doñate, Torres Garcia: Pintures de Mon Repos, Published by the Museum of modern Art of the Museum of Art of Catalunya and the Caixa of Terrassa. I catalogue of the exhibition that place in the museum of modern art of the MNAC took, and in the Cultural Foundation of the Caixa of Terrassa. Barcelona, January 1995.
Pilar García-Sedas, Joaquim Torres Garcia. Epistolari Català: 1909–1936. Curial Edicions Catalan. Publicacions of l' Abbey of Montserrat, Barcelona, 1997.
Joan Sureda Pons, Torres Garcia. Classic passion. Akal editions/contemporary Art. Number 5. Madrid, 1998.
Carlos Pérez, Pilar Garcia-Sedas, Mario H. Gradowczyk and Emilio Ellena, Aladdin Toys. Them joguines of Torres Garcia. Published by the IVAM. I catalogue of the exhibition that took place in the Valencian Institute of Modern Art in September 1998.
Miguel Angel Battegazzore, the plot and the signs, Impresora Gordon, S.A. Av. General Rondeau 2485, Montevideo, 1999.
Gabriel Peluffo Linari, History of the Uruguayan painting. Editions of Eastern band limited liability company. Gaboto 1582. Montevideo 11200. Uruguay, 1999 imaginary Tomo the 1 National-regional (1830–1930) from Blanes to Figari Tomo 2 Between localismo and universalismo: Representations of modernity (1930–1960).
Michael Peppiatt, Jean-Michel Basquiat - Gaston Chaissac - Jean Dubuffet - Joaquin Torres-Garcia, New York, catalogue of the exhibition that took place in Jan Krugier Gallery, 2003.
Tomàs Llorens, Emmanuel Guigon, J.Torres-Garcia Un monde construit, Hazan, Strasbourg, 2002, catalogue of the exhibition that took place in Musée d'Art Moderne et Contemporain de Strasbourg, 24 May to September 2002.
Tomàs Llorens, Emmanuel Guigon, Juan José Lahuerta, J. Torres-Garcia, Editorial Ausa y Institut de Cultura de Barcelona, Barcelona, 2003, catalogue of the exhibition that took place in Museo Picasso de Barcelona, 25 November to 11 April 2004.
 Nicolás Arocena Armas, Eric Corne, Marina Bairrão, Emmanuel Guigon, Domitille D'Orgeval, La ituicion y la Estructura, Lisboa, Museo Coleccao Berardo, 2008.
 Tomás Llorens, Nicolás Arocena Armas, Torres-Garcia a les seves cruilles-Torres-Garcia en sus encrucijadas. Barcelona, Spain: Museu Nacional d'Art de Catalunya 2011.
 Llorens, Tomas. Arocena Armas, Nicolas, J.Torres-Garcia, New York, Joaquin Torres-Garcia Archive, 2011. Notes

Notes

References
 Arocena Armas, Nicolas. Torres-Garcia- Pythagoras- Plato A Geometric Dialogue, or the Eye of the Soul, Lisboa, Museo Coleccao Berardo, 2008
 Arocena Armas, Nicolas. Biography. Torres-Garcia a les seves cruilles-Torres-Garcia en sus encrucijadas. Barcelona, Spain: Museu Nacional d'Art de Catalunya 2011.
 Llorens, Tomas.Torres-Garcia a les seves cruilles-Torres-Garcia en sus encrucijadas. Barcelona, Spain: Museu Nacional d'Art de Catalunya 2011
 Llorens, Tomas. J.Torres-Garcia, New York, Joaquin Torres-Garcia Archive, 2011.
 Llorens, Tomas. Torres-Garcia. Editorial Ausa, 2003
 Robbins, Daniel. Joaquin Torres-Garcia 1874–1949. Providence, Museum of Art Rhode Island School of Design, 1970
 Rafols, F. Josep, Torres-Garcia, Barcelano, 1926.
 Schaefer, Claude. Joaquin Torres-Garcia. Buenos Aires, Editorial Poseidon, 1949.
 Sureda Pons, Joan. Torres-Garcia, Pasion Clasica. Madrid, Ediciones Akal, 1998
 Surio, Dario. Torres-Garcia. Rose Fried Gallery, New York, 1965
 Torres-Garcia, Joaquin. Historia de mi vida. Montevideo, Ediciones Asociacion Arte Constructivo, 1939.

External links

Archive Joaquin Torres-Garcia
http://www.philamuseum.org
 National Gallery of Art
 http://www.guggenheim.org
Museo Centro de Arte Reina Sofia
Museo Thyssen-Bornemisza
Albright-Knox Art Gallery
Rhode Island School of Design Museum
Smithsonian Archives of American Art
Museo Torres García – Montevideo
LACMA
Joaquin Torres Garcia, Museum of Modern Art
 Metropolitan Museum of Art
http://www.musee-lam.fr/

Modern painters
Abstract artists
Constructivism
School of Paris
Spanish surrealist artists
Uruguayan surrealist artists
20th-century sculptors
Spanish painters
Painters from Barcelona
Spanish sculptors
Spanish male sculptors
Spanish muralists
Uruguayan painters
Uruguayan male artists
Painters from Catalonia
1874 births
20th-century Spanish painters
20th-century Spanish male artists
Spanish male painters
1949 deaths
Male painters

redpajama_set_name: RedPajamaWikipedia


Binding of Isaac creator Edmund McMillen's cat Guppy recently passed away. He's understandably heartbroken. An item in Binding of Isaac: Rebirth, however, will ensure that Guppy's small furry legacy lives on.
"Guppy was our only cat for 7 years, he was a very odd lil boy. he hated people, he was scared of the outdoors and had a habit of making direct eye contact and never looking away. he was extremely loving to us, a great majority of my games were made with him laying his head on my right arm while i drew with my left."
"Guppy was Danielle and my mascot, we included him in almost everything we did and every video we made."
"last week on the anniversary of the day we got him, guppy passed away. its hard to avoid the fact that such a significant part of our lives who was never intended to exists was with us for 12 years and left on the anniversary of the day we first saw him."
"it's impossible to put into words how significant Guppy was to both of us, he was our 1st baby and we both loved him greatly.. 12 years feels like a short amount of time but im so grateful for the time i got to spend with him, our little ghost kitty."
As is tradition, Guppy will appear in the nearly complete Binding of Isaac: Rebirth, kind of. There's an item in the dungeon crawler roguelike called Guppy's Collar, and it grants its wearer a 50 percent chance to come back to life (after dying) with half a heart in the previous room.
The loss of a pet is an incredibly rough thing to go through (it's a cliche, but it really is like losing a family member), but Guppy's memory will—hopefully, in some small way—be kept alive by this and items in other Binding of Isaac games. I wish Edmund and Danielle all the best in their grief. I'll never forget the night I cradled my own cat as he slowly passed away—his eyes were so big—and my heart really goes out to them. Be well.