This fact sheet was compiled by the Communications Advisory Committee after being commissioned by the OPA Board to investigate alternatives to Mediacom cable distribution in Ocean Pines. The information contained here is the result of the committee's research of available TV services from competitive vendors, such as DirecTV, the Dish Network, and Verizon. Each vendor brings to the table a mix of features, some being advantages and others being disadvantages. Residents interested in exploring an alternative to Mediacom cable service should find many of their initial questions and most of their critical questions answered in this telecommunications fact sheet. However, each resident, having his own particular needs and constraints, must reach his own specific conclusion. This is not a "cookie cutter" solution. The fact sheet is structured in a question and answer (FAQ) format and was updated in January 2011.
How can I find out if satellite reception is possible?
U.S. geostationary television satellite constellations are "parked" between 90 degrees and 110 degrees W latitude over the equator. Regional downlink beams from satellites in this orbital location have full view of the United States land mass, including Alaska and Hawaii. Residents interested in switching from Mediacom to an alternative TV vendor need to be advised that somewhere on their property, an unrestricted view of the Southwestern sky must be available. Satellite vendors will perform a site survey of each residence to confirm adequate reception of the satellite signal and the actual physical location of the dish antenna.
How does one scientifically determine the ability, or inability to receive local TV?
The Federal Communications Commission has a prescribed method by which these measurements are made. It requires a calibrated field intensity meter, an antenna with known gain, and a series of measurements (cluster points) to be made on the property. WBOC and Direct TV have evaluated and certified Craig Banks of Craig's TV, Seaford, Del., as an authorized tester. If you plan on using anyone other than Craig's, you must notify the local TV stations 30 days prior to the test, indicating the company, contact person and the date and location the test will be performed. TV stations reserve the right as granted by federal law to reject a tester if deem unqualified.
Can I receive local channels from a satellite provider?
As of November 2010, both DirecTV and the Dish Network provide Salisbury local channels as part of their normal channel line-up. Residents selecting a satellite vendor no longer need to depend solely on an over-the-air antenna for the reception of the local TV stations.
I cannot pick up local TV stations with rabbit ears. What are my options?
Because of trees and the distance of the Ocean Pines home to the TV transmitters, many residents will require a quality outdoor or attic antenna installation in order to receive a quality signal. A quality installation may include a mast mounted RF amplifier, a mast mounted antenna rotator, and a RF distribution amplifier if multiple TV sets will be connected to the antenna.
Are there differences in the local channel line up between the two satellite providers?
DirecTV and the Dish Network now distribute the Salisbury TV stations to customers in the Delmarva market. The local stations are affiliated with the CBS, ABC, Fox, CW, and PBS national networks. The CBS affiliate, WBOC channel 16, carries Fox21 as a digital sub-channel. The ABC affiliate, WMDT channel 47, transmits the CW network as a digital sub-channel. WCPB is the local PBS station carrying Maryland Public TV. The difference between the two satellite providers is principally in their source of a NBC affiliate.
Why doesn't Ocean Pines get a different cable company when the present contract with Mediacom is over?
The present Mediacom contract dates from 1998. At that time, Mediacom assumed the in-place cable infrastructure from the original cable vender from a bankruptcy sale. Since Mediacom did not have significant start up costs, it was mutually negotiated that because the OPA granted exclusive distribution rights to Mediacom for 15 years, the cable vendor would pay a 3% of a maximum 5% franchise fee to the OPA on annual gross revenues. Based on the number of Ocean Pines TV customers, OPA realizes a franchise fee of ~$150,000 per year. If, prior to the 2013 renewal date, the OPA considers to solicit a bid from a competitive cable company, that company could either negotiate the purchase of the present cable infrastructure from Mediacom or incur the significant capital investment of laying a new cable infrastructure through out the community. Although a new vendor may provide better service and programming selections, there is no guarantee that it will agree to pay a franchising fee to the OPA. Not having the revenue from this franchising fee could cause a proportional increase in the annual property assessments of all home owners.
How can get a NBC affiliate TV station?
WRDE is the NBC station on Delmarva and is available on Mediacom at channel 9 Standard Def and 809 High Def. We also are at channel 31 on both Satellite services, but only in HD on DirecTV.
Both DirecTV and the Dish Network supplement their channel line up with a NBC station from a near by market to complete their local TV package. DirecTV provides WCAU, the NBC affiliate from Philadelphia. The Dish Network provides WRC, the NBC affiliate from Washington D.C.
Are there any recommendations that can be made to community residents?
(a)Drop Mediacom TV service but retain their Internet access service (8 or 20 Mbps download speeds). Keep your existing Verizon land line phone service if this is your current phone provider. Add one of the DirecTV or Dish Network bundled TV packages.
(b)Drop Mediacom TV but retain their Internet access service (8 or 20 Mbps download speeds). Drop Verizon land line phone service, if this is your current phone provider, but add Mediacom's phone service. Add one of the DirecTV or Dish Network bundled TV packages.
(c)Drop all Mediacom services (TV, Internet, and phone). Pick up one of the DirecTV or Dish Network bundled TV packages. Add Verizon DSL Internet access (1.5 Mbps) service to your existing Verizon phone service.
(d)Drop all Mediacom services (TV, Internet, and phone). Pick up one of the DirecTV or Dish Network bundled TV packages. Drop your existing land line phone service and add Verizon "naked" DSL Internet access (1.5 Mbps) service. Rely on your wireless carrier for phone and text service.
If any Mediacom service is retained after dropping TV, as in Recommendation A or B, be advised that you will incur a service price penalty. Furthermore, during any cable outage, you will lose Internet and/or phone service.
Since Ocean Pines has a 15 year distribution contract with Mediacom, and this distribution contract addresses only TV (since Internet and phone service bundles were not offered in 1998), dropping TV from the cable service plan will have a negative impact on the annual franchise fee paid by the vendor to the OPA.
What are the individual services offered by each vendor?
DirecTV and the Dish Network both offer tiered TV programming packages including a wide selection of HD channels. In addition to TV, both satellite providers have a partnering agreement with Verizon that can add Internet, land line phone, and wireless phone services to round out a bundled package. Bundled packages are offered with monthly discounts and billed on a single monthly statement.
FiOS is an acronym for Fiber Optic System. Verizon uses the term to describe its fiber optic telecommunications infrastructure. This fiber network is presently offered in many areas of the United States. Verizon has attracted consumer and media attention as the first major U.S. telecommunications carrier to offer fiber to the home. Other service providers, such as Mediacom, currently only use fiber on their network backbone and continue to use a copper infrastructure from the backbone to the end user.


text:
Q: Redux - how to update an item in an array I have a very basic notes app. Similar to iphone notes where you press on a note item to update that item.
I have made a function in my Reducer to update an item. But the item does not get updated, it stays the same after I call it. It could be how I am rendering it if this isn't the problem.
Here is the case in the Reducer function:
const tagReducer = (state = [], action) => {

    switch (action.type) {

        case 'NEW_LIST':
             //add tags and mentions later
            const { id, title, tags, mentions } = action.payload;
            return [
                ...state,
                {
                    id: id,
                    title: title,
                    tags: tags,
                    mentions: mentions
                }
            ]
        case 'UPDATE_LIST':

            return state.map((item, index) => {
                if (item.id == action.payload.id) {
                    item = {
                        ...item,
                        title: action.payload.title,
                        tags: action.payload.tags,
                        mentions: action.payload.mentions
                    }
                }
                return item
            })

        default:
            return state;
    }
};

export default tagReducer;

Here is what happens when a note (list) is saved - a NEW_LIST action occurs or an UPDATE_LIST action occurs.
    save = () => {
        if (this.props.route.params.data !== null) {
            this.props.updateList(
                id = this.props.route.params.id,
                title = this.state.title,
                tags = this.state.tags,
                mentions = this.state.mentions
            )
        } else {
            this.props.newList(
                title = this.state.title,
                tags = this.state.tags,
                mentions = this.state.mentions
            )
        }
        this.props.navigation.navigate('Home');
    }

And here are the actions:
let nextId = 0;

export const newList = (title, tags, mentions) => (
    {
        type: 'NEW_LIST',
        payload: {
            id: ++nextId,
            title: title,
            tags: tags,
            mentions: mentions
        }
    }
);

export const updateList = (title, tags, mentions, id) => (
    {
        type: 'UPDATE_LIST',
        payload: {
            id: id,
            title: title,
            tags: tags,
            mentions: mentions
        }
    }
);

A: Try this :
    case 'UPDATE_LIST':
        return state.map((item, index) => {
            if (item.id === action.payload.id) {
                return {
                    ...item,
                    title: action.payload.title,
                    tags: action.payload.tags,
                    mentions: action.payload.mentions
                }
            }
            return item
        })

redpajama_set_name: RedPajamaStackExchange


text:
« My Father's Notebook by Kader Abdolah
Maiba by Russell Soaba »
Rivers of Babylon by Peter Pišťanek
Rivers of Babylon by Peter Pišťanek (pronounced pishtyanek, apparently) is a caustic satirical novel set in a big hotel in Bratislava, now the capital of Slovakia but then in Czechoslovakia, at the time of the collapse of the communist government. It has a cast of prostitutes, black-market money changers, former secret policemen and sex tourists.
The anti-hero of the novel is Rácz, who starts out stoking the boilers the hotel, but ruthlessly fights his way up the food chain. The introduction suggests that 'Rácz will prove as immortal a rogue as Fielding's Jonathan Wild, Gogol's Chichikov or Thomas Mann's Felix Krull'. I'd only add that 'rogue' seems too mild a word for a character as brutal as Rácz.
The comparison that sprang to mind for me (and I should probably be more careful of these comparisons to half-remembered books I read more than a decade ago) was A Confederacy of Dunces. It has something of the extravagantly grotesque quality that I remember Toole's book having. Rivers of Babylon was published in 1991, so it was absolutely topical at the time, and it has the real edge of satire written in response to dramatic current events.
This translation by Peter Petro was published in 2007 by Garnett Press, a small press set up by the Russian Department at Queen Mary, University of London. Rivers of Babylon is the first book in a trilogy, and apparently they hope to publish the other two books 'soon'. I imagine that it's an uncertain business trying to publish on that scale, but I for one would certainly pick up the sequel if I got the chance.
Rivers of Babylon is my book for Slovakia for the Read The World challenge.
» The photo, Square in Bratislava, is © Rob & Lisa Meehan, and used under a CC Attribution licence.
books, novels, Peter Pišťanek, read the world, Slovakia | 14 September 2008 at 2:26 pm | RSS
The Wooden Village by Peter Pišťanek
War with the Newts by Karel Čapek
Treading Air by Jaan Kross
This Earth of Mankind by Pramoedya Ananta Toer
Thirsty River by Rodaan Al Galidi
The Year of the Hare by Arto Paasilinna
The Whistler by Ondjaki
The Teacher of Cheops by Albert Salvadó
Donald Rayfield
2 October 2008 at 5:23 pm | Permalink
Thank you very much for this review. We have now printed the two sequels, 'The Wooden Village' and 'The End of Freddy', also translated by Peter Petro and edited by me, and we are sure that they will not disappoint readers of Rivers of Babylon 1. Both hardback volumes will be on sale (at £11.99 and £13.99 respectively) from 6 November on: contact me on d.rayfield@qmul.ac.uk (or write to Garnett Press, Dpt of Russian, Queen Mary University of Lon don, Mile End Road, London E1 4NS, UK) for an instant response.
Donald Rayfield,
Editor Garnett Press
3 October 2008 at 8:48 am | Permalink
That's good to hear.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Using an Additional Java Library in Cygwin I'm taking an intro Java class, and they require that we download and use their Standard Library. They want us to pipe files, which uses the command line, so I would like to use Cygwin on Windows instead of CMD. How do I link the stdlib.jar to the java compiler in Cygwin so that I can use:
    javac-introcs MyProgram.java

and
    java-introcs MyProgram

as they request in the assignment.
Note that this code already works in CMD, however, I'm much more of a Linux terminal fan (as I'd like to use vim in Cygwin).
Also, the stdlib.java file is in C:\Users\Sam\introcs
Thank you!
Edit:
java-introcs does appear to be a batch file.
java-introcs:
    @echo off

    :: ***************************************************
    :: java-introcs
    :: ------------------
    :: Wrapper for java that includes stdlib.jar and
    :: the Java3D files
    :: ***************************************************

    set install=%USERPROFILE%\introcs
    set j3dlib=%install%\j3d\lib\ext

    java -cp      "%install%\stdlib.jar;%j3dlib%\vecmath.jar;%j3dlib%\j3dutils.jar;%j3dlib%\j3dcore.jar;." %*

javac-introcs:
    @echo off

    :: ***************************************************
    :: javac-introcs
    :: ------------------
    :: Wrapper for javac that includes stdlib.jar and
    :: the Java3D files
    :: ***************************************************

    set install=%USERPROFILE%\introcs
    set j3dlib=%install%\j3d\lib\ext

    javac -cp         "%install%\stdlib.jar;%j3dlib%\vecmath.jar;%j3dlib%\j3dutils.jar;%j3dlib%\j3dcore.jar;." %*


09.07.2013 Conference participants can access to content and presentations.
04.07.2013 The Conference successfully held 2-3 July. Post-release, photos and materials will be published later.
01.07.2013 The Conference "Where the Margin Is" will open on July 2, 2013, at Benefit Plaza Congress Hotel in Voronezh.
The 1st International summer conference «Where the margin is» together with Annual conference of Agri Benchmark network.
The Conference "Where the margin is" will be held on July 2-3, 2013, in the Benefit Plaza Congress Hotel in Voronezh.
During its 1-st international summer agricultural conference Where the Margin Is (July 2-3, 2013) IKAR presents the unique opportunity to the Russian agribusiness community to meet and exchange the ideas with the leading world agricultural experts representing agri benchmark network. We expect the participation in the conference of experts from such regions as Western Canada, US corn belt, Western Canada, Northern Germany, wheat belt of France, Argentina, Brazil, Great Britain, Denmark, Kazakhstan, Poland, South Africa, Sweden, Ukraine.
1-st international summer agricultural conference Where the Margin Is the logical step forward based on our highly successful experience of organizing its famous annual agricultural event in winter time (see Where the Margin Is).


Homestead Munda "Liminjanka", Portorož, it is home of confessed extra virgin olive oil. The homestead is located on Liminjan hill, on something more than two hectares (all around the house). They have planted over 500 olive trees in 10 different varieties.
Besides those products Homestead Munda "Liminjanka", Portorož, also makes other products that we like to call them our own like persimmon, kiwi, figs and grape (izabela) jam.


Here is the full video of all the Star Wars and The Force Awakens items that were on display at the awesome Hasbro's 'Twas The Night Before Party on 10/7/2015. 3 3/4 and 6″ Black Series, Full Size Kylo Ren Helmet, Mini Helmets, and much more! Check it out!


text:
Business is picking up, but economic recovery from the coronavirus is still far off
05/26/2020 / By Franz Walker
Business activity and labor markets in both the U.S. and abroad suffered a little less in May than in previous months, offering signs that the economic damage from the Wuhan coronavirus (COVID-19) pandemic is easing but will require some time to fully recover.
Despite the cautious reopening of many economies around the world, surveys of purchasing managers showed that private sector activity in Europe, Japan and the U.S. fell for the third straight month in May.
In America, another 2.4 million workers filed unemployment claims last week, continuing historically high weekly levels but down significantly from a peak of nearly 7 million in March. The Department of Labor's report on unemployment benefits also showed that the number of people continuing to receive benefits in the week ending May 9 — an indicator of overall unemployment — increased to 25.1 million from 22.5 million the week prior. (Related: Nearly 3 million jobless claims filed last week as coronavirus continues to ravage the economy.)
The surveys and claims figures indicated that job cuts would continue and that a rise in unemployment would likely act as a drag on any economic recovery as affected households cut back on spending.
Economies are improving, but still have a ways to go
In America, the world's largest economy, the fall of business activity was not as steep as before. According to data from IHS Markit, its index of manufacturing activity stood at 39.8 in May, up from 36.1 in April. Meanwhile, a measure of the country's services sector — representing the economy's broadest segment — rose to 36.9 from 26.7.
In the Eurozone, IHS Markit's composite Purchasing Managers Index, which measures private sector activity, rose to 30.5 in May from 13.6 in April.
While the positive growth is encouraging, a reading below 50 in these indices still means that activity has fallen, with lower figures indicating steeper falls.
"Demand is likely to remain extremely weak for a prolonged period, putting further pressure on companies to make more aggressive job cuts," said Chris Williamson, chief business economist at IHS Markit. "We therefore expect … a full recovery to take several years."
In addition, the U.S. unemployment claims exclude hundreds of thousands of self-employed and gig-economy workers receiving unemployment benefits for the first time through a temporary coronavirus-related program. The omission of these self-employed workers means that the actual number of workers seeking claims has been higher since the program — called Pandemic Unemployment Assistance — got underway.
Though layoffs in the U.S. appear to have subsided in recent weeks, the number of unemployed Americans continues to remain at record levels. As of the beginning of this month, a large share of workers eligible for unemployment benefits was drawing on them in states across the nation. In particular, large parts of the workforces in Michigan, Nevada and Washington state were claiming benefits.
Despite this, most states saw fewer new unemployment claims applications last week. The declines were particularly steep in Georgia, Kentucky and New Jersey.
Recovery depends on whether new measures succeed
The surveys and claims data suggest that economies will likely see larger contractions in the three months through June than those recorded in the first quarter. The path back to levels of output seen in 2019 is likely dependent on the success of measures designed to contain new coronavirus outbreaks and on additional government responses.
On Thursday, the Senate recessed before it could reach a deal to double the amount of time businesses have to spend loans obtained through the Paycheck Protection Program (PPP) — a key part of U.S. stimulus designed to keep workers on payrolls during the pandemic. Senators from both parties have said that they back the change and plan to take it up after the Memorial Day break.
"It's going to pass. It's just how long it takes to run the hotline and get all the offices to call back," said Florida Sen. Marco Rubio, chairman of the Small Business Committee.
"Hopefully within the next couple days, we can have a bicameral understanding, and get it done hopefully by UC," Maryland Sen. Ben Cardin said, adding that it was "possible" it could pass next week.
The legislative fix, which was introduced Thursday by Rubio, Cardin as well as Maine Sen. Susan Collins and New Hampshire Sen. Jeanne Shaheen, extends the time period by which PPP money must be spent by 16 weeks. Under the current incarnation of the rule, the earliest recipients of PPP funds would have to finish using them by May 29. In addition, the modification would also extend the deadline for program applications from June 30 to December 31. It will allow businesses to use these funds to pay for investments needed to reopen safely and purchase personal protective equipment for their employees.
Democrats in the House of Representatives are also expected to bring to the floor a bill to change the $670 billion program's time frame by 24 weeks and change accessibility requirements next week. When asked about this, Sen. Rubio stated that it didn't have any "insurmountable" differences with the Senate's bill.
"We'll have to see if they can amend theirs to reflect ours," he said. "I don't think the differences between the House and Senate on this issue are insurmountable. I think they're semantic and maybe a couple of weeks here or there, but that wouldn't be the reason why this doesn't get done."
WSJ.com 1
Tagged Under: Collapse, coronavirus, covid-19, economics, economy, Flu, government, infections, outbreak, pandemic, risk, superbugs, unemployment, unemployment claims, USA, virus
The coronavirus crisis has resulted in the worst unemployment spike in American history
At least for a while, it pays better to be unemployed
Health Ranger calls for suspending 2020 elections until free speech is restored in America – "fair and free elections" impossible under Big Tech censorship
A state of war exists between China and the United States- Steve Quayle and Dave Hodges
Who is Big Tech's arbiter of truth? More than ever, it's a corrupt, Orwellian Wikipedia
Over 25,000 dead in Brazil from coronavirus as daily deaths surpass USA
Waves of migrant workers returning to their home villages in India trigger concerns over second wave of small, localized outbreaks
Are U.S. states covering up coronavirus death data?
SHUT THEM DOWN: It's time to end the tyranny of Big Tech censorship in America
Brazil becomes new global coronavirus hotspot, but Bolsonaro doesn't even mention it in cabinet meeting
As Brazil suffers deadliest day of outbreak, Bolsonaro insists people get back to work
China facing increasing number of lawsuits around the globe over coronavirus-related damages
Study warns that some children are suffering hyperinflammatory shock from coronavirus exposure
Hillary Clinton says lockdown protesters are domestic terrorists
Missouri grocery store repurposing salad bars due for coronavirus – they now contain cereals, candies and even alcoholic beverages
In 2009, 60 million Americans caught "SWINE FLU" and 12,500 died, but no travel ban, no lockdowns, and no one blamed Obama
05/25/2020 / By S.D. Wells
Coronavirus pandemic creating "perfect storm" for huge global mental health crisis
New coronavirus outbreaks in China lead to strict lockdown measures
Mike Adams doubles down on free speech protections for Brighteon users and critical pro-human videos like "Plandemic"


Montreal vs. BISHOP'S at Lennoxville, Que.
1 05:25 Bishop's - Shawn Gore 14 yd pass from Jesse Andrews. (Justin Conn kick is good).
2 14:33 Bishop's - Justin Conn 6 yd pass from Olivier Mongeau. (Justin Conn kick failed).
2 10:52 Montreal - P-P. Gelinas 42 yd field goal.
2 00:24 Bishop's - Duraney White 9 yd pass from Jesse Andrews. (Justin Conn kick is good).
3 09:18 Montreal - Rotrand Sene 1 yd run. (P-P. Gelinas kick is good).
3 05:09 Montreal - P-P. Gelinas 28 yd field goal.
4 08:43 Montreal - P-P. Gelinas 24 yd field goal.


My artwork takes an abstract view of the images revealed in my subconscious mind, taking a dream or emotion and recreating that moment onto canvas. I reproduce the wonders of a dreamlike state, both dark and light, fairy tales and nursery rhymes, but with a deep realization of our hectic, somewhat uneasy, world. Snow White could easily be considered a horror story, could it not?


10 years of innovation campaign — Ashraf — product designer with optimism.
I was tasked with creating a campaign to promote a milestone in lung cancer treatment for patients.
I designed a graphic that illustrated the stepping stones of experience that the cancer treatment has built over a decade. The striking image and timeline resonated well with doctors and physicians.


text:
SOLD OUT PERFORMANCES!! Oct 3 & 4 — The New Albany Symphony concert Tribute to Marvin Hamlisch- THANK YOU OHIO!
New Albany, Ohio — The New Albany Symphony Orchestra presented A musical tribute to the singularly sensational Marvin Hamlisch! Featuring an all-star lineup of guest performers and the exclusive photography of Len Prince, in partnership with "Remembering Marvin" at the Columbus Museum of Art. Terre Blair Hamlisch and the family of Marvin Hamlisch attended this spectacular event.
GET THE BOOK!!
SOLD OUT PERFORMANCE! SAT OCT 3, 2015- THANK YOU OHIO!
SOLD OUT PERFORMANCES! (Oct 3 & 4, 2015) Terre & Charlotte Blair, Aubrey, Jordan Lilly at the New Albany Symphony Concert Tribute to Marvin Hamlisch
SOLD OUT PERFORMANCE! SUN OCT 4, 2015 — THANK YOU OHIO!
New Albany Symphony at Rehearsals. Photo of guest artists with Mask of Marvin Hamlisch (Sold out performances Oct 3 & 4, 2015) Thank you Ohio!
ABOUT THESE CONCERTS:
SOLD OUT!! REMEMBERING MARVIN HAMLISCH
Saturday, October 3, 2015 at 8 p.m.
Sunday, October 4, 2015 at 3 p.m.
Marissa McGowan, Valerie Lemon, Rocky Paterra, vocalists
Charles Yang, violin
Peter Dugan, piano
J. Ernest Green, conductor
The Family of Marvin Hamlisch gives thanks to The New Albany Symphony Orchestra, His Music Director and Executive Director, The Players and the organizers of these concerts.
Thank you for REMEMBERING MARVIN HAMLISCH and for performing his Music.
Team Marvin Hamlisch, The Family of Marvin Hamlisch.
The Guest Artists:
Marissa McGowan, Vocalist
Marissa McGowan has appeared on Broadway in A Little Night Music alongside Catherine Zeta Jones and Angela Lansbury, Les Miserables, and Bonnie & Clyde. Marissa was chosen by Marvin Hamlisch to star in his last musical The Nutty Professor, directed by the legendary Jerry Lewis. Marissa's credits include numerous Symphony Orchestra work and recordings, with TV appearances on TNT networks Major Crimes, and BRAVO'S Odd Mom Out.
For more information on Marissa please visit her website.
Valerie Lemon, Vocalist
Valerie Lemon who toured with Marvin Hamlisch for several years, performed at the Queens College tribute to Marvin Hamlisch on May 5, 2013, Organized by the Aaron Copland School of Music.
Rocky Paterra, Vocalist
Rocky Paterra is an actor and musician from the city of Pittsburgh. After getting his start in 2002 touring with acclaimed composer Marvin Hamlisch, Rocky has continued building a career in the performing arts and recently graduated college with a BA in Theatre Arts at the University of Pittsburgh.
Rocky is a principal performer in the American Music Theatre's original concert show Inspire which will take place in Lancaster, PA from April 14-October 9.
Rocky's work with Marvin Hamlisch is being featured in the Columbus Museum of Art's new photographic exhibit REMEMBERING MARVIN HAMLISCH- THE PEOPLE'S COMPOSER through Sept 6, 2015. (A Vast sample of the Photographic Exhibit will be on display during this two-day Concert by New Albany Symphony Orchestra in New Albany, Ohio.
Charles Yang, Violin:
Charles Yang: Described by the Boston Globe as one who "plays classical violin with the charisma of a rock star." Juilliard graduate Charles Yang has performed in venues ranging from Carnegie Hall to the Forbidden City in Beijing. On June 9th of 2005, the Mayor of Austin presented Mr. Yang with his own "Charles Yang Day".
Peter Dugan, Piano:
Peter Dugan: Performs as a classical, jazz, and crossover pianist throughout the United States and abroad. Recent appearances include the Kennedy Center and the Vienna Konzerthaus, as well as collaborations with violinists Itzhak Perlman and Joshua Bell, rock legend Jesse Colin Young, and conductor Michael Tilson Thomas, under whose baton Mr. Dugan opened this season as a soloist with the New World Symphony.
J. Ernest Green, Conductor:
J. Ernest Green
A Marvin Hamlisch's good friend and collaborator, Maestro J. Ernest Green is known for his adventurous and creative programming as he pushes the boundaries of the concert hall, Mr. Green has created several "fusion" programs combining standard concert repertoire with popular and contemporary music, which he has lead with orchestras both here and abroad. In addition, he has received acclaim for his concert productions of operas and other stage works, among them Verdi's "La Traviata," "Sweeney Todd," and, Rodgers and Hammerstein's "South Pacific." He has also been engaged to develop similar programs for other orchestras. Mr. Green also created a new concert production of "Don Giovanni," which premiered in 2010. Referring to his creativity and innovation in and beyond the concert hall, The Baltimore Sun recently said, "Green should be commended for his downright prodigious programming."
The New Albany Symphony Orchestra:
Luis Gabriel Biava Music Director, New Albany Symphony Orchestra
Luis Gabriel Biava is currently Music Director of the New Albany Symphony, an orchestra that performs a wide variety of concerts for the community, presenting the major repertoire, commissions, and a young artist's competition.
HEATHER GARNER:
Heather Bogart Garner with Terre Blair Hamlisch and Maestro J Ernest Green
From Left: Seth Harris, Len Prince, Carol Luper, Heather Garner. Organizing the exhibit: "Remembering Marvin Hamlisch, The People's Composer" — at The Columbus Museum of Art. During Oct 3&4 Concerts by The New Albany Symphony, a considerable selection from the exhibit will be on display.
Heather Garner: Founder and Executive Director, New Albany Symphony Orchestra. While studying at The Ohio State University, Heather was also the Administrator for the Ohio State Pre-College Strings Program. Winner of the Ohio Arts Council Solo Competition, the Katherine B. Geis Performance Award and a scholarship student of Robert Vernon at the Encore School for Strings, Heather has performed as a soloist, recitalist, chamber musician and strolling strings advocate throughout the United States and Europe. This is Ms. Garner's 18th season with the Columbus Symphony Orchestra as an associate violist
She serves as the Executive Director and also performs viola in the orchestra.


text:
Closed Loop Medicine recruits first patient into novel PhIV precision medicine interventional clinical trial for patients with high blood pressure
Decentralised model to allow remote participation in trial among patients
Trial design adapted to further investigate potential link between COVID-19 and hypertension
London, UK, 18 November 2020: Closed Loop Medicine ('CLM') a clinical stage therapeutics company developing drug + digital combination products, announces that the first patient has been recruited into its pivotal clinical trial investigating CLM's integrated precision care solution for patients with hypertension.
The clinical trial, called Personal COVID BP, will see up to 1,000 patients recruited for a study investigating whether a combination product that links a drug to a smart phone app can enable patients to personalize and optimise their therapy regimen to treat hypertension. Importantly, the technology in the study allows patients shielding from COVID-19 to control their blood pressure remotely in a home setting environment.
The interventional arm of the study, in which up to 200 patients are involved, will see patients receive drug therapy while using an app to monitor blood pressure, as well as any potential side effects. This will help to determine whether the approach can be used to identify the optimum balance of tolerable side effects and controlled blood pressure. The ultimate aim of the study is the development of a novel combination product that will have the potential to save thousands of lives through fewer heart attacks and strokes.
As part of the study, CLM's technology will also be used to monitor COVID-19 symptoms to allow for a better understanding of the links between COVID-19 and high blood pressure. A Nature publication[i] published in May 2020 analysed 17 million medical records to show a complex link between COVID-19 mortality and patients with high blood pressure.
The trial is part-funded by Innovate UK and is being run by the William Harvey Clinical Research Centre (WHCRC), Queen Mary University of London, part of the National Institute for Health Research (NIHR) Biomedical Research Centre at Barts (BRC).
Dr Hakim Yadi OBE, CEO & Co-Founder of CLM commented: "This represents a key milestone for the company, the first patient enrolled and dosed in our interventional clinical study. Our aim is to improve patient outcomes while supporting health systems to better manage patients with long-term conditions through remote monitoring and timely intervention. The trial design allows greater patient participation from the comfort and safety of their own home whilst also investigating the potential link between COVID-19 and hypertension. We look forward to progressing this important trial alongside our partners at Queen Mary University, and to reporting further progress over the coming months."
Dr David Collier, the lead trial investigator from Queen Mary University of London commented: "This is an important study in that it allows patients and physicians to collect real-world data to help better inform treatment decisions and monitor patient outcomes. Some of the drugs we use are great at preventing heart attacks and strokes, but frequently cause unwanted side-effects, something this trial sets out to address. We hope that through this study we can not only demonstrate that one size does not fit all, but that by using technology in this combined way, we can personalise treatment for the individual at a population scale."
[i] Williamson, E.J., Walker, A.J., Bhaskaran, K. et al. Factors associated with COVID-19-related death using OpenSAFELY. Nature 584, 430–436 (2020). https://doi.org/10.1038/s41586-020-2521-4
Closed Loop Medicine
Dr Hakim Yadi OBE, Chief Executive Officer
info@closedloopmedicine.com
Consilium Strategic Communications
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closedloopmedicine@consilium-comms.com
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redpajama_set_name: RedPajamaGithub


The server that hosts Melbourne Indymedia has suffered from a DDOS attack, taking the machine offline. This time around it appears to be politically motivated, though it is unknown if it was specifically directed at Indymedia. We are working on getting the site, along with Adelaide and Aotearoa Indymedias, back online as soon as possible. We ask for your patience.
It is unclear how long this has been the case, or whether the Denial of Service attack is still going. It doesn't give any information as to why the attack is "politically motivated". Whilst this wouldn't surprise me in the slightest, it does seem a little premature in the absence of any evidence as provided.
In any case, the material currently visible is probably an improvement.
directed at an anti-nazi site that was hosted on the same server as the 3 indymedias down.
If Indymedia and an anti-nazi site were on the same server to begin with, I'm surprised the hard drive didn't tear itself apart long ago.
You have our sympathy. A company I worked for in 2000 suffered a DDOS attack (embarassing for an ISP).
Hope you're back up and running soon.
The DDOS attack appears to of been directed at an anti-nazi site that was hosted on the same server as the 3 indymedias down.
netaxxs , the hosting company where badly injured by the attack, which was a *2 gigabit/sec* attack, or for reference 1 gigabyte of data per 4 seconds. the guy that runs the company, a small rural web company in the country outside of melbourne , almost went under from it, althought , thank providence, he found a bunch of new clients and is back in action.
The attack was that large that the upstream host removed the server. It took a couple of weeks to get the company to give the data back, although the anti nazi site http://fightdemback.com managed to get the site up pretty damn quickly.


text:
Tag Archives: Joyce W Cairns
AGES OF WONDER
SCOTLAND'S ART 1540 TO NOW
Collected by the Royal Scottish Academy
4 November – 7 January 2018, Royal Scottish Academy, Edinburgh.
Mary Bourne RSA (b 1946) Dava Targe, Kilmartin Slate, 1994., RSA Diploma Collection Deposit, 2009.
"Only when we recognise that we are heirs can we truly be pioneers" Martyn Bennett, Musician and Composer (1971-2005)
The visual language of Neoclassical columns, white marble, gilt and pediments adorned with statues usually infers learned authority, or the political need to project it. Architectural revivals of Golden Ages past are always about the power of knowledge and how it is used, for good or ill. When visitors enter many Western public art spaces a powerful statement is communicated by the built environment and the institutions that occupy them, as arbiters of collective aspiration, education and good taste. On the surface the National Gallery of Scotland and Royal Scottish Academy buildings also display these loaded facades. The underground link between the two is not immediately visible to the visitor, nor is the history of artist led advocacy that binds them and created a National Collection for Scotland. The 1910 accord which brought the RSA collection under the umbrella of the NGS is echoed in Ages of Wonder, an extensive exhibition occupying all seven upper galleries, sculpture court and four lower galleries in the prominent RSA building. Effectively reclaiming the whole space for Scottish Art past and present makes a powerful statement of its own.
Self Portrait (Oil on canvas, 1844) by Thomas Duncan RSA (1807-1845)
History and tradition are richly in evidence, reflecting centuries of masculine leadership and disciplinary hierarchies, but thankfully there is significantly more on display than the pomp of the Edinburgh Arts establishment. The guts of this show are the practice of Art and the necessity of making the work of Scottish Artists visible. On entering Gallery 7 Portraiture and Presidents for example, paintings of RSA presidents and their projected status are certainly part of the display, but equally so is the human Art of portraiture. It is an immense pleasure to discover works such as James Cowie's quietly understated portrait of Miss Barbara Graham Cowie (Oil on plywood, 1938, RSA Diploma Collection Deposit, 1946) or the intriguing man behind the presidency in Thomas Duncan's RSA Self Portrait (Oil on canvas, 1844, Presented to the RSA by fifty Scottish artists, 1845, transferred and presented by the RSA to the NGS, 1910.) Emerging out of a pitch dark umber ground, channelling the introspective spirit of Rembrandt, we see the face of a man who we feel is not entirely without privilege, but also not without care. His prematurely receding hairline, high forehead and deep-set eyes are at one with the space he occupies. With his hand resting pensively below his chin, it's an intellectual, charismatic vision of the self, dwarfed by the mysterious, ever-expanding depth of the canvas. His mouth contains the vaguest hint of a smile, concentrated in circular tension at either side of a mouth which is simultaneously straight and curvaceous. We feel there's wit in that feint glimmer of a smile and that he might speak at any moment, having first greeted the viewer and met our gaze (and his mirrored self) with equal regard. The entire portrait suggests, independent of his white cuffs, signature ring and the century inhabited, that there is infinitely more to this man that what is illuminated by the posed three-quarter focus lighting. Being in the presence of this ageless 19th Century gentleman rendered in oils by his own hand, we see that we are not simply in the company of an office bearer, but an artist, demonstrating through his own crafted image that there is infinitely more to see. Like all great portraits Duncan's conceals and reveals in unexpected ways.
There are many more gems in this show that bring Art practice centre stage and assert the value of making as an imperative. Curated by current Royal Scottish Academy (RSA) President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand, Ages of Wonder is a collaborative project of unprecedented scale. Arranged thematically by subject and discipline, the exhibition is also defined by live events, touring elements, a collecting symposium, an exhibition catalogue and book of essays. Created in partnership with the Royal Scottish Academy (RSA), National Galleries of Scotland (NGS), Universities of St Andrews, Edinburgh and Dundee, it's an exhibition brimming with possibilities in terms of how we might perceive and celebrate Scottish Art differently. At the heart of the show is the question of how our national collections are valued, conserved, expanded, utilised and shared, locally, nationally and internationally. The question of how we value artists as a society and the nature of what we choose to build also underpin that potential.
Thomas Hamilton RSA (1754-1858) Design for the Royal High School , (Watercolour, gouache and pencil on paper, about 1825-30, RSA Diploma Collection Deposit, 1831)
The "two temples of Art" on The Mound were both designed by William Henry Playfair RSA (1789-1857) at a time when the city was reimagining itself. Between ancient "Civilization" and the progressively Modern, it's an architectural vision of the "Athens of the North" with Edinburgh at the centre of European Enlightenment. Playfair's contemporary, Thomas Hamilton RSA (1754-1858) also reflects this idea in his Greek Revival design for The Royal High School, Edinburgh, (Watercolour, gouache and pencil on paper, about 1825-30, RSA Diploma Collection Deposit, 1831). Hamilton's delicate watercolour imagines a seat of learning, defined by Neoclassical sureties and a warm Mediterranean palette of forward thinking optimism. This vision of the city has its roots in the glories and mythologies of an ancient past. Taking Gallery 6 of Ages of Wonder as an example; Architecture: Hamilton, Playfair and the Making of Edinburgh certainly makes an aspirational statement about how we reimagine our collective selves within a built environment. Although firmly anchored to where the viewer stands, among the drawings, paintings, models, photographs and other archival material on display there is also a less site specific, universal and transcendent creative drive at work. In the same gallery, William H Kinnloch's 1978 design for a house at 46 Dick Place is a fine example of a very beautifully drafted, fluidly executed watercolour, unlikely to be part of an architect's working process today. There's essential tension between practical, ideological and institutional elements of the show which are ripe for debate. My hope is that rather than alignment with the colonnade, the creative core of the show will be a catalyst for future collaborative events and new ways of seeing Scottish Art. There is a golden opportunity, particularly within the live elements of the exhibition, to redefine the relevance of cultural institutions, their function and the value of Art practice in the 21st Century.
Beth L Fisher RSA Burial II (Conte and charcoal on paper, 2006. RSA Diploma Collection Deposit. 2006).
Ironically the traditional techniques, training and sensitivity found in The Life School: Drawing, Anatomy and the Figure in Gallery 1, are principles that popular culture and art colleges throughout the country have largely abandoned. In this wonderous, "connected" age of technology, you would be hard pressed to find a more moving, empathic expression of grief than the rendering of human figures in Beth L Fisher's RSA Burial II (Conte and charcoal on paper, 2006. RSA Diploma Collection Deposit. 2006). On the opposite wall Samuel John Peploe's RSA Female Nude with Pitcher (Oil on canvas, 1895, RSA Life School Award Deposit 1895) is an equally illuminating realisation of the Feminine. Standing in the Life School Gallery seeing works like these, the Laing Bequest of Old Master drawings, the spirit of enquiry in Andrea Vesalius's etched plates and a live Life Class taking place, it is easy to see why what is not being taught is in such increasing high demand. The RSA has always been a teaching institution and this live element is a very promising initiative. Selected students will be working directly from the model, under the guidance of tutors John Byrne, George Donald, Jennifer McRae and Robert Rivers, weekly for the duration of the show. Contemporary innovation, in terms of making and seeing, is dependent on deeper understanding of artistic discipline. Imaginative freedom, individually and collectively, is impossible without it.
Elements like the live Life School and Professor Dame Sue Black's DBE, FRSE, HRSA lecture on Art and Anatomy give valuable insight into the practice of Art and Science that many visitors (unless they are practitioners themselves) will be unfamiliar with. The focus on Original Print and the Art of Etching in the Finlay Room also features live events with artists Frances Walker, Stuart Duffin, Paul Furneaux, Delia Baille, Marion Smith and Jessica Harrison creating work on "ES Lumsden's historic star wheel printing press (the first piece of machinery to enter the Academy's collections)". Leading into The Art of Etching section, the supreme skill and artistry of John Martin's (HRSA) apocalyptic mezzotints, with the hand of the artist present from conception to completion is another unexpected highlight. The printmaking and Life School elements of the exhibition will tour in 2018/19, extending the reach of the show beyond the capital. Hopefully this will also stimulate revival of the radical practice, established between 1840 -1932 when academicians, or "visitors", taught in an RSA operated Life School. Although the idea of "an independent post graduate facility for elite art students" requires examination of the qualifiers, recognising and utilising the knowledge, skills and expertise of professional artists as a national asset is long overdue. Established in 1829, the RSA remains the longest established artist-run society in the country. In terms of political leadership, Art Education, training and investment in creative process it is a vital resource and a foundation of advocacy.
Image of RSA Ages of Wonder Exhibition ,Sculpture Court, The Keith Rand Gift: A Depth of Practice, Photograph courtesy of RSA Press Office.
Viewers may be diverted or overwhelmed by elements such as the 19th Century Academy: A Victorian Eye Salon hanging of works in Gallery 3. Stepping into this space with its sumptuous walls of deep claret and green velvet adjoining couches for cultivated conversation in the centre, there was also the very humorous touch at the press view of 21st Century dandy/ artist/ practitioner John Byrne being interviewed amidst the loaded hierarchy of Masters hung from floor to ceiling. However, being temporarily dazzled by the sheer weight and density of tradition or artist as celebrity still doesn't trump the grounded practice and connectivity of Art, driven by our innate curiosity as a species and our profound need to understand. In the Sculpture Court, The Keith Rand Gift: A Depth of Practice displays some of the contents of his studio gifted to the RSA, including drawings, inspirational organic objects, handmade tools, macquettes and full-scale works, giving insight into Rand's thought process and crafting of objects. Part of this display is a leaf, an object from the natural world that is instantly relatable regardless of the viewer's education or background. The visitor free associates between these man-made objects and those from the natural world, rather than receiving explanation via a label about a designated Art object. In this way we are brought into direct contact with creative process, the individual artist's and our own.
Detail of Richard Murphy's Wunderkammer – "a new cabinet of curiosities". Photograph courtesy of RSA Press Office.
Richard Murphy's Wunderkammer "a new cabinet of curiosities" featuring rare books, sculpture, objects, photographs and digital Turning the Pages software is a brilliant manifestation of this principle of creative connectivity and sense of ownership. The RSA library may seem like a scholarly and remote repository but here a contemporary commission transforms what we think such a collection can be. Beautifully sleek, designed to be viewed from every angle and lit for illumination of each unique piece, the alluring three-dimensional framing invites you to come closer and be curious. Exploring the contents and the imaginative connectivity of objects across time presents a less linear view of collections /collecting and for the viewer there is freedom in that fluidity. Drawing inspiration from architect Sir John Soane's (HRSA) donation to the RSA library in 1829 and his extraordinary London home (now a museum and itself a cabinet of wonders, well worth visiting) the juxtaposition of objects is a constant source of surprise as you move around the 21st Century cabinet. Jewel-like enamels by Phoebe Anna Traquair, an elemental watercolour on parchment From the Red Cabinet (2001) by Kate Whiteford, Hew Martin Lorimer's small bronze Our Lady of the Isles (about 1954-1972) and a printed book bound in the publisher's original paper (1826) of William Blake's Illustrations for the Book of Job are just some of the treasures within and thankfully out of storage.
Sir James Guthrie PRSA Midsummer (Oil on canvas, 1892) RSA Diploma Collection Deposit 1893,
Other contemporary commissions also lead into historical works on display in surprising ways. Adjacent to Kenny Hunter's four part bust of Sir James Guthrie PRSA is the artist's glorious celebration of light in Midsummer (Oil on canvas, 1890) in bold, dappled impasto and a living palette of vivid green and purple. Seated beneath a low canopy of trees, three women are drinking tea, each inhabiting their own world despite the appearance of society. The combination of light and shadow brings unexpected emphasis on the inner world of each sitter, beyond the aesthetic comfort of an Impressionistic style. Hunter picks up Guthrie's inner palette in the split sections of the portrait bust, suggesting various aspects of personality beyond the public persona.
Frances Walker RSA RSW DLitt. (b1930) Foreshore at Footdee (Oil on board, 1980)
Strangely, Gallery 4 The 21st Century: A Contemporary Academy left me feeling rather cold and dispassionate in comparison to the works of living artists relegated to the 20th Century A Nationwide Gallery (Aberdeen, Dundee, Glasgow, The Highlands and Northern Isles) in Gallery 5. Frances Walker's Foreshore at Footdee (Oil on board, 1980) is a fine example, a supremely balanced composition of subtle greys, accented with orange, pink and green. It's a potent statement, 37 years ahead of its time with large boulders, lumps of concrete and smoothed pebbles, punctuated by manmade detritus. The eye is drawn to human interventions and signs of industrialisation, a plastic bottle and white traces of rope or wire. The scale of transformation along the eroding shoreline dwarfs the only visible human figure silhouette in the distance, whilst the high horizon line is populated with industrial buildings. Walker's work is informed by the tracery of human marks upon the Northern landscape. The sea is rendered as a rhythmic pattern of white lines on mid grey, drawing the viewer into the detail of a place lived and observed. The organic erosion of wind and waves is tempered with industrial paint colours in a complex dynamic of realism. This is the very altered land and seascape of the Highlands, Islands and North East of Scotland, striking in its immediacy and contemporary relevance.
Joyce W Cairns RSA RSW Hon RBA MA(RCA), Polish Journey (Oil on board, about 1998-99, RSA Diploma Collection Deposit, 1999)
Also featured in the same room is a work by Joyce W Cairns RSA RSW Hon RBA MA(RCA), Polish Journey (Oil on board, about 1998-99, RSA Diploma Collection Deposit, 1999), linked to one of the most important bodies of work ever created by any Scottish or UK Artist, War Tourist. Over a decade in the making, this extraordinary body of work was exhibited at the Aberdeen Art Gallery from 10th February to 8th April 2006 and has yet to be shown elsewhere. It is a response to war that began with the artist retracing her Father's experiences in WWII through Europe and North Africa, leading her to Nazi concentration camps in Germany and Poland and to the contemporary experience of televised warfare seen during the Bosnian War (1992-1995), where ethnic and religious conflicts again resulted in genocide. Her meditations on major international conflicts and experience of wartime on the home front often incorporate everyday objects of remembrance. There is no other artist in the country who paints large scale figurative compositions with such skill, power and compassion. Inspired by German artists such as Dix and Beckmann whilst still a student, equalling their precision and emotional gravitas, her work is richly expressive and dreamlike in its evocation of human memory.
In Polish Journey we see a semi-autobiographical female protagonist wearing an image of the artist's father around her neck. Her sallow skin appears stained by the knowledge leaching out of yellow cloth printed with the Star of David, used to mark and condemn Jewish victims of Hitler's "Final Solution". This bundle of industrially printed cloth is a chilling indicator of scale and over it is a wreath of poppies "In Remembrance". The psychological stain on the soul in seeing sites of starvation, misery and mass murder is coupled with the solemnity of her expression and a tellingly composite uniform. The stitching of HMS Ark Royal, a modern invincible class navy flagship, grey military coat with black and red trim, German belt bearing a swastika and striped skirt aligned with the material draped like a proscenium arch above the scene, brings together the human fabric of all wars. The oppressors, the oppressed and liberating forces can transform into each other during wartime with astonishing speed and righteous self-justification. There is often a sense of the Feminine protagonist or witness in Cairns' paintings, taking on this mantle of human shame, atrocity and bravery, enabling successive generations to see and acknowledge what we are and what we are capable of. In Cairns' work human creation and destruction are equally present. The arrangement of other objects in the composition are an interrogation of commercial and domestic complicity hidden in plain sight. Cairn's flips the idea of the benign, traditionally feminine still life genre completely on its head by combining it with the traditionally masculine dominance and authority of History Painting. The presence of a Zyklon B Tesch & Stabenov canister, a company who produced pest control chemicals and were implicated as suppliers to Nazi Death camps at the Nuremberg trials, is a powerful reminder of how ordinary people actively participate in persecution and genocide. Around the central figure three dolls are suspended as if hung, one in striped camp uniform is labelled with a number, another with a suitcase resembling a child arriving off a train with her name "Klara Sarah Goldstein" chalked onto her luggage. Broken dolls are part of the trajectory that projects into the viewer's foreground. We can't comfortably relegate this image to history or as a distant memorial, because in human terms it is ever present, absorbed into the steely blue and cadmium red palette of conflicted Nature that we are as human beings. Cairn's deconstructs this with the passionate impetus of Expressionism and the pure compositional order of Abstraction. She is yet another artist, based predominantly in the North of Scotland for much of her career, long overdue for a major national retrospective. In contrast to the exposure afforded her male contemporaries its an oversight that needs to be rectified and perhaps the collaborative nature of this exhibition will enable that to happen. The positioning of some artists in the show, or their absence from the national collection altogether, is worthy cause for further debate. From the display of a single painting to wider acknowledgement, placing the work of our greatest living artists on a global stage is entirely possible. In Cairns' case, I can think of no better time for an international collaboration exploring her connections with the confrontational Neue Sachlichkeit/ New Objectivity of Weimar Germany and the contemporary relevance of her practice in a "Post Truth" world.
What I took away from this exhibition was excitement in seeing human "curiosity and practice" in action, a positive statement of value in relation to Scottish Art made visible and the possibility of future investment and collaboration. Although there is more work to be done before our National Collections adequately reflect important work by Scottish Artists throughout the country, this exhibition is a significant step forwards in terms of Scottish Visual Culture entering public consciousness. The decision to make the exhibition free, therefore accessible and able to be visited multiple times is exactly as it should be, both for residents and visitors. Perhaps Ages of Wonder will also pave the way for a more balanced permanent display of Scottish Art in the capital and wider circulation of works from the National Collection around the country. People cannot discover, champion, love or be inspired by what is hidden.
www.royalscottishacademy.org
www.nationalgalleries.org
#AgesofWonder
Posted in 19th Century Art, Ages of Wonder, Art History, Artist Self Portraits, Beth L Fisher, British Art, Cabinet of Curiosities, Contemporary Art, Design, Drawing, Edinburgh College of Art, Etching, Expressionism, Feminine, Figurative Painting, Frances Walker, Holocaust, Joyce W Cairns, Keith Rand, Kenny Hunter, Mary Bourne, Masculine, NGS, Portraiture, Royal Scottish Academy, RSA, RSA Library, Scottish Art, Scottish Artists, Sculpture, Self Portrait, Sir James Guthrie, Sir John Soane, Thomas Duncan, War Artist, War Tourist, Wunderkammer	| Tagged 19th Century Art, Ages of Wonder, Art History, Artist Self Portraits, Beth L Fisher, British Art, Cabinet of Curiosities, Contemporary Art, Design, Drawing, Edinburgh College of Art, Etching, Expressionism, Feminine, Figurative Painting, Frances Walker, Holocaust, Joyce W Cairns, Keith Rand, Kenny Hunter, Mary Bourne, Masculine, NGS, Portraiture, Royal Scottish Academy, RSA, RSA Library, Scottish Art, Scottish Artists, Sculpture, Self Portrait, Sir James Guthrie, Sir John Soane, Thomas Duncan, War Artist, War Tourist, Wunderkammer	| Leave a Reply
Scottish artists inspired by the sea
Posted on 28th September 2016 by Georgina
Joyce W Cairns "Farewell To Footdee" (Oil on panel 122cm x 183cm)
The Sea- Scottish artists inspired by the sea
17 September – 29 October, Kilmorack Gallery, by Beauly.
Kilmorack Gallery's latest exhibition features work by some of Scotland's finest artists inspired by the convergence of land, sea and memory. Forces of Nature and mind are powerfully brought together in an exciting show including work by; Joyce W Cairns , Steve Dilworth, Kate Downie, Lotte Glob, Marian Leven, Will Maclean, Allan MacDonald, James Newton Adams, Mary Bourne, Ruth Brownlee, Helen Denerley, , Gail Harvey, Janette Kerr, Sian MacQueen, Lynn McGregor, Illona Morrice and Beth Robertson-Fiddes.
On entering the gallery Lotte Glob's large ceramic tile seascapes; Seascape, Seascape – Tidal and Seascape Stormy Sea, unleash an incredible intensity of colour in a molten fusion of elemental forces and raw materials. Brilliant ultramarine and turquoise create a feeling of depth that the viewer cannot help but dive into. In Seascape-Stormy Sea, water, earth, air and fire meet, unite and divide; cracking and separating like a microcosm of the earth's geological record. There's a sense of mindful physicality in this artist's work based on being in the landscape in the most expansive sense possible. This is combined with a lifetime's understanding of Craft, unsurpassed in her chosen discipline. Along the coastline of the UNESCO Northern Highlands Geopark that the artist calls home, the ancient Lewisian Gneiss rock, 3,000 million years old, meets the full force of the Atlantic Ocean. Shore, land and mountain are a rich source of found materials, transformed by fire in Glob's masterful ceramics. The strength, beauty and delicacy in her work is visibly distilled in Flower of the Sea; a living being of fired clay; anemone-like fingers extended around blooms of glassy blue/ green rock pools, tempered with the hue of a subsiding tide of red kelp. In Rock Flower, an outcrop of white clay blooms emerge from what feels like a monumental cliff face, a fused piece of immovable white stone balanced on top of the sculpted clay in counterpoint with the pale, mortal transience of flowers. The handling of materials and form is supremely sensitive and a celebration of an artist at the top of her profession. Reef is another superb example, a rocky outcrop emerging from a disc of ocean which feels like the entire globe; minerals and pigments ebb and flow to the edges of the ceramic, into the deepest sea of mind, time and space imaginable. Another signature piece is Secret Pool; a sphere resembling a meteorite flung from space, which when opened reveals an interior teaming life forms, shoreline colour and vivid joy. Lotte Glob's responses to her environment are pure and instinctual; her spirit is as adventurous as the experimentation in her Art and in walking the landscape she has come to understand Nature and human connectivity with the environment in ways that never fail to inspire. She's an artist who always makes me smile for the wisdom, vitality and sheer energy of her practice, intimately connected to the Northwest land, sky and sea from which she is inseparable.
Lotte Glob " Flower of the Sea" (Ceramic)
One of the most moving works in the exhibition is Farewell to Footdee (Oil on panel 122cm x 183cm) by Scotland's most significant figurative artist, Joyce. W. Cairns. In many ways the painting is an act of commemoration and remembrance, a strikingly poignant composition of memories which make a life. In frozen white, blue greyness, articulated by the pure warmth of cadmium /vermillion a masterful sense of composition emerges, in the structural diagonal and vertical uprights of the washing line, refracted light on the icy ground and the emotive placement of the human figure. As with all of Cairns' work we are pushed psychologically to the edge of the frame and beyond it; by design, the distilled palette, the interior positioning of the figures and by the artist's innate sensitivity. The acute subtlety of winter light upon the rooftops and gently nuanced expression on the face of the foreground female protagonist portrays a moment of vulnerability and sadness at the end of an era. The painting also acknowledges profound loss; of those who have passed, phases of life and aspects of self. Around the foreground protagonist's neck is a medal of honour, engraved; "Footdee 1979-2014", marking the artist's departure for Tayside and a new chapter in the battle of a creative life. I always try to refrain from purely autobiographical readings of this artist's paintings, because my sense of her work is that like all Great Artists she always transcends herself. It is true that most of Cairns' female figures physically resemble the artist and that many of her paintings respond to life in the old fishing village of Footdee and the port of Aberdeen, past memories and familial experiences, but equally her field of reference is more widely European in painterly terms and in subject matter. In her extraordinary body of work; War Tourist, Cairns certainly begins the journey re-tracing her Father's steps through WWII Europe, but the visual statement that emerged out of this research over the following decade crosses all borders into contemporary conflict, the nature of war and the eternal human condition. There are few artists that share her command of large scale figurative composition, save German Expressionists like Beckmann and Grosz. It's the emotional gravitas and conscience in her work that is immediately and monumentally striking. Look closer and the balance of elements in her compositions are breath taking; a perfect synthesis of instinct, control, ideas and technique. Cairns' familial memories are ever clothed in wartime dress, like the younger sister in red beret, gloves and shoes, who looks on in the mid-ground as the foreground Self departs the scene. However Farewell to Footdee is more than an image of individual/ autobiographical commemoration, remembrance or grief. The head and shoulders of the central female protagonist connects powerfully with the viewer's space and the sense of loss we all feel when we leave part of ourselves behind in the places we have lived and in the people we have loved. Her tilted hat, crowned with a white boarded cottage whose chimney almost transforms it into a house of worship, carries emotional weight; like the posture of the tiny female figure leaned within the doorway, head downcast and hands in pockets. Time collapses into the line of cottages that frame an inner courtyard of the soul; the yellow warmth of light from open doorways in the background illuminating scenes of romance, isolation and loneliness re-enacted in the farewell. It is impossible to see this painting and not be affected by its raw, profound emotional stillness or by the artist's consummate skill.
Joyce W Cairns "Messerschmitt Over Footdee" (Oil on ply, 152cm x 122cm)
In Messerschmitt Over Footdee (Oil on ply, 152cm x 122cm) Cairns assumes the role of an ARP (Air- raid Precaution) warden. Pushed into the foreground she is flanked by WWII ephemera; Lucky Strike cigarettes, anti-gas ointment and a gas attack leaflet arrangement of museum pieces. The phosphorescent glow of the sea merges with the sky in the heightened perspective of the composition. The illuminating presence and bisecting geometry of searchlights, lighthouses, washing lines and the boundaries of the safe harbour are invaded by an enemy bomber. Again the central protagonist is positioned in the foreground, standing in the viewer's space as witness, clutching a wreath of poppies to her chest. Out of a first floor window a woman waves a union jack, whilst below a naked female figure emerges from an illuminated doorway. The idea of "keeping the home fires burning" and the anxiety of war on the domestic front can be seen in the pallor of her expression, articulated by the memories , stories and artefacts gathered by the artist, assimilated within her psyche as part of the War Tourist retrospective body of work.
Steve Dilworth "Throwing Object" (Burr elm, wren and bronze)
A series of hand held objects by Isle of Harris based artist Steve Dilworth provide a very tactile experience of forms, materials and energy drawn directly from land and seascape. Throwing Object (Burr elm, wren and bronze) transforms the viewer into a participant in its natural beauty and crafted allure. The organic form of honey coloured elm feels like it has been freed by the hand of the artist and the touch of the visitor, with the worn glow of patina we might see in an ancient church pew, smoothed by generation after generation. With carved hollows for the fingers it is designed to be held and has a visceral, irresistible, gravitational pull. Once held it feels comforting as the object's centre of gravity aligns with your own, like a divining rod for the soul. This piece containing a small bird and held together by bronze fits comfortably in two hands as an object of contemplation or in the violent trajectory of one, it becomes a superbly balanced to "psychic weapon" of protection. The aged wood, once living bird and a metal, comprised mostly of conductive copper, create a unique flight path of intentionality and energy. The form feels organic but also like a human artefact and its gravitas can be felt in the ambiguity of its potential use. It is weighted in the interchange of crafting its two halves; for defensive action on the one hand, or meditative thought on the other; tendencies for creation or destruction which are both equally generated in moments of connection between Mother Nature and our own nature(s) as human beings. All of these associations flow from the intimacy, duality and ambiguity of an object which is not sculptural or a visual art in the traditional sense, but connecting with something deep, subconscious and essentially primal through the universal language of touch and collective memory.
Steve Dilworth "Deep Water" Water (Harris Stone, seabed water and whale bone, 10cm high x 17cm x 12.5cm )
This timeless quality can also be found in Deep Water (Harris Stone, seabed water and whale bone, 10cm high x 17cm x 12.5cm ) a drogue form of high contrast dark and light , grounded in the weight of solid stone and the depth of the emotionally conductive element held within it. Its hollows are curiously orbital and the delicate ridged line on top echoes a natural curve ending at the base of a skull, or the sleek skinned form of a sea mammal. The combination of water from the seabed off Rona, whale bone and Harris stone is inspired, with flecks of metallic starlight made visible by shaping and polishing. Seal Oil Stone (Harris stone, beach stone, copper, seal oil, 11cm high x 20cm x 18cm) also illuminates the value held within in the vial of seal oil which glints like precious gold, encased in the hollowed interior of a large beach pebble, eroded by waves, and coils of conductive copper. The speckled surface of the stone, green oxidisation of the copper and glimpse of the object's interior through a birth canal-like opening gives this work the feeling of a newly discovered ancient fertility object, borne of the sea. The instinctive combination and alignment of materials which has its own dynamic flow in the artist's studio, translates directly to the viewer through the nervous system. The form of the object is rich with associative triggers for the imagination and in this way, as with all of this artist's work, the visitor/ participant completes the object.
The pure energy of liquiform water and solid stone is distilled in Wave ( Harris Stone, 18cm high x 20cm x 9cm) an incredibly compact curvature that seems to encompass the lunar origins of tides and the dynamism of a concentrated form turning in on itself. The natural qualities of Harris stone become flecks of salt spray in shifting seams of green, while the precarious power of a crashing wave is folded into stone. The material is transformed by the idea, energy and presence of Nature. The thinned spine of the object and its asymmetrical base playfully pivot the deceptively simple core form in a singular moment of recognition, preserved for all time. On closer inspection the convergence of convex and concave facets reveal themselves as the light and the viewer's position changes. The edges are shaped with characteristic precision, sharpened to the touch and the sense of dynamic movement is extremely powerful, vastly exceeding the physical dimensions of the object.
Will Maclean Voyage of the James Caird- Elephant Island (Painted wood and resin, 82 x 72 cm).
The expansive mindscape of the ocean is the subject of Will Maclean's Winter North Atlantic (Painted wood and resin, 124cm x 105cm x 5cm) and a fine example of his work. (Reviewed previously as part of the Fiaradh gu'n Iar: Veering Westerly exhibition, IMAG, georginacoburnarts Blogpost 09/03/16.) Maclean's exploration below the surface is realised with great subtlety in the abstract box composition Voyage of the James Caird- Elephant Island (Painted wood and resin, 82 x 72 cm). Here the layered surface evokes the monumentality of a frozen wilderness, inscribed with human/ drawn marks of circular navigation and weighted plumb lines. To the right a small rectangular cutaway reveals a line of swell and landscaped horizon conveying an emotional sense of movement within the expanse of the extreme Southern Ocean. The ice flow palette, which moves and melts before the eyes, encompasses a God's-eye view and an interior window perspective penetrating the surface of the painting/ box construction. It is a perfectly balanced abstract of painted, drawn and constructed elements referencing history and the spirit of human exploration. The journey made by Shackleton and his companions in the small boat the "James Caird" from Elephant Island in the South Shetland Islands to South Georgia in the Southern Ocean was a feat of courage and persistence. Maclean's rendering conveys a state of mind and human vulnerability in relation to the environment, in the face of Nature at her most unforgiving. He achieves this in the drawn/ incised marks of a human hand and in the use of found materials, recovered debris from generational tides of human experience. In the presence of such a work we are brought face to face with the human scale of all our endeavours.
Kate Downie "The America Ship" (acrylic and ink on canvas, 167cm x 160cm)
Kate Downie's The America Ship (acrylic and ink on canvas, 167cm x 160cm) is a wonderful exploration of human and natural elements framed by the skewed perspective of a small boat enduring a swell. In an interior lounge space two figures sit apart from each other, staring out into an absorbing grey sea of their own thoughts. On the coffee table between them; a precariously poised model of a ship balances upon an elongated shadow of deepest blue. The coastline spills into the room and Downie's ink drawn marks are fast, bold and gestural, rendering the figures with dynamic stillness. The ochre ground of the floor anchors the ebb and flow of life and relationships, while the ship's wheel above spins like a hand of fate between the two figures. It is an image of human connection emotionally on board a model ship with the exterior environment brought into the domestic space to unexpectedly rich expressive effect. Part of what convinces in this work is Downie's direct drawn response, characteristically invested in her subject.
James Newton Adams A Pocket Full of Fish (Acrylic on canvas, 97 x 97 cm)
James Newton Adams has contributed a series of strong compositions to the exhibition including As I was Going to St Ives (Acrylic on canvas, 86 x 96 cm) and In the Company of Birds, (Acrylic on canvas, 87 x 87 cm), injected with Newton Adams' characteristically whimsical streak and naïve style, tempering what is a harsh human existence carved out between land and sea. One of the most interesting and affecting works in that respect is A Pocket Full of Fish (Acrylic on canvas, 97 x 97 cm) Newton Adams doesn't often depict the female figure but here his expressionistic rendering of a pregnant woman with a baby standing beside the absence of her partner, his orange fishing overalls suspended from the clothes line, is an insightful and socially charged image of inevitability and unrealised hopes. The pocketful of fish in her partner's overalls feels like a consolation prize, rather like the bundled child tucked nondescriptly in her arm like a lifeless, sleeping doll. The mother's bleak expression, mouth pinched shut like the red peg in her hand and with a hint of shadowed bruising around her eye, expands the in the pervasive mood of the composition. In the background a male figure plods, head bowed, along a depressively level horizon of road. Characteristic use of strong primaries; red, blue, yellow , together with the monochrome weight of white and black which delineates figurative scenes of coastal village and domestic life, give Newton Adams' paintings a certain edginess and emotional height uniquely his own.
Mary Bourne "Cloud Mass Over the Sea" (Ink wash on paper)
Edginess and emotional height is realised in a very different way in Peter Davis's Edge of the Storm (Watercolour and pigment on paper, 50 x 70cm) in the tonality of forces; dark and light, pitted against each other in the still calm before the storm. This is beautifully realised in the bisected composition and expert handling of a fluid and notoriously unforgiving medium. What is captured very potently is the threat of the storm, the tension in the moment before the onslaught; that very particular angry blue/grey temper of Scottish skies which is part of the internalised character of Northern land and seascape. The way the pigment is suspended, preserved in its once liquefied medium, also conveys the anticipatory moment, that heaviness, which contrasts beautifully with a shining horizon line of light over the sea. A zen like economy of expression also infuses the ink wash of Mary Bourne's Cloud Mass over the Sea, a wonderful dance between form, fluidity and reflection. In Red Cloud over Sea (Ink wash on paper) Bourne combines strong marks bled into the edges in a marriage of accidental and controlled marks, capturing one of Nature's meditative moments. Her low relief sandstone and palladium leaf sculptures; Beach I, II, III (each 30 x 30 cm )present not just an effective abstracted play of light on the sand in three dimensions, but the understated simplicity, of leaving the door ajar for the viewer's own imaginative experience of the shoreline; triggering memories of walking on sand among glinting pools and the dancing light of the sun.
Allan MacDonald "Great North Headland" (Oil on canvas, 40 x 152 cm)
A master of light and landscape painting in the Northern Romantic tradition, Allan MacDonald's Great North Headland (Oil on canvas, 40 x 152 cm) is a triptych which celebrates divinity in nature, conjoined with a human heart and mind beholding it. The massed energy of turbulent seas are realised in an invigorating palette of ochre, orange, red, green, umber and white- the physicality of cold salt spray and the heat of sublime spirit animating it, seen as underpainting or ground emerging through the layered impasto. A progressively more abstract immersion Form and Void- Beauly Firth (Oil on board) is bolder and confidently intuitive, with large flat foreground brush marks, white ground shining through and a blaze of resiliently hopeful blue. The paint handling reveals the artist's direct response to the enormity of Nature; land, sea and sky, which comes from working outside in all weathers. In Malestrom Eshness (Oil on board) a fury of waves crashes against the coastal cliffs- raw power, green, white, umber and furious grey, like the livid eye of stillness at the centre of a raging storm. These works aren't seascape scenes, but richly interpretative paintings, demonstrating a commitment to craft and belief with the artist's brush marks testimony to that all-encompassing devotional energy. They are also very physical responses to an endlessly challenging environment. The artist doesn't distance himself from the life force of nature all around him but actively goes out to meet it with all his perceptive faculties, not just what can be seen with his eyes. In consequence the viewer feels as if they too are standing on the edge of the cliff; in the grip of an essential dynamic between humankind, Nature and the eternal mystery of the sea.
All images by kind permission of Kilmorack Gallery.
http://www.kilmorackgallery.co.uk
Posted in Allan MacDonald, Ceramics, Contemporary Art, Contemporary Craft, Drawing, Kate Downie, Kilmorack Gallery, Landscape Painting, Lotte Glob, Mary Bourne, Painting, Peter Davis, Scottish Art, Scottish Artists, Sculpture, Steve Dilworth, Will MacLean	| Tagged Allan MacDonald, James Newton Adams, Joyce W Cairns, Kate Downie, Kilmorack gallery, Lotte Glob, Mary Bourne, Scottish Art, Steve Dilworth	| Leave a Reply


text:
Scholars & Alumni
Audition Resources
James Joyce Project
Something we are working on...
Chamber Music - James Joyce
James Joyce, a graduate of University College Dublin, is considered one of
the fathers of modern literature for his creative brilliance. Joyce was also an accomplished tenor, having won a bronze medal for solo singing in 1904 at the Dublin Feis Ceoil competition. According to a review of the competition in the Irish Daily Independent on 17 May 1904, 'Mr. Joyce showed himself possessed of the finest quality voice of any of those competing'.
Joyce wrote a letter to his brother expressing the hope that his collection, Chamber Music (1907) would one day be set to music: 'The book is in fact a suite of songs and if I were a musician I suppose I should have set them to music myself'. Joyce also expressed the hope to his brother that 'someone will do so, someone that knows old English music, as I like', and as a singer, perhaps he even had a choral ensemble in mind.
To mark the twentieth season of Choral Scholars in 2018-2019, the Latvian composer Eriks Esenvalds set the Joyce poem My Love is in a Light Attire for choir and violoncello, funded by matched-funding donations provided by private supporters of the choir and the university. Esenvalds often divides his choir into multiple parts allowing for deliciously rich textures that almost overwhelm the audience. In setting poem VII from 'Chamber Music' he chooses a less complex approach which allows him to reflects the innocence of the imagery presented by Joyce: 'My love goes slowly, bending to/Her shadow on the grass.' The result is essentially a love-song filled with nostalgic longing.
To celebrate the unique connection that University College Dublin has with James Joyce, the Artistic Director of Choral Scholars, Desmond Earley, wishes to curate and commission the setting for choir of the entire collection of thirty-six poems comprising Chamber Music, each by a different composer from around the world.
If you share our passion for excellence and wish to be part of our journey through the poetry of James Joyce, and bring new choral music to life, contact Desmond Earley, Artistic Director at desmond.earley@ucd.ie
Poem XXXI
O, it was out by Donnycarney
When the bat flew from tree to tree
My love and I did walk together;
And sweet were the words she said to me.
Along with us the summer wind Went murmuring—O, happily!—
But softer than the breath of summer Was the kiss she gave to me.
Email: choralscholars@ucd.ie
The Choral Scholars,
Memorial Hall,
Richview, UCD, Dublin 4
For further information about future concerts, recruitment and general enquiries relating to the ensemble in Ireland and abroad, including media, booking, publishing and licensing enquiries please contact:
The Choral Scholars of University College Dublin
© 2020 by The Choral Scholars of University College Dublin. Designed by Gavin Coll


Estelle Katz. "The New York Infirmary welcomed me on June 27, 1916 into this world. From Kindergarten through the high school and Ethical Culture Teacher Training I was fortunate to attend these Schools. During these years the weekly ethics classes never fully answered my questions about society's ills. The full answers came to me through the study of Marxism. As a result I first joined and worked in the American Youth Congress, joined the Young Communist League in 1935 and the Communist Party in 1937. This was the time of mass action. The struggles of the working class have always existed and are getting worse as time goes on. Mass action will come again and I will still be in the Party. My vocations have been many: pre-school teaching, waiting table, office work, ending my work career with teaching science in junior and senior high school."
- I was fortunate to visit many parts of the Soviet Union four times for a total of ten weeks. Was critical of areas needing improvement mainly in the factories.
- Today, however, having gone backwards, there is the reestablishment of a most early barbaric form of capitalism. "Bill of Rights" Socialism will be the eventual historical answer in the United States for curing the existing ills that we suffer with under capitalism.