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UNIT OF WORK
College work is measured in terms of the semester "unit." In recitation-lecture courses, one hour in the classroom and two hours of study preparation per week constitute a unit of work. In the laboratory, three hours in the classroom per week with no outside study constitute one unit of work. Students can find the number of units of credit with each course description.
GRADES AND GRADE POINT AVERAGES
At the end of each semester or summer session, a report of academic performance is made for every course undertaken. The grading standards, with their grade point equivalents, are as follows:
A - Excellent 4 grade points per unit
B - Good 3 grade points per unit
C - Satisfactory 2 grade points per unit
D - Passing, less than satisfactory 1 grade point per unit
F - Failing 0 grade points, no units earned
P - Pass Not computed in GPA, but (C or better) affects progress, probation and dismissal. Formerly known as "CR".
NP - No Pass Not computed in GPA, but (less than C) affects progress, probation and dismissal. Formerly known as "NC".
I - Incomplete Not computed in GPA, but affects progress, probation and dismissal
IP - In Progress Course transcends semester limitation
W - Withdrawal Not computed in GPA, but affects progress, probation and dismissal
MW - Military Withdrawal Not compiled in GPA and does not affect progress, probation and dismissal
"PASS-NO PASS" GRADING
(Formerly known as Credit-No Credit (CR/NC))
A student may elect one course per semester to be graded on a Pass or a No Pass basis. A request card must be filed with the Admissions and Records Office for this option prior to the deadlines published in the class schedules and in the calendar at the front of this catalog. The equivalent of an "A", "B" or "C" received for the course will be recorded as "P," with units earned. The equivalent of "D" or "F" will be recorded as "NP," with no units earned. Units attempted for Pass-No Pass grades are not computed in the grade point average but are used for determining Probation and Dismissal. (See following page.)
A maximum of 15 credit units taken as "Pass/No Pass" may be applied toward the Associate in Arts or Science degree. A maximum of 25% of required units for certificates may be completed as "Pass/No Pass."
Once elected, the Pass-No Pass grade may not be changed to a letter grade ("A", "B", "C", "D", "F") assigned by the instructor.
Courses taken in Spring 2009 or earlier will be notated on the student transcript record as CR/NC. Courses taken in Summer 2009 or later will be notated as P/NP.
GRADES OF "INCOMPLETE"
An incomplete grade, "I", may be assigned by the instructor when, in the judgment of that instructor, the student is unable to complete the course requirements before the end of the semester due to unforeseeable, emergency and justifiable circumstances. To receive credit for the course, the incomplete work must be finished no later than one year from the end of the semester in which it was assigned. A final grade will be assigned when the incomplete work has been finished and evaluated, or when the time limit for completing the work has elapsed. A student receiving an incomplete may NOT re-enroll in the course. A student may petition for a time extension due to extenuating circumstances.
GRADES OF "W" WITHDRAWAL FROM CLASS
A student may officially drop a class without notation (a "W" grade) on the permanent academic record/transcript prior to the point in which 20% of a class has occurred. These important dates are available at http://www.losrios.edu/lrc/lrc_calend.php (click on the appropriate semester, then click on "Click here for more information, including start/end dates, drop/add dates"). Withdrawals occurring after this time, and before the point in which 75% of the class has occurred, shall result in a "W" notation on the permanent academic record/transcript. Official withdrawals are those that have been processed via eServices or by staff in the Admissions and Records Office.
A "W" grade on the permanent academic record/transcript is used for determining Progress Probation and Progress Dismissal. No withdrawals are permitted during the last 25% of a course, except due to extenuating circumstances (verified cases of accidents, illness or other circumstances beyond the control of the student), for which a student may request withdrawal through the student petition process. After consultation with the instructor and with administrative approval, the withdrawal may be recorded as a "W" rather than as a less than satisfactory or failing grade on the permanent academic record/transcript. In all other cases, after the 75% date, a student will receive a grade in the course.
Military withdrawal is available when supporting documentation showing orders compelling a withdrawal is provided along with a student petition. Military withdrawal is available for students who are members of an active or reserve military service, and who receive orders compelling a withdrawal from courses.
Medical withdrawals may be considered when supporting documentation is provided along with a student petition.
GOOD STANDING
Both quality of performance and progress toward completion of objectives are considered in determining a student's eligibility to attain or remain in good standing and attendance at a Los Rios college. A student merits good standing only by completing 12 or more semester units with a 2.0 GPA on a 4-point grading scale and by completing 50 percent or more of all enrolled units. It is the instructor's responsibility to notify the student, at the mid-term date, if (and only if) that student is making less than satisfactory progress.
REGULATIONS ON COURSE REPETITION
Repetition of courses must be conducted by all California community colleges in compliance with California Title V Regulations, Sections 55040 through 55046.
Course Repetition to Clear A Sub-Standard Grade:
A course may be taken once and repeated up to two times at any of the Los Rios colleges for which a notation of D, F, NC (No Credit), NP (No Pass), or W (Withdrawal) was earned. This regulation is effective
across the district at all Los Rios colleges. If you took a course at any of the Los Rios colleges – American River, Cosumnes River, Folsom Lake, or Sacramento City, this counts as one of your three attempts.
Repeatable Courses:
Courses taken, earning a grade of C or better cannot be repeated. There are, however, certain specialized courses that are designated as "repeatable" and are listed as such in the course description.
Transfer level courses that may be taken more than once to meet the major requirement for transfer to a California State University (CSU) campus or to other universities with a similar transfer requirement.
Variable unit courses that are open entry/exit such as math, reading and writing laboratory courses; these courses may be repeated up to the total maximum units allowed.
Work Experience courses, which can be taken again when there is new or expanded learning on the job for a maximum of sixteen units.
Interscholastic sports and their related conditioning courses may be repeated to meet requirements for CCCCAA eligibility.
Intercollegiate academic or vocational competition courses with the primary purpose to prepare students for competition.
Non-Repeatable Courses – Petitioning for an Exception:
There are a few special circumstances that allow students to complete the petition process to repeat a course that does not meet any of the criteria listed in the section just above.
Courses where students need to meet a legally mandated or licensure training requirement as a condition of continued paid or volunteer employment. These repetitions are not limited and are granted based
on the college's verification of established legal mandates.
A student may repeat a course because there has been a significant lapse of time (defined as at least three years) since the student previously took the course and there is a properly established recency prerequisite for a course or program within the district or at another institution of higher learning. In cases where a transfer university requires a community college course to be taken as a university prerequisite more recently than three years ago, a college may alter the three-year rule with documentation provided by the student. Grades awarded for courses repeated under this circumstance shall not be counted when calculating a student's grade point average. This is a one-time exception.
The college finds that the student's most recent previous grade is, at least in part, the result of extenuating circumstances. Extenuating circumstances are verified cases of accidents, illness, or other circumstances beyond the student's control. This is a one-time exception.
A special course that can be repeatable by petition so that a particular student can be approved to repeat it as a disability-related accommodation.
Limitations on Active Participatory Courses:
Active participatory courses are those courses where individual study or group assignments are the basic means by which learning objectives are obtained. These include kinesiology/physical education (PE) active participatory courses, as well as visual and performing arts active participatory courses (theatre arts, music and art). Some courses in these categories are related in content and have been placed in groups that the Los Rios colleges are calling families of courses. Each family of courses allows for skill development beyond an introductory level.
Students are limited to taking a maximum of four courses in any one family across all four Los Rios colleges, regardless of how many courses there are; sometimes a family of courses may include more than four. For example, the Modern Dance Technique family of courses across the four Los Rios colleges includes five courses – DANCE 330 through DANCE 334 (Modern Dance I, II, III, IV, and V).
In addition, if a student gets a sub-standard grade (a notation of D, F, NC (No Credit), NP (No Pass), or W (Withdrawal)) in any course within a family, the sub-standard grade counts as one of the four course limitations in the family. The list of families of courses is available in the Admissions and Records Office at each college. Please consult with a counselor for more information.
ACADEMIC RENEWAL WITHOUT COURSE REPETITION
Previous substandard work ("D" or "F") earned at Cosumnes River College may be discounted at the student's request, if it meets certain criteria. Courses and grades that no longer reflect the student's current educational objective and current level of academic success may, upon petition, be discounted in the computation of the grade point average. The following conditions must apply:
A student may have previous substandard work earned within the District alleviated if it is not reflective of a student's current demonstrated ability according to the following regulations and procedures;
For purposes of academic renewal, substandard work is defined as a D or F;
The maximum amount of coursework that may be alleviated is thirty (30) units;
A minimum of 12 consecutive months shall have elapsed since the end of the semester or summer session in which the work to be alleviated was recorded; and a minimum of twelve (12) semester units (or its equivalent) with a grade of C, Credit, or Pass or better shall have been attained. The coursework must have been completed at a regionally accredited college;
All work on the permanent record must remain legible, ensuring a true and complete academic history;
College procedures related to academic renewal will be published in the College catalog and will be implemented by the Office of Admissions and Records;
Records of academic renewal action shall be kept by the Admissions and Records Office at each college.
There are two types of probation: academic and progress:
Academic Probation: A student who has attempted at least 12 units is placed on Academic Probation if the student has earned a grade point average below 2.0.
Progress Probation: A student who has enrolled in a minimum of 12 semester units is placed on Progress Probation when "W", "I", "NC", and "NP" grades are recorded in one half or more of all units in which a student has enrolled.
Unit Limitation:
A student on either Academic or Progress Probation may be limited to 12 units plus a physical education activity course or to a maximum load recommended by the student's counselor.
Removal from Probation:
A student on Academic Probation is removed from probation and achieves good standing when the student's cumulative grade point average is 2.0 or higher.
A student on Progress Probation is removed from probation and placed in good standing when the "W", "I", "NC", and "NP" units drop below one half.
Computations:
Grade Point Average = Total Grade Points Earned (divided by)/Total Units Attempted with letter grade
Progress Percentage = Total Units with "W", "I", "NC", and "NP" (divided by)/Total Units Enrolled
Academic Dismissal:
A student on Academic Probation is subject to dismissal when the student earns a cumulative grade point average of less than 2.0 in all units attempted in each of three consecutive semesters.
Progress Dismissal:
A student on Progress Probation is subject to dismissal if one half or more of the units in which the student has been enrolled have recorded entries of "W", "I", "NC", and "NP" in at least three consecutive semesters.
Dismissal Period:
A dismissed student will be required to remain out of college one semester, but may return on probationary status after one semester's absence.
Appeal Option:
A dismissed student may appeal to the Dean of Counseling and Student Services for permission to enroll without loss of semester if the student feels that extenuating circumstances caused the dismissal. It is the student's responsibility to detail those circumstances in writing on a petition for readmission after dismissal.
CLASS ATTENDANCE AND DROPS
Class Attendance Requirements and Instructor Initiated Drops:
Students are expected to attend all sessions of the classes in which they are enrolled.
A student who fails to attend the first session of a class may be dropped by the instructor and his/her seat may be given to the next student on the Wait List.
Students who attend none of the first three class sessions will be dropped by the instructor. If a class is scheduled for only one session per week, then students who have not attended at least one of the first two sessions will be dropped by the instructor.
Students with excessive absences (6% or more of the total hours of class time) may be dropped by the class instructor.
Faculty will ensure that their class rosters accurately reflect student attendance by the census date of the relevant term.
Student Initiated Drops:
While faculty will follow the attendance and drop criteria listed above,
it is ultimately students' responsibility to monitor their enrollment status and drop classes they do not, for whatever reason, intend to complete.
Students can drop classes online or in person at the CRC Admissions & Records Office. Any student who fails to drop an unwanted class by the required deadline, risks earning a 'W' notation or 'F' grade on his/her transcript. Drop deadlines are available on the Academic Calendar: http://www.losrios.edu/lrc/lrc_calend.php (click on "Click here for more information, including start/end dates, drop/add dates")
Veterans and Dropped Classes:
Veterans who drop below the number of units required by the Veterans Administration (VA) for any reason during a semester, including being dropped from a class for excessive absences, may lose part of their
VA educational benefits.
Students who are not present at the first class meeting may be dropped by the instructor, and their seat may be given to a student from the wait list. Students will be dropped if they fail to attend at least one of the first three sessions of a full term class.
UNIT LOAD
Los Rios Community College District Regulation R-7211, defines fifteen (15) units each semester to be a full academic unit load. Twelve (12) units each semester is the minimum number of units a student can take to still be considered to be carrying a full-time load; the 12-unit load is usually acceptable to qualify for scholarships, grants, loans and to hold student offices at the College.
Eighteen (18) units per semester is the maximum load, across the District at all four Los Rios colleges. A petition to exceed this maximum must be submitted in writing, prior to registration, to the college at which the additional units will be taken. A student may petition up to a maximum of six (6) additional units district-wide through the petition process.
Eight (8) units per summer session is the maximum load, across the District at all four Los Rios colleges. Unit limit shall be District-wide. A petition to exceed this maximum must be submitted in writing, prior to registration, to the college at which the additional units will be taken. A student may petition up to a maximum of four (4) additional units district-wide through this process.
Los Rios Community College District Policy P-7243 allows students to petition for leaves of absence from a college of the District in order to maintain Catalog Rights to a specified degree requirement option.
Leaves of absence may be granted for verified medical and military situations that prevent the student from attending classes in any college session in a calendar year. Such leaves shall be limited to two (2) successive calendar years. In extenuating circumstances, a leave of absence may be extended beyond the two-year limit.
A petition for a leave of absence should be filed in advance whenever possible. Students requesting a leave of absence during a semester must follow campus withdrawal procedures. Students applying for a medical leave of absence must furnish a statement from the attending medical physician explaining the necessity for the student to interrupt enrollment. A student applying for a leave of absence from a college for military service must furnish a copy of the military orders.
AUDITING COURSES
Cosumnes River College does not permit auditing, which is defined as attending a course or courses, without completing the registration process.
STUDENT CLASSIFICATION
Part-Time A student carrying fewer than 12 units
Full-Time A student carrying 12 or more units
Freshman A student who has completed fewer than 30 units
Sophomore A student who has completed 30 or more units
Graduate A student who has been awarded the Associate degree or a higher degree by a recognized collegiate institution
Note: During the summer session, a student carrying six (6) units is considered full-time.
The college requires final examinations in all courses. The college publishes a time schedule for final examinations which is posted each semester in "Important Information for All Students" on the College's Class Schedule website so students may be notified in sufficient time regarding the examination schedule. Please go to: www.crc.losrios.edu/FinalExamSchedule
Each semester, Academic Honors may be earned by students enrolled in 12 units or more, nine (9) of which must be graded on a letter grade basis exclusive of Pass (P) or Credit (CR). Students who earn a grade point average of at least 3.0 have achieved Academic Honors. If they earn a grade point average of 3.5 or better, they have achieved Highest Honors.
HONORS AT GRADUATION
Students who maintain a high scholarship average are eligible for honors at graduation. Students who maintain a scholarship average of 3.5 or better are eligible for graduation with highest honors, and students who maintain a scholarship average of 3.0 or better are eligible for graduation with honors. The published lists of students are compiled from the data available at time of publication of the Commencement Program and may be subject to subsequent revision. Degree-applicable coursework from CRC and other colleges is used to determine honors at graduation.
Academic Freedom is essential for the fulfillment of the educational mission of the Los Rios Community College District and for the ability of faculty members to perform their professional duties. Faculty members have the principal right and responsibility to determine the methods of instruction, the planning and presentation of course materials, and the fair and equitable methods of assessment in their assignment in accordance with the approved curriculum and course outline and the educational mission of the District in accordance with state laws and regulations. All faculty members should: (a) conduct a classroom environment that is conducive to student learning, growth, and development; in which students are free from discrimination, prejudice, and harassment; and in which students are free to express relevant ideas and opinions; and (b) clearly differentiate to students the expression of a faculty member's personal opinions or convictions from the objective presentation of theory, fact or ideas.


Whether you are trying to get into a career in SEO or you are trying to improve your skill set and your performance, it is important to look at the skill sets which are important and how to become a successful search marketer and find ways to improve them in yourself.
There are many factors which determine the success of a SEO campaign, but at the core is one person who is calling the shots. This person is delegating task to the team, doing research, setting goals and accomplishing a ton of miscellaneous tasks; but without the right general skills to back these responsibilities, your entire SEO campaign will fall apart.
So what is the most effective skills in SEO?
The first and most important concept is analysis, which is a vague concept that applies to a number of SEO areas. What is important as an SEO professional is to consider data about the who, what, when and where and understand the how and why questions that go along with them.
For example, you may need to consider the organic traffic data and consider which of your SEO tactics which could be analyzed to be responsible for that increase. You'll need to look at ranking drops and track down the root causes for that setback. You'll need to analyze the results of a thousand keywords and consider which keyword is the most suitable for you, and also consider which of the pieces of content best resonate with your audience.
The second most important skill is Research and do it you must. Research for an SEO campaign begins with a basic keyword and competitor analysis, which provide the insights necessary to create a strategic foundation for your campaign. But SEO is more than that you need to read up on the latest news in SEO.
Next, you'll need to run experiments to see how your tactics affect the search rankings of the company. You'll also have to most probably look up answers of the problem faced during the SEO campaign. The faster and more efficiently you research, the better.
You don't need to be a professional programmer to be successful in SEO. Today most of the websites come with CMS systems which have inbuilt SEO functionality which can be used and if you require you can follow step by step instructions online to make changes in the backend of the website.
Still, it helps to have certain familiarity with coding basics; you should be able to look at the insides of a website and identify the key features relevant to your campaign. You should be able to make swaps and changes in a flash without breaking the site.
After a few years, even the humblest of SEO professionals may feel that they have learnt everything and they have become experts in the field. But SEO is a field full of surprises, even though you know something doesn't mean that it is objectively true for all clients, or things won't change in a few weeks or months.
Staying humble during periods of new possibilities, will help you solve problems fasters.
The importance of communication in an SEO environment can't be understated. You'll need to communicate with the team members in a clear manner to understand that your directives are carried out. You'll need to explain complex subject matter to clients, who may not have the technical proficiency in the subject.
You should be able to produce content that your readers can relate to. All of these require clear communication skills without which you cannot remain competitive.
Learning is another field which requires attempts to learn new concepts and information emerging in SEO and the effectiveness of specific strategies within the field. It is also important to be a fast learner so that you can become adept in many different platforms and tools you'll be using to get the job done.
Tenacity is not a skill but you'll require it if you want to be successful. SEO can be a challenging industry at times: you work may be rejected, you attempts may be overturned, you may face criticism and misunderstanding from your clients. Being able to move past those low moments and find solutions to your problems no matter what, is vital if you're going to succeed.


John C. Torresson, 88 years old, passed away peacefully on December 8, 2017 at the Lutheran Care Center in Poughkeepsie, NY.
John was born in Brooklyn, NY on August 18, 1929; the son of the late Conrad and Ethel Torresson. He began his career as a Draftsman in NYC; moved to the country to join IBM Poughkeepsie in 1954 and retired as an Engineer after 32 years of dedicated service. He was an avid reader, an active member of New Hackensack Reformed Church; taught Sunday school for many years, was actively involved in Boy Scouts and most of all, his main priority was his family.
John is survived by his wife Marylou Heissenbuttel, 9 children: his daughters Cynthia(Paul) Corish, Laurel(Wayne) Morschhauser, Eva(James) Costello, Lila Simon, Heidi(Michael) Heissenbuttel, Heather(Daniel) Kelly; his sons Paul(Brenda) Torresson, Alex(Carol) Torresson, Henry Heissenbuttel, 17 Grandchildren, 8 Great Grandchildren, his brother-in-law Jack(Nancy) Conklin, and his sister-in-law Barbara Ash. He was predeceased by his first wife Judith E. Torresson and his brother Roy Torresson.


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from distutils.core import setup

setup(
    name='ColorImgSort',
    version='0.1.0',
    author='Ed Salisbury',
    author_email='ed@edsalisbury.net',
    packages=[],
    scripts=['bin/colorimgsort.py'],
    url='http://pypi.python.org/pypi/ColorImgSort/',
    license='LICENSE.txt',
    description='Sorts images based on color.',
    long_description=open('README.txt').read(),
    install_requires=[
        "PIL >= 1.1.7",
    ],
)

redpajama_set_name: RedPajamaGithub


To be fair, the experience hasn't been all bad so far, and before I start whining too much, how about some parts I've enjoyed? At the top of the list has to be the hilarious, bizarre courtship between Dorothea and Casaubon. Casaubon's dry, didactic letter of proposal somehow managed to move Dorothea to tears, despite that all he really offered her was "affection." (Just the steamy promise every young bride hopes for!) Because the young lady is convinced the ideal husband should be some kind of father figure, the elderly scholar checks all the boxes. The horrified reactions of literally everyone else when they find out the two are engaged are memorable, to say the least—exclamations like "Good God! It is horrible! He is no better than a mummy!" and "She says he is a great soul.--A great bladder for dried peas to rattle in!" (Ch. 6). I don't think I've ever encountered another character who was so certain of what she wanted, and so awfully unfortunate as to get exactly that.
Dorothea is certainly a complicated person. At first I despised her. I couldn't stop rolling my eyes at her stodgy refusal to have any fun, ever. She wants so badly to be a hero and sees herself as a doting benefactress taking care of poor, helpless wretches. She is disappointed that Casaubon's tenants are so well-off, because they don't need her help and therefore can't be the objects of her narcissistic savior fantasy. She frostily refuses to consider the possibility that the handsome young bachelor who keeps turning up at their house might be doing so out of a desire to see her, instead stubbornly insisting he is a suitor for her younger sister. She has an overwhelming desire for learning, yet she wants to subjugate herself entirely to the will of her husband.
What a frigid, dreary person Dorothea is! I want to take her to a bar, order her a beer, and then drag her to the bathroom and fix her outfit the way Melissa McCarthy does for Sandra Bullock in The Heat. Upon deeper reflection, though, I had to admit that I may have had some Dorothea-like qualities myself in my younger years, and that my frustration and impatience with her might actually be directed at my past self. Seventeen-year-old Taryn was pretty tightly wound. She likely could have benefited from a beer and a few sleeveless shirts, is what I'm saying.
So I'm trying to be a little more patient with Dorothea and give her some grace, because it's clear from her honeymoon-in-name-only with Casaubon in Book 2 that their marriage isn't going to go well. When the best conversations you have on your honeymoon are with your husband's much-younger second cousin, you can't have very high hopes for the fate of your marriage, can you?
I'm happy to report that Rebecca Mead's My Life in Middlemarch is, as I hoped, an excellent and illuminating companion to the novel. Mead has spent a lot of time researching Eliot's life and work, and I am thoroughly enjoying the fruits of her labor, especially because I had no intention of spending the time myself on such minutiae. The part I've found most helpful so far is her explanation and defense of Eliot's frequently halting the story to insert lengthy paragraphs of narration and third-party character analysis. Mead writes, "The explicit intrusion of a narrator's voice in Eliot's fiction can strike the contemporary ear as old-fashioned. Today's realist novelists don't tend to step onto their pages, formally addressing the reader like a lawyer making a case before a courtroom" (54). Indeed, they don't, Ms. Mead, and for good reason. While Mead wasn't able to convince me of the charm of Eliot's authorial voice, I was grateful at least to put words to my irritation. Apparently I'm a creature of my historic moment.
"Correct English is the slang of prigs who write history and essays.
"And I should never succeed in anything by dint of drudgery.
Well, what else is there to say, but onward! These next 600 pages aren't going to read themselves!
Comments are open below. How is the book going for you? What have you enjoyed? What have you struggled with? Who do you think is the most frustrating character? The most relatable? How do you feel about Eliot's intrusion on the action of the story? How much do you wish you hadn't agreed to do this?


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Philly simply got its first general general general public statue of a African United states girl
2 Ottobre 2019 2 Ottobre 2019 by Lingua predefinita del sito
Your ex, of middle-school age, is 5 base 4 inches high, apparently considering the best place to produce a pass. Strong legs set apart, a basketball is held by her sharply to a single part.
Sculpted from bronze, this woman is the very first commissioned statue of a specific African US woman to join the city's variety of about 1,500 general public sculptures, not many of which depict females.
The statue, MVP, ended up being revealed morning at the Smith Playground and Recreation Center in South Philadelphia wednesday.
Brian McCutcheon, A indianapolis-based musician whom lived in Philadelphia for a decade, had been selected from a wide range of designers to produce a thing of beauty when it comes to Smith Playground following the town's Office of Arts, heritage plus the innovative Economy sought proposals under its percentage for Public Art system.
It absolutely was their concept to sculpt A african us woman. He utilized Scottlynn Johnson, a 12-year-old whom lives near his studio in Indianapolis, as their model. She is also a baseball player, he stated.
" My thought that is first was develop a monument to people whom typically make use of the park," McCutcheon told The Inquirer on Tuesday. "And with all the politics associated with the time, and simply thinking regarding how individuals of color aren't represented in public areas art, it seemed an all natural fit."
"Originally, i needed to model her after a more youthful form of Dawn Staley," McCutcheon said of this North Philadelphia native who is mind women's baseball advisor during the University of sc, A olympic that is three-time gold, and an associate for the Naismith Memorial Basketball Hall of Fame.
But town officials, he stated, had been reluctant to payment statues for the living.
McCutcheon stated he researched the city's recreations history and decided that Ora Washington (1898-1971) is the motivation. A young girl similar to the users of the playground because the project was to be "site-specific" to Smith, he decided to make the figure.
Washington excelled at both tennis and baseball. After moving from Virginia to Philadelphia, Washington first played for the Germantown Hornets, a women's baseball team connected to the Germantown Y, then referred to as "Colored YWCA."
She later on played expert baseball using the Philadelphia Tribunes, a group sponsored by the black-owned paper. And between 1929 to 1937, she won the US Tennis Association singles title eight times away from nine years.
From just what McCutcheon discovered from his research, Washington never got to be able to challenge the preeminent white girl tennis player best syrian dating site during those times, Helen Wills Moody, whom garnered eight Wimbledon singles titles, and many other things games during a vocation from 1922 to 1938. "From the things I read, Moody refused to try out against Ora Washington."
Margot Berg, the city's public art manager, oversees the town's Percent for Art system, which commissions brand new site-specific general general public art in town construction tasks that cost a lot more than $1 million.
"It was simply an excellent possibility to monumentalize the concept of girls and young African American girls to demonstrate them a hero" that is like them, Berg stated.
The Smith Playground recently underwent major renovations and improvements to its soccer industries, baseball courts, as well as other structures.
The statue — which McCutcheon said ended up being commissioned for $25,000 — was placed in the site that as soon as showcased a water water fountain.
City officials have actually often boasted that Philadelphia gets the many public art in the world. But you can find maybe maybe not many single standalone statues of African Us americans. In the past few years, there is an attempt to add more statues of females, African Us citizens, along with other folks of color.
a pursuit of Parity: The Octavius V. Catto Memorial had been committed at City Hall in 2017. Before that, there was clearly the Joe Frazier statue at Xfinity Live, erected in 2015, and mom Bethel A.M.E. Church installed a statue of the creator, Richard Allen, on church home in 2016. There may be the All Wars Memorial to Colored Soldiers and Sailors at 20th therefore the Parkway (erected in 1934 and relocated in 1994), stated town representative Randy Giancaterino.
There is the Negro Leagues Memorial (2005), focused on baseball that is black at Belmont and Parkside Avenues; a breasts of Martin Luther King Jr., at Haverford and Lancaster Avenues (2009), and a statue of Julius Erving, Dr. J, when during the Spectrum (1989) and because relocated to Xfinity Live. The majority of the black colored statues in the town are athletes.
McCutcheon, a Michigan native, stated he's got a strong link with the town, having first come right here in 1992, soon after university for the residency during the University for the Arts. Then, after graduate school during the Cranbrook Academy of Art in Michigan, he did a fellowship during the Clay Studio and remained in Philadelphia for ten years, between 1995 to 2005. Through that right time, he taught at Tyler class of Art in Elkins Park, before it relocated to Temple University's main campus.
McCutcheon delivered MVP to Philadelphia when you look at the straight straight back of their pickup.
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President Barack Obama will be the first sitting U.S. President to visit Cuba in 88 years, when he visits Havana in March, White House press secretary Josh Earnest announced Thursday.
The visit, which is scheduled for March 21-22, is another big step by the administration in ongoing efforts to normalize diplomatic relations with Cuba.
The President announced the news via Twitter on Thursday.
This entry was posted on February 19th 2016 at 8:17am/08:17 and is filed under Live News Column 2, Politics, World News. You can follow any responses to this entry through the RSS 2.0 feed.


One of my favourites ! Just as its names suggests, this asana helps you hone in on those obscure areas in the body, right inbetween those shoulder blades, literally pulling that tension up and out, leaving you with a sense of freedom around the 'wings' of the body. The practice of Garudasana offers the experience of living with less tension, inviting in the opportunity to work towards a limitless freedom, as personified by the Eagle and Mythical Garuda bird.
Throughout my teaching, I aim to offer a sense, a taste of the energetics of an asana, reveal its personality and what arises when we embody the posture itself. You may find my methodology useful for injecting interest into your practice or inspiring you to explore the asana a little deeper.
1) focus-In expressing our center line, we are asked to locate and identify with our spine. In the process of finding our center line, we may become aware of places we cannot move or even feel. We are invited to then move from the points we can feel and direct consciousness through the parts we cannot. To lengthen throughout the entire length of the spine. The neural connectivity will encourage a physiological one. We are offered the chance to re connect and become whole. What greater invitation could there be?
2)commmitment-In our efforts to express the 'shape' of Garudasana, we are asked to, literally draw the limbs (legs and arms) together, wrapping them around each other. We're wringing the tension out of the limbs just as we would wring out the water 'held' within a wet towel. In order to wrap, our connective tissue and muscles need to soften, have a sense of ply-ability. There is the beautiful juxtaposition to be experienced from between the hardness of the bones and softness of the tissue. Its here, our previous trainings will reveal how much we have practiced softening, lengthening in actuality.
3)concentration-To balance on one's leg requires concentration, each part of the body collaborating, everything meeting at one central point. Consciously uniting the mind and body. The act of balancing, addresses one's ability to connect to the earth/ to something other than one 'self' and therefore become more interested in connection. relationship. If we are in our busy brains, we will not feel the floor. The form of concentration that will serve best is a relaxed one; we are required to remain connected to our arms and legs and find the balance point between them, then line this up with the spine, and drop the feeling down through the supporting/standing leg. This concentration is different from practicing 'single-pointedness.' Instead think of expanding your peripheral vision. We may feel we sway from one side to the other, which could indicate where we are placing too much stress/weight, when we find our center point, we will find a sense of stillness. However even within that stillness is an awareness of the subtleties of movement beneath. Just like the sense of 'active stillness' witnessed when observing a leopard eying its prey, about to explode into action!
Its fantastic how responsive this asana is, literally talking to us and showing us whats going on inside either by us falling out of the posture, noticing we prefer one side to the other, seeing if we too tense or hard in our muscle tone as we attempt to wrap the limbs together, asking us to ensure we practice in a way encourages connection with ourselves and the ground.
Eagles are known for their penetrating and sharp vision, in the practice of meditation, this would be recognised as single-pointed concentration. The eagles ability to see objectively in its observation of the landscape, identify its target/its prey and take action, or in our case-'seize the day' is a skill that is useful and transferable within our own urban lifestyles as we evaluate our situations and resources and take the most effective action required to achieve our goals.
Another practical application of what we develop in emobodying Garudasana is our ability to pull everything together. As we practice pulling in our limbs into one central line we are also developing the ability to gather our thoughts and find a sense of clarity within them. This does require effort, but its so satisfying! Its satisfying because we all have just enough to do this, if only for a few seconds at the begining, we still have the structure to increase the length of time we can concentrate/or balance. As we repeat Garudasana, we begin to feel the structure of the body, how we can rest into its edges and curves. We can begin to reach into our form, reach consciousness throughout our entire physicality and embody every aspect of our being.
The release from the bound limbs is satisfying, expansive and very visceral. It fas though you burst open, you feel alive and in this moment you connects you to the breadth of wings span we see on the eagle and Garuda. You may even find that the expansion of the arms pulls air into the body, vibrantly bringing life into oneself. When the wings are free to spread, we can soar!
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Russian Painter
Movements: Expressionism, Bauhaus, Der Blaue Reiter
"Of all the arts, abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colors, and that you be a true poet. This last is essential."
One of the pioneers of abstract modern art, Wassily Kandinsky exploited the evocative interrelation between color and form to create an aesthetic experience that engaged the sight, sound, and emotions of the public. He believed that total abstraction offered the possibility for profound, transcendental expression and that copying from nature only interfered with this process. Highly inspired to create art that communicated a universal sense of spirituality, he innovated a pictorial language that only loosely related to the outside world, but expressed volumes about the artist's inner experience. His visual vocabulary developed through three phases, shifting from his early, representative canvases and their divine symbolism to his rapturous and operatic compositions, to his late, geometric and biomorphic flat planes of color. Kandinsky's art and ideas inspired many generations of artists, from his students at the Bauhaus to the Abstract Expressionists after World War II.
Painting was, above all, deeply spiritual for Kandinsky. He sought to convey profound spirituality and the depth of human emotion through a universal visual language of abstract forms and colors that transcended cultural and physical boundaries.
Kandinsky viewed non-objective, abstract art as the ideal visual mode to express the "inner necessity" of the artist and to convey universal human emotions and ideas. He viewed himself as a prophet whose mission was to share this ideal with the world for the betterment of society.
Kandinsky viewed music as the most transcendent form of non-objective art - musicians could evoke images in listeners' minds merely with sounds. He strove to produce similarly object-free, spiritually rich paintings that alluded to sounds and emotions through a unity of sensation.
Wassily (Vasily) Wassilyevich Kandinsky was born in 1866 in Moscow to well educated, upper-class parents of mixed ethnic origins. His father was born close to Mongolia, while his mother was a Muscovite (a native of Moscow), and his grandmother was from the German-speaking Baltic. The bulk of Kandinsky's childhood was spent in Odessa, a thriving, cosmopolitan city populated by Western Europeans, Mediterraneans, and a variety of other ethnic groups. At an early age, Kandinsky exhibited an extraordinary sensitivity toward the stimuli of sounds, words, and colors. His father encouraged his unique and precocious gift for the arts and enrolled him in private drawing classes, as well as piano and cello lessons. Despite early exposure to the arts, Kandinsky did not turn to painting until he reached the age of 30. Instead, he entered the University of Moscow in 1886 to study law, ethnography (the scientific description of the customs of individual peoples and cultures), and economics. In spite of the legal focus of his academic pursuits, Kandinsky's interest in color symbolism and its effect on the human psyche grew throughout his time in Moscow. In particular, an ethnographic research trip in 1889 to the region of Vologda, in northwest Russia, sparked an interest in folk art that Kandinsky carried with him throughout his career. After completing his degree in 1892, he started his career in law education by lecturing at the university.
Early Training
Despite his success as an educator, Kandinsky abandoned his career teaching law to attend art school in Munich in 1896. For his first two years in Munich he studied at the art school of Anton Azbe, and in 1900 he studied under Franz von Stuck at the Academy of Fine Arts. At Azbe's school he met co-conspirators such as Alexei Jawlensky, who introduced Kandinsky to the artistic avant-garde in Munich. In 1901, along with three other young artists, Kandinsky co-founded "Phalanx" - an artist's association opposed to the conservative views of the traditional art institutions. Phalanx expanded to include an art school, in which Kandinsky taught, and an exhibitions group. In one of his classes at the Phalanx School, he met and began a relationship with his student, Gabriele Munter, who became his companion for the next 15 years. As he traveled throughout Europe and northern Africa with Munter from 1903 until 1909, Kandinsky familiarized himself with the growing Expressionist movement and developed his own style based on the diverse artistic sources he witnessed on his travels.
Kandinsky painted his breakthrough work, Der Blaue Reiter (1903) during this transitional period. This early work revealed his interest in disjointed figure-ground relationships and the use of color to express emotions rather than appearances - two aspects that would dominate his mature style. In 1909, he was one of the founding members of Neue Kunstlervereinigung Munchen (NKVM, or New Artists Association of Munich), a group that sought to accommodate the avant-garde artists whose practices were too radical for the traditional organizations and academies of the time. His paintings became more and more abstracted from the surrounding world as he gradually refined his style. He began titling works Improvisation, Composition, or Impression to further stress their distance from the objective world and continued to use similar titles throughout the rest of his career.
Mature Period
In 1911, in response to the rejection of one of Kandinsky's paintings from the annual NKVM exhibition, he and Franz Marc organized a rival exhibition and co-founded "Der Blaue Reiter" (The Blue Rider) - a loose association of nine Expressionist artists that included August Macke, Munter, and Jawlensky. Though their aims and approaches varied from artist to artist, in general the group believed in the promotion of modern art and the possibility for spiritual experience through the symbolic associations of sound and color - two issues very near and dear to Kandinsky's heart. Despite the similarities between the group's moniker and the title of Kandinsky's 1903 painting, the artists actually arrived at the name "Der Blaue Reiter" as a result of the combination of Marc's love of horses and Kandinsky's interest in the symbolism of the rider, coupled with both artists' penchant for the color blue. During their short tenure, the group published an anthology (The Blue Rider Almanac) and held three exhibitions. Additionally, Kandinsky published Concerning the Spiritual in Art (1911), his first theoretical treatise on abstraction that articulated his theory that the artist was a spiritual being that communicated through and was affected by line, color, and composition. He produced both abstract and figurative works at this time, but expanded his interest in non-objective painting.Composition VII (1913) was an early example of his synthesis of spiritual, emotional, and non-referential form through complex patterns and brilliant colors. The outbreak of World War I in 1914 led to the dissolution of Der Blaue Reiter, but, despite their short tenure, the group initiated and deeply inspired the highly influential German Expressionist style.
After Germany declared war on Russia, Kandinsky was forced to leave the country. He traveled to Switzerland and Sweden with Munter for almost two years, but returned to Moscow in early 1916, which effectively ended their relationship. In Moscow he courted and married Nina Andreevskaia, the young daughter of a Czarist colonel. While there, he not only became familiar with the art of Constructivists and Suprematists like Vladimir Tatlin and Kazimir Malevich, but also lived in the same building as Aleksander Rodchenko, and met other avant-garde luminaries like Naum Gabo, Lyubov Popova, and Varvara Stepanova. With the October Revolution in 1917, Kandinsky's plans to build a private school and studio were upset by the Communist redistribution of private wealth and instead, he worked with the new government to develop arts organizations and schools. Despite his participation in the development of the officially sanctioned new institutions, he felt increasingly removed from the avant-garde. His search for spirituality in art did not meld with the utilitarian aesthetic advocated by the young government and the artists it embraced.
In 1921, when architect Walter Gropius invited Kandinsky to Germany to teach at the Weimar Bauhaus, he accepted and moved to Berlin with his wife, gaining German citizenship in 1928. As a member of the innovative school, Kandinsky's artistic philosophy turned toward the significance of geometric elements - specifically circles, half-circles, straight lines, angles, squares, checkerboards, and triangles. In 1926, he published his second major theoretical work, Point and Line to Plane that outlined his ideas about a "science of painting." In both his work and theory he shifted from the romantic, intuitive expression of his pre-war canvases to an emphasis on constructively organized compositions.
Late Period and Death
When the Nazis closed the Bauhaus school in 1933, Kandinsky was forced to leave his adopted home in Germany and moved to France, where he remained for the rest of his life. He and his wife Nina settled in a small apartment in a suburb of Paris, Neuilly-sur-Seine, and were granted French citizenship in 1939. While in France, his style again shifted and he experimented with biomorphic forms, which were more organic than the harsh geometric shapes of his Bauhaus paintings. Although he continued to paint until his last year, Kandinsky's output slowed during the war and his art fell out of favor as the referential images of Cubism and Surrealism came to dominate the Parisian avant-garde. Despite his distance from the aesthetic forefront, Kandinsky continued to refine his style and revisited many of his previous themes and styles during this period, synthesizing elements of his entire oeuvre into vast, complex works. His late style combined the expressive palette of his earliest non-objective Compositions from the early 1910s with the more structured elements he investigated while at the Bauhaus as well as the biomorphic forms popularized by the Surrealists, like Joan Miró and Jean Arp.
The Nazis confiscated 57 of his canvases during their purge of "degenerate art" in 1937, but despite the Fascist proscription against his art, American patrons - notably Solomon R. Guggenheim - avidly collected his abstract work. His works became key to shaping the mission of the museum Guggenheim planned on opening dedicated to modern, avant-garde art. With over 150 works in the museum's collection, Kandinsky became known as the "patron saint of the Guggenheim." He died in December of 1944 in relative, but serene, isolation.
Kandinsky's work, both artistic and theoretical, played a large role in the philosophic foundation for later modern movements, in particular Abstract Expressionism and its variants like Color Field painting. His late, biomorphic work had a large influence on Arshile Gorky's development of a non-objective style, which in turn helped to shape the New York School's aesthetic. Jackson Pollock was interested in Kandinsky's late paintings and was fascinated by his theories about the expressive possibilities of art, in particular, his emphasis on spontaneous activity and the subconscious. Kandinsky's analysis of the sensorial properties of color was immensely influential on the Color Field painters, like Mark Rothko, who emphasized the interrelationships of hues for their emotive potential. Even the 1980s artists working in the Neo-Expressionist resurgence in painting, like Julian Schnabel and Philip Guston, applied his ideas regarding the artist's inner expression on the canvas to their postmodern work. Kandinsky set the stage for much of the expressive modern art produced in the twentieth century.
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Freddie Starr
Freddie Starr dead: Comic dogged by health issues after early I'm A Celeb exit
Comedian Freddie Starr went into the Australian jungle after a history of illness and lasted just 72 hours before leaving
James BrinsfordOvernight Showbiz/TV Reporter
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Freddie Starr had been suffering from ill health for years before his death, including an early exit from I'm A Celebrity after suffering an allergic reaction.
The 76-year-old comedian had been assuring fans that he was "feeling okay" in Facebook posts since the new year but Freddie had been struggling for the past decade, since having a heart attack and a quadruple bypass operation.
Freddie couldn't resist a challenge though and less than twelve months after suffering a heart attack, he headed into the Australian jungle for ITV's I'm A Celebrity... Get Me Out Of Here!
However, 72 hours after joining the then 68-year-old joined his campmates in the 2011 series, Freddie was leaving the show after suffering an allergic reaction.
Freddie Starr spent just 72 hours in the jungle (Image: ITV)
Freddie Starr dead: Lord Alan Sugar and Bobby Davro lead tributes to comedian
Freddie may have only been on the show for three days but he still had time to partake in one of the most memorable Bushtucker Trials of the series, eating camel's toe among a lot of creepy crawlies.
Soon after the trial was over, medics were called to the camp as Freddie started feeling breathless and spent the night at the Cardiac Care unit at Tweed Hospital in New South Wales.
Freddie Starr tucks in during an I'm A Celebrity Bushtucker Trial in 2011 (Image: Rex)
When he was released from the hospital a day later, he still looked pale and weak but was more upset that he didn't experience more of what the jungle had to offer.
Freddie said at the time: "I was sick not to finish the show. I wanted to be there until the very end, but there's no use crying over spilt milk. The decision has been made and I have to live with that."
Freddie went on I'm A Celebrity just a year after a heart operation (Image: ITV)
Freddie exits the jungle after breathing problems (Image: ITV/REX/Shutterstock)
Freddie Starr's last picture as he joked about being on a diet before shock death
After leaving the jungle, Freddie was caught up in Operation Yewtree after an allegation of sex abuse but was later told he would not be prosecuted.
In 2015 he lost a High Court damages claim against his accuser, leaving him with an estimated £1 million legal bill.
Freddie was upset that he had to leave I'm A Celebrity so quickly (Image: ITV)
Peter Andre responds to ex Katie Price's grovelling public apology
Freddie's health plummeted during this time and was seen looking unkept and overweight in photos and videos at the time, as he fought to clear his name.
His 33-year-old wife Sophie left in 2015 and within three months there were concerns as Freddie became largely house-bound.
Freddie on the ITV jungle show (Image: ITV/REX/Shutterstock)
Freddie Starr dead: Comic 'feeling okay' in last Facebook post before death
A serious lung condition left him confined to a wheelchair and friends said her looked "completely unrecognisable from even a few years ago. We're all so worried about him."
He moved to the Costa Del Sol after revealing he couldn't pay his legal fees and Freddie kept his fans updated with his health concerns while soaking up the sunshine.
Just eight days before his death, Freddie admitted that he was "getting tired" in a Facebook post that he shared on his page with his followers.
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Introducing Wonderfully Wild Wednesday, where we'll feature some fascinating wildlife adaptation each week. Let's kick it off with one of the zoo's newest residents—the waxy monkey frog.
But I will tell you that this frog—newly arrived to Woodland Park Zoo—is certainly unique among its amphibian brethren.
Most frogs have moist skin that is susceptible to drying out when exposed to direct sun for too long. But the South American waxy monkey frog is uniquely adapted to take in rays, allowing it to make a niche for itself in the hot, dry environment of its native habitat in Argentina, Brazil, Bolivia and Paraguay.
So how does the waxy monkey frog do it? It's in the name (well, the waxy part of the name, not the monkey part. We'll get to the monkey part later).
The waxy monkey frog comes complete with built-in sunblock, a waxy secretion that comes from its neck that it can then rub all over its body. The wax prevents it from drying out under the sun by sealing in its natural moisture.
At the zoo you'll find these arboreal frogs spending much of their time perched on tree limbs in their exhibit. And that's where the other part of their name comes in. The waxy monkey frog gets its monkey title from the way it moves around in the trees, walking rather than hopping like other frogs.
Look for the waxy monkey frogs hanging out on limbs, munching on insects in the zoo's Day Exhibit where most of our amphibian and reptile species reside.
How do you celebrate an ocelot's 1st birthday? With a turkey cake and mouse candle, of course!
Our little Evita is not quite so little anymore. To celebrate her turning 1 year old last week, Evita's keepers prepared a lovely birthday surprise including some wrapped presents (boomer balls generously bought for Evita from our animal enrichment wishlist), a papier mache ball with a mouse inside, and a heart-shaped frozen cake made from ground turkey, turkey breast and prepared feline diet with a "candle" that I hope to never see on any cake I eat—a mouse with its tail sticking up like a wick!
Evita was slow to investigate her treats until keepers added an unexpected twist—a fresh pile of snow picked from just outside the Tropical Rain Forest exhibit. Evita's exhibit is near 80 degrees year round, so the snow brought out her curiosity. She rubbed her head in the snow and batted at it with her paws before moving on to the other treats.
The mouse candle was first to go—Evita plucked it right out of the cake to munch on. Then one by one she inspected and tore into her other treats like any birthday girl would.
In the wild, an ocelot kitten will begin to hunt on its own by around 18-24 months of age and by that time is ready to leave its mother's side. As Evita is now reaching that age, we expect to find a new Association of Zoos & Aquariums accredited zoo home for her soon so she can establish her own territory away from her parents and find her own mate.
Roses are red, violets are blue…unless you're a tetrachromat, it's true. Apologies for the obvious segue to a post about color, but I couldn't resist!
A blue bellied roller and a brightly colored orchid show us examples of some of the beautiful colors here at Woodland Park Zoo. Photos by Ryan Hawk and Kirsten Pisto/WPZ.
Throughout the animal kingdom, there is enormous diversity in the structure and faculty of eyesight. Oftentimes, we relate our own human eyesight to the visual capabilities of animals, but most evidence points to the contrary: in fact, humans might be an underdog in visual perception.
A rainbow sits over the North Meadow. Red has the longest wavelength and blue has the shortest. Photo by Dennis Conner/WPZ.
The human eye sees a wide range of what we call visual color, that is, measurable wavelengths in the range of about 390–700 nanometers. Our eyeballs have a ton of tiny little cones and rods in the retina, which are super sensitive photoreceptors. Cones determine which colors are perceived, rods determine light perception. Most people are trichromats, have three types of cone receptors; red, blue and green, and can see in what is referred to as 3-dimensional color.
So many colors can be found here at Woodland Park Zoo! All photos WPZ.
But guess what? Even humans can't actually see all of the colors we perceive! Take magenta for example. Because magenta, or hot pink, is a mixture of multiple wavelengths, our eyes cannot actually distinguish it as a color; instead, our brain fills in the gaps with what we perceive to be the color magenta. Weird, huh? That's a pretty cool trick, but a lot of animals have an even more extreme adaptation of their visual senses, much beyond the limits of human perception.
This color spectrum shows us visible light, that is, colors most humans can perceive. Ultraviolet light has shorter wavelengths. Via Science Blogs.
If you were to walk past violet on the color spectrum, you would get to ultraviolet rays in the range of 10 – 400 nm. As trichromats, (with red, blue and green cones) our eyes aren't built to see this level of color, but animals with an ultraviolet cone receptor can!
So, which animals actually have UV vision?
Monochromats (many undersea animals and nocturnal animals), have only one type of color receptor cone. In fact, many bats, nocturnal snakes and lizards have no cones at all, sacrificing the ability to distinguish color for increased absolute sensitivity. Some monochromats might see in ultraviolet, but it's sort of an unknown.
Some dichromats (animals that have only two types of color receptors), such as scorpions, can see UV color. Their cones are built to perceive ultraviolet and green/yellow colors, but they cannot see blue, green or red. Most mammals, however, are dichromats, with only red and green receptor cones.
As far as trichromats (humans and some other primates, marsupials, and honeybees) go, bees have the upper hand in UV vision. They have three receptor types, although unlike humans they are sensitive to ultraviolet light, with loss of sensitivity at the red end of the spectrum. Because color perception is a mixture of receptor types, this means that bees do not simply see additional UV colors, but will perceive even human-visible spectra in different hues to those which humans experience.
Tetrachromacy is suspected among some arachnids, fish, reptiles and amphibians. Photos by Ryan Hawk/WPZ.
Tetrachromats (animals with four types of cone receptors such as some birds, turtles and fish), can see UV wavelengths perfectly well because they have 4-dimensional color vision and the ability to see in ultraviolet. That means they can see all the colors we see (red, blue, green) plus an additional color, which of course is ultraviolet.
Pentachromats (butterflies and some birds), actually have five different color receptors and maybe more! Just imagine the colors we are missing out on!
It is well known that many bees and birds follow UV-reflecting nectar guides on flowers which lead them to the most nectar-rich part of the plant. These animals depend on UV colors to guide them to their food source, yet research done within the last few years has revealed that many animals use UV colors for much more than just finding the sweetest spot on a flower.
For example, it is thought that desert iguanas might mark their paths with UV-absorbing urine, leaving behind territorial signals against the sand. Scorpions glow or appear yellow and green under UV illumination, keeping camouflaged to mammalian eyes, but standing out to each other.
Woodland Park Zoo hosts a wide variety of colored feathers, but just imagine if we could see these birds with ultraviolet vision! Photos by Dennis Dow/WPZ.
Many birds and butterflies have patterns in their plumage and wings that are invisible to human color vision but observable in ultraviolet. Recent research suggests that birds and butterflies might see about 10 billion colors, whereas humans can only see 10 million! This assists them in finding the correct mating species. The next time you look at a little brown bird such as the common sparrow and think, how drab, think again—to the bird world that little guy might have some majorly flamboyant feathers!
To us, this peacock resembles the painted pipes behind him, but would he stand out if we had ultraviolet vision? Photo by Ryan Hawk/ WPZ.
In May 2010, researchers at the University College London tested the electrical response of the retina of anaesthetized reindeer to UV light. What they found is that a reindeer's retina responded to near UV, about 320 – 420 nm. That's not up to par with a hummingbird or honeybee's UV sight, but its pretty impressive for a mammal!
Could our arctic residents have an ultraviolet secret? Photo by Ryan Hawk/WPZ.
The research suggests that reindeer, an arctic animal that often experience white-out conditions, might use their UV eyesight to forage for food or even detect predators. UV rays are actually absorbed up by things like lichen, a plant which reindeer munch on, and the fur of a wolf's coat, which reindeer would like very much to avoid. The UV rays appear darker to the reindeer, very helpful against a snowy landscape.
Researchers predict that other arctic mammals may also share this ultraviolet vision. One clue, arctic foxes, polar bears and seals are not known to suffer from snow blindness, pointing to their ability to see in extreme white out conditions. Of course, their sense of smell could be another reason these creatures outmaneuver people when it comes to blizzards. (Polar bears can smell their prey up to 20 miles away!). So, until more research is done on these individual species, it's sort of an arctic mystery!
Imagine being able to see an entirely new color! What would our world look like if we had the ability to see in ultraviolet? Photo by Mat Hayward/WPZ.
Ultraviolet vision is still sort of a new science. Advances in access to tools such as the fiber-optic spectrophotometer allow researchers to measure ultraviolet color in different environments leading to a better understanding of how animals might use their UV vision. When you come to the zoo, you must use your imagination, because even though we can measure UV light, we still have no idea what it really looks like!


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;
using System.Windows;
using System.Windows.Controls;
using System.Windows.Data;
using System.Windows.Documents;
using System.Windows.Input;
using System.Windows.Media;
using System.Windows.Media.Imaging;
using System.Windows.Navigation;
using System.Windows.Shapes;
using Mechanical3.Core;

namespace Mechanical3.ScriptEditor
{
    /// <summary>
    /// Interaction logic for ScriptEditorControl.xaml
    /// </summary>
    public partial class ScriptEditorControl : UserControl
    {
        /// <summary>
        /// Initializes a new instance of the <see cref="ScriptEditorControl"/> class.
        /// </summary>
        public ScriptEditorControl()
        {
            this.InitializeComponent();

            this.codeEditor.TextChanged += this.codeEditor_TextChanged;
            this.SetBinding(CodeProperty, new Binding("DataContext.Code") { Source = this, Mode = BindingMode.TwoWay });
        }

        /// <summary>
        /// Identifies the <see cref="ScriptEditorControl.Code"/> dependency property.
        /// </summary>
        public static readonly DependencyProperty CodeProperty = DependencyProperty.Register(
            name: "Code",
            propertyType: typeof(string),
            ownerType: typeof(ScriptEditorControl),
            typeMetadata: new PropertyMetadata(
                defaultValue: null,
                propertyChangedCallback: OnCodeChanged));

        /// <summary>
        /// Gets or sets the code displayed in the editor.
        /// </summary>
        /// <value>The code displayed in the editor.</value>
        public string Code
        {
            get { return (string)this.GetValue(CodeProperty); }
            set { this.SetValue(CodeProperty, value); }
        }

        private static void OnCodeChanged( DependencyObject source, DependencyPropertyChangedEventArgs e )
        {
            var control = (ScriptEditorControl)source;
            var newCode = (string)e.NewValue;

            if( !control.SuppressCodeChanged )
            {
                control.SuppressCodeEditorTextChanged = true;
                control.codeEditor.Text = newCode;
                control.SuppressCodeEditorTextChanged = false;
            }
        }

        private void codeEditor_TextChanged( object sender, EventArgs e )
        {
            this.SuppressCodeChanged = true;
            this.Code = this.codeEditor.Text;
            this.SuppressCodeChanged = false;
        }

        private bool SuppressCodeEditorTextChanged
        {
            set
            {
                if( value )
                    this.codeEditor.TextChanged -= this.codeEditor_TextChanged;
                else
                    this.codeEditor.TextChanged += this.codeEditor_TextChanged;
            }
        }

        private bool SuppressCodeChanged { get; set; } = false;

        private async void codeEditor_KeyDown( object sender, KeyEventArgs e )
        {
            try
            {
                if( (e.KeyboardDevice.IsKeyDown(Key.LeftCtrl) || e.KeyboardDevice.IsKeyDown(Key.RightCtrl))
                 && e.Key == Key.Enter )
                {
                    // Ctrl + Enter
                    e.Handled = true;

                    var vm = this.DataContext as ScriptEditorViewModel;
                    if( vm.NotNullReference() )
                    {
                        vm.Code = this.codeEditor.Text;
                        await vm.RunCodeAsync();
                    }
                }
            }
            catch( Exception ex )
            {
                MechanicalApp.EnqueueException(ex);
            }
        }
    }
}


text:
Public Enemy at the Young Vic
Alice Dickerson
You would be hard pushed to guess that Public Enemy was written in 1882 if you did not know it to be an Ibsen.
Photo: Keith Pattison
Thanks to the visionary writing of its author, it continues to resonate with and remain relevant to today's audience.
The public enemy in question is an idealistic doctor who discovers that his town's baths are contaminated with potentially deadly bacteria.
Unsurprisingly, those in positions of power are horrified by this revelation, fearing a significant loss of revenue for the town. Instead of acting in the public's wider interests, they seek to discredit Dr Stockmann and suppress the truth.
Public Enemy follows hot on the heels of another Ibsen at the Young Vic – A Doll's House. Yet the use of garish colours and sometimes surreal touches are more reminiscent of the less recent Young Vic production, Government Inspector. Both plays have a writer and director in common – Richard Jones and David Harrower. With Public Enemy, Jones and Harrower have once again breathed fresh life into a play which would have lost some of its brilliance had it been staged in the era in which it was first performed. They have also injected more comedy into the play than Ibsen likely intended, enhancing rather than detracting from the performance.
Nick Fletcher as the principled Dr Stockmann holds the attention of the audience throughout, particularly during the lecture scene in which he addresses (and accuses) the audience. Niall Ashdown as the self-serving businessman Aslaksen is also compelling, particularly in his scenes with Darrell D'Silva, mayor of the town. One of the flaws of Ibsen's play is the pace at which some of the lesser characters change their world outlook from socialist ideology to capitalist pragmatism within a matter of scenes; yet Adam Best and Bryan Dick, as the journalists Horster and Hovstad, manage to gloss over this with their excellent portrayal of both naivety and stupidity.
The most interesting aspect of Ibsen's Public Enemy is not, as is often suggested, his exposure of corruption; his play exposes fear more than dishonesty. His criticisms of politicians and journalists feel almost a little too obvious, given how desensitised we now are to them. Instead it is Dr Stockmann's diatribe against public opinion that causes the audience to sit up and listen; he ultimately turns his anger on the silent majority rather than the political elite.
One interesting question to consider is whether Ibsen could, or would, have written Public Enemy in today's ultra-connected world. The suppression of a scientific discovery on this scale would certainly have been much more challenging. Yet the fickle nature of public opinion remains true, and the Young Vic's production vividly reminds us of this.
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News archive from February 1999 to January 2001
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