text:
Tom Petty and The Heartbreakers - Tom Petty And The Heartbreakers - Review
On November 9, 1976, an album containing two of the most widely beloved and unavoidable rock radio staples ever recorded was released, and nearly a year went by before anyone noticed. It's not that the music was difficult or short on power-pop hooks or songs about rockin'—all the elements that later made Tom Petty and the Heartbreakers one of America's most agreeable and enduring music institutions were clear and present on the band's self-titled debut. But the album and the band were square pegs culturally—neither downtown cool nor Southern-rock sprawl, too dirtbag to be sex symbols, too nice to be dirtbags. "There's an eccentricity to the first album," Petty told biographer and former Del Fuegos guitarist Warren Zanes. "It doesn't sound like anything else from the time."
Eclectic might be a better word than eccentric. There was nothing particularly weird or inaccessible about the album's 10 tracks in 30 brisk minutes; if anything, arriving in the heyday of punk and glam and new wave, Tom Petty and the Heartbreakers weren't weird enough to grab immediate attention. Petty's cover pose, heavy-lidded smirking while sporting a black leather jacket and bandolier in front of a cloud of smoke and a logo with a flying-v, promised something snottier than the music delivered, trademark adenoidal whelp notwithstanding. The punchy drum beat and bassline of opener "Rockin' Around (With You)" quickly gave way to the great wide open of "Breakdown," a change of pace that hardly seems jarring now but may have been just a left enough turn to defy easy categorization at a moment when easy categorization was essential for launching a career.
In 1974, Tom Petty moved from Gainesville, Florida, to Hollywood with his new wife Jane and his band Mudcrutch, who were signed to esteemed British producer Denny Cordell's Shelter Records and then dropped before an album was even made. Shelter kept Petty on as a solo artist but he brought along Mudcrutch's guitarist Mike Campbell—Petty's closest collaborator for the entirety of his career—and keyboardist Benmont Tench, and added fellow Gainesville transplants, bassist Ron Blair and drummer Stan Lynch to start from scratch under the new name. In between, Petty had an apprenticeship of sorts with Cordell's Shelter partner Leon Russell and spent time with idols like Brian Wilson and future bandmate George Harrison. He'd gotten a close look at what success looked like, but so closely on the heels of Mudcrutch's disheartening failure—and with a newborn daughter to take care of—he knew he didn't have all the time in the world to find his own.
Under Cordell's watch, much of Tom Petty and the Heartbreakers consisted of amiable but forgettable trifles like "Mystery Man," and "Hometown Blues," as well as parallel-universe classics that foreshadowed bigger, better hits to come. "The Wild One, Forever" is the kind of cinematic power ballad that found its final form in "Nightwatchman" five years later while the simmering, mid-tempo "Fooled Again (I Don't Like It)" scans now like a dry run for "Refugee." It's a band figuring out how to be a band in real time—familiar with one another but still adjusting to a new dynamic in which their onetime hometown pal and bandmate was now unequivocally their boss. The luxurious groove of "Breakdown" was the ideal showcase to sell Petty's subtropical homesick alien voice ("your eyes give you ay-whey"), always unique even when the songs themselves weren't, necessarily. Throughout, they fade out abruptly rather than properly end, as if the album has somewhere to be in a half-hour.
Stylistically, the biggest gambit is "Luna," an atmospheric, vaguely proggy ballad that nods to Cordell's background producing the likes of Procol Harum and the Moody Blues. Petty sings in a higher register, ironing out the wrinkles of his most distinctive vocal tics, and even as the album's longest song at just under four minutes, it feels like an incomplete thought and drifts away before ever getting to anything like a hook. "I mean, you can tell we're discovering things, that we're happy to be there, you know?" Campbell told Warren Zanes. "Tom and I were probably more curious about the recording studio than the other guys. We wanted to figure out how to make records." Even with the benefit of generous hindsight, the album as a whole is mostly significant today as a sketchpad and a respectable starting point from which the band sought to, and did, improve.
And yet: Tom Petty and the Heartbreakers also contains what by now has to be on a very short list of the most perfect rock songs ever written. The musical equivalent of a starter's pistol or a struck match, "American Girl" is, somewhat counterintuitively, the album's final track; had it been the opener, it might not even have mattered what came after. From that clarion opening chord and snare crack to the jittery guitar solo outro and all beats in between, the song is a master class in economy and a snapshot of a newish band that's found its footing. The archetypal story of the girl from nowhere—or more specifically, from somewhere overlooking Highway 441 in central Florida—dreaming of somewhere else, is what eventually helped vault Petty into the sub-Springsteen league of capital-A American songwriters. It feels like the very blueprint of a hit, even though it never cracked the Billboard Hot 100 (but did peak at 40 in the UK).
In the aftermath of the album's release, radio stations were uniformly ambivalent, and opening for KISS went about as badly for Petty and his band as that sounds. Twenty-five years before Kings of Leon accepted this playbook like sacred scrolls from atop a Waffle House, five fresh-faced good ol' boys found their first real acceptance by going to London.
Tom Petty and the Heartbreakers opened a UK tour for Nils Lofgren in spring 1977 and "Anything That's Rock N' Roll," a perfectly generic stickin'-it-to-the-man anthem that is unlikely to reside on even diehard Petty fans' deep-cuts playlists, hit the UK charts (it was never released as a single in the U.S. at all). They stuck around, played "Top of the Pops," wound up on the covers of NME, Sounds, and Melody Maker, and got their first taste of the rock-star trappings that they would soon grow accustomed to over the next four decades. But by the end of that summer, the debut album—eight months after its release—had still only sold 12,000 copies in America.
ABC Records, which distributed Shelter, continued to badger radio stations into playing "Breakdown," which finally hit the top 40 just over a year after it first came out. But by then, Tom Petty and the Heartbreakers were back in the studio at work on an album, 1978's You're Gonna Get It!, that hit all the strengths their debut did, just a little bit harder.
Steve Kandell
Pitchfork is an American online magazine launched in 1995 by Ryan Schreiber, based in Chicago, Illinois, and owned by Condé Nast. Being developed during Schreiber's tenure in a record store at the time, the magazine developed a reputation for its extensive focus on independent music, but has since expanded to a variety of coverage on both indie and popular music. The site generally concentrates on new music, but Pitchfork journalists have also reviewed reissues and box sets. Since 2016, it has published retrospective reviews of classic or otherwise important albums every Sunday. The site has also published "best-of" lists – such as the best albums of the 1970s, 1980s and 1990s, and the best songs of the 1960s – as well as annual features detailing the best albums and tracks of each year since 1999 (and a retrospective Best Albums of 1998 list in 2018).


Track Pingdom user-centric performance metrics in Datadog, for correlation with other relevant events and metrics.
At this time we track the response_time metric for any sites you configure on the Pingdom website.
Metrics can only be imported for Pingdom customers at the Starter level or above.
Open the Pingdom integration tile.
You can ignore some checks by unchecking them or add some tags to the events that are going to be generated.
The Pingdom integration does not include any events.
The Pingdom integration pulls in transaction checks and reports them as service checks.
Why am I getting an error when updating user/password?
"There was an issue while testing your Pingdom configuration: Not permitted for account type".
Add the email address of your pingdom account owner in the (Optional) Account to query field, then save.


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Mormon leaders admit church founder Joseph Smith practiced polygamy
FILE - In this Dec. 8, 1997, file photo shows an 1842 watercolor portrait of Joseph Smith by Sutcliffe Maudsley on exhibit at the Museum of Church History and Art, in Salt Lake City. (AP Photo/Douglas C. Pizac, File) (The Associated Press)
Mormon leaders have admitted for the first time that the church's founder, Joseph Smith, took multiple wives, some of whom were in their early teens or married to other men.
The Salt Lake Tribune reports that the essay disclosing Smith's polygamy was posted on the official website of The Church of Jesus Christ of Latter-day Saints late last months. The essay was posted alongside an earlier offering detailing the history polygamy in Utah, where most Mormons live.
The work is part of a series of essays posted by the Mormon church about several topics that have made the faith a subject of controversy, including a ban on blacks in the priesthood that was not lifted until 1978,
The essay does not give a specific number of wives Smith had, but researcher Todd Compton told the Tribune that he believed the number to be at least 33, with 10 of those women under the age of 20. One of the women, Helen Mar Kimball, the daughter of two of Smith's close friends, was 14 at the time of their marriage.
The church claims that Smith likely did not have sexual relations with all his wives, but rather reserved, or "sealed", some relationships for the afterlife. The essay also claims that the practice of polygamy was revealed to Smith during his study of the Old Testament in 1831 and accepted reluctantly by the church's founder and a select group of his cohorts.
Smith was killed by a mob in Nauvoo, Illinois in 1844 at the age of 38. He was survived by his first wife, Emma, who lived until 1879. The essay claims that Emma "approved, at least for a time, of four of Joseph Smith's plural marriages," but later "vacillated in her view of plural marriage, at some points supporting it and at other times denouncing it."
Polygamy was not formally forbidden by the church until 1890, under pressure from the U.S. government. Even after the issuance of a manifesto, the practice continued, with some who refused to renounce it forming splinter churches. Mormons still believe that a man whose wife has died or divorced him can remarry and then be "sealed" to both wives in the afterlife.
Click for more from The Salt Lake Tribune.

redpajama_set_name: RedPajamaCommonCrawl


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Massive San Onofre renovation to employ 1,000
By The Pasadena Star-News | pasadenastarnews@dfmdev.com |
PUBLISHED: September 8, 2009 at 12:00 a.m. | UPDATED: August 29, 2017 at 12:42 p.m.
SAN ONOFRE – A massive construction project to replace integral parts of Southern California's only nuclear generators will begin this month, Southern California Edison announced.
The main phase of a $670 million project will create more than 1,000 temporary jobs and generate roughly $300 million in spending benefiting Southern California businesses, the utility announced.
The two nuclear generators perched on the side of the Pacific Ocean, at the San Diego-Orange county line, will each get two new steam generators inside the containment domes in the project. Each new generator is 65 feet tall, 22 feet in diameter and weighs 640 tons.
The generators absorb heat from the nuclear piles, and transfer it to water, flashing it into steam. That steam is then routed through special pipes to turn massive turbines and generate about 20 percent of the region's electricity on a normal day.
The four original steam generators are approaching the end of their service life, Edison said. The California Public Utilities Commission in 2005 approved a comprehensive cost-benefit analysis that concluded replacing steam generators would save utility customers as much as $1 billion during the next two decades, when compared to the likely cost of obtaining from other sources the 2,200 megawatts of power the plant generates.
Edison has had to take special steps to plan to slice into the containment domes, which are built with concrete that encases cables that were stretched tight to keep the structure intact. Cutting those cables, without jeopardizing the domes, required engineers to practice on a similar dome at a decommissioned power plant near Sacramento.
The largest pieces of the new generators arrived via barge at Oceanside last winter, and were creeped up the beaches of Camp Pendleton over a ponderous, months-long effort.
SCE plans to replace the two steam generators in the northern unit this fall and those in the southern unit during the fall of 2010. Each generator will be off line about 100 days for the changeovers.
The utility said San Onofre is one of the last plants in the U.S. nuclear power fleet to replace its steam generators. The process has been successfully carried out by 49 of the 58 U.S. plants of similar design without a serious safety incident, Edison said.
The construction project will be reviewed and monitored by the Nuclear Regulatory Commission, Edison said.
The Pasadena Star-News


text:
Q: TFS2010 msbuild msdeploy Unauthorized Error Appreciate any guidance or advice on below issue
I am using TFS2010 and below msbuild parameters in order to deploy build on staging server (continous deployment). I have done all necessery configuration such as

Management Service Delegation
Management Service
Filesystem Permission
IIS Manager Permission

msbuild parameters
/p:validatearchitecture=true  /p:AllowUntrustedCertificate=True /p:DeployOnbuild=True
/p:DeployTarget=MsDeployPublish /p:MSDeployPublishMethod=WMSVC
/p:MsDeployServiceUrl=stagingserver
/p:DeployIISAppPath="cddemo" /p:UserName=username /p:Password=password
/p:Outdir="D:\Demo\Demo\\"

Having below error. how to resolve it? and How can I remove https from link and use verbosity parameter to see detailed error.

C:\Program Files (x86)\MSBuild\Microsoft\VisualStudio\v10.0
  \Web\Microsoft.Web.Publishing.targets (3588): Web deployment task
  failed.(Remote agent (URL
  https://stagingserver:8172/msdeploy.axd?site=cddemo) could not be
  contacted.  Make sure the remote agent service is installed and
  started on the target computer.) Make sure the site name, user name,
  and password are correct. If the issue is not resolved, please contact
  your local or server administrator. Error details: Remote agent (URL
  https://stagingserver:8172/msdeploy.axd?site=cddemo) could not be
  contacted.  Make sure the remote agent service is installed and
  started on the target computer. An unsupported response was received.
  The response header 'MSDeploy.Response' was '' but 'v1' was expected.
  The remote server returned an error: (401) Unauthorized.

A: I can only think of two things to try:

*

*Qualify your user name with the server/domain name: /p:UserName:Server\Username

*Try explicitly defining /p:AuthType=Basic or /p:AuthType:NTLM

redpajama_set_name: RedPajamaStackExchange


Today started with trauma when I ran out of Starbucks coffee. I cannot get more until Auckland, 10 days from now. I haven't alerted Allyn yet. In two days, we will be in Bora Bora, and I am sure they will have some local coffee to tide us over.
We learned a ton today about Captain Cook, Tahiti, and other local facts.
Tonight was "big doings" around the ship. Not only was it a formal night, but a super special one. The Captain is leaving for a ten-week vacation, and it is the ship's eighth birthday. Yes, we even sang happy birthday to the ship at the cocktail party.
The Captain invited us to sit at his table. Clearly, Allyn was the special guest, but we are a package. She was even seated to his immediate left. He has taken special shine to her ever since the talent show, where she wrote a song complimenting him. Even captains don't get songs written about them every day.
I dreaded a long boring evening, and it looked like that might have been the case. Fortunately the pace quickly picked up, and it turned out to be quite a nice evening.


text:
International PR & Space Technology Transfer Commercialization advisor
Space4Women Network Mentor
I'm honored to be officially part of Space4Women Network, a program by UNOOSA United Nations Office for Outer Space Affairs to inspire girls and women to study STEM and pursue a space career. I made a commitment to be a role model raising awareness, advocating for and inspiring women and girls through my personal story and through coaching and sponsorship of women in space. It's a wonderful adventure!
https://space4women.unoosa.org/content/2020-mentor-chiara-chiesa
B-Farm Opinions on innovation
Podcast Columnist on Space Economy and Technology
https://opinions.b-farm.it/authors/961/Chiara1CHIESA
Speaker 2020 edition
Speaker of Tedx Brescia 2020, "Una sfida spaziale: l'economia vola con la tecnologia dallo spazio". Video on TEDx Talks youtube channel.
https://youtu.be/r2BfBHPTo7M
Lead, founder and organizer for Brescia
Since 2018 I'm so proud to organize for my city, Brescia, this amazing global hackathon which goal is to build solutions for earth and space problems also addressing SDGs
using NASA free space data platforms.
I love so much NASA, Space Apps hackathon and community, my space career started with it!
https://www.facebook.com/NasaSpaceAppsBrescia/
INTERSTELLARS is a not-for profit cultural organization on space technology transfer dissemination linked to SDGs goals.
Our aim is to disseminate the opportunities of newspace economy through the use of space data and space technology.
https://www.facebook.com/INTERSTELLARSINTERSTELLARS/
https://www.graphene-xt.com/
https://sgush.com/en/
Photo Courtesy Antonio Fowl Stark & TEDx Brescia
© 2023 chiarachiesa.it


text:
<?php

/**
 * This is a "CMS" model for quotes, but with bogus hard-coded data,
 * so that we don't have to worry about any database setup.
 * This would be considered a "mock database" model.
 *
 * @author jim
 */
class Quotes extends CI_Model
{

	// The data comes from http://www.imdb.com/title/tt0094012/
	// expressed using long-form array notaiton in case students use PHP 5.x
	var $data = array(
		'home'	 => array('page'	 => 'home', 'content'	 => 'this is home',),
		'fleet'	 => array('page'	 => 'fleet', 'content'	 => 'this is fleet'),
		'flight' => array('page'	 => 'flight', 'content'	 => 'this is flight'),
		'about'	 => array('page'	 => 'about', 'content'	 => 'this is about')

	);

	// Constructor
	public function __construct()
	{
		parent::__construct();

		// inject each "record" key into the record itself, for ease of presentation
		foreach ($this->data as $key => $record)
		{
			$record['key'] = $key;
			$this->data[$key] = $record;
		}
	}

	// retrieve a single quote, null if not found
	public function get($which)
	{
		return  $this->data[$which];
	}

	// retrieve all of the quotes
	public function all()
	{
		return $this->data;
	}

}

redpajama_set_name: RedPajamaGithub


text:
Fidelity International begins exploring blockchain
Fund manager has also launched a game that allows staff to simulate trading cryptocurrencies — with cash prizes for top performers
New kid on the block(chain): Fidelity International follows in the footsteps of its US cousin Getty Images
Ryan Weeks and
Fidelity International is exploring the use of blockchain technology, stoking expectations that the fund management company is mulling a foray into the cryptocurrency market.
Staff across various parts of the international business — which oversees more than £317bn in assets globally — are involved in investigating the technology underpinning cryptocurrencies, according to people familiar with the matter.


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Haley Farm State Park
Home/Haley Farm State Park
Haley Farm State Parkdeveloper2020-01-22T14:06:33-05:00
Address: 24 Haley Farm Ln
Place Categories: Attractions and Fitness
Connecticut's first governor, John Winthrop Jr., owned a portion of the farm in 1648. Over the years, the land had various owners, including the Chester family in the 18th century, whose headstones are still on the property. Caleb Haley eventually became owner and he farmed the land in the late 19th to 20th centuries. His hobby of building stone walls can still be seen today. Remains of the old farm's buildings can still be seen near the entrance of the park.
In 1963, efforts to protect the farm from being sold to developers began. The State of Connecticut agreed to match funds raised for the purchase of the farm. The Groton Open Space Association with the help of The CT Forest & Park Association led a successful fund raising effort that led to the purchase of the property. In July of 1970, Life Magazine featured an article on Haley Farm titled "Battles Won". Haley Farm became an official Connecticut State Park in July of 1970. Nearby Bluff Point State Park and Coastal Reserve was protected from great development pressures and was saved in 1975. It can be reached from Haley Farm via a bridge over the railroad tracks. The two parks, combined, offer over 1000 acres of land and are permanently protected as open space for public enjoyment. www.ct.gov
Category: Attractions and Fitness


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Brand Apparel
Home Behind the Scenes True Original
True Original
Posted on December 01, 2012 by Warren Arcilla
One hundred and twenty one years ago today, James Naismith created the game of basketball. It was a harsh winter day at a local YMCA, where Naismith was told to come up with an indoor game that would provide an athletic distraction. This is where the game of basketball was born. James Naismith invented the game and wrote down 13 basic rules. This original document was auctioned off in 2010 for 4.3 million dollars.
The first game of basketball was played in 1891 with a soccer ball and two peach baskets. In 1898 the University of Kansas men's basketball program officially began. Ironically, Naismith was the only coach in the program's history to have a losing record, (55-60).
However, Naismith also coached Forrest "Phog" Allen, his eventual successor at Kansas. Allen followed his mentor and embarked on a coaching career that lead him to be called "The Father of Basketball Coaching." During his time at Kansas, Allen coached Dean Smith and Adolph Rupp who are currently in the top 5 of winningest coaches in NCAA Division I history. Even after all these years, Phog Allen still remains in the top 15.
All three coaches stemmed from Naismith at University of Kansas who all are members of the Basketball Hall of Fame. Basketball has evolved into a international phenomenon. It has extended its reach to new heights and created hundreds of iconic superstars and role models. But never forget, the University of Kansas is where the true originals began.
Posted in adidas, allen fieldhouse, basketball, jayhawks, naismith, university of kansas, video
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El Jardín del Tarot es un parque artístico ubicado en Garavicchio, cerca de Pescia Fiorentina, aldea de Capalbio (GR) en Toscana, Italia. El parque fue ideado por la artista franco-estadounidense Niki de Saint Phalle, y está poblado de estatuas inspiradas en las figuras de los arcanos mayores del tarot. Según la voluntad de la artista, en el Jardín del Tarot no se realizan visitas guiadas para dejar libre a la interpretación de los visitantes.

Historia

Inspiràndose en el Park Guell de Antoni Gaudí en Barcelona y en el jardín de Bomarzo, Niki de Saint Phalle empieza la construcción del Jardín del Tarot en 1979.

Identificando en el Jardín el ensueño mágico y espiritual de su vida, Niki de Saint Phalle se ha dedicado a la construcción de las veintidós imponentes figuras en acero y cemento recubiertas de vidrios, espejos y cerámicas pintadas, durante más de diecisiete años, apoyada, además por varios obreros especializados, por un equipo de personajes famosos del arte contemporáneo como Rico Weber, Sepp Imhof, Paul Wiedmer, Dok van Winsen, Pierre Marie y Isabelle Las Jeune, Alan Davie, Marina Karella y sobre todo por su marido Jean Tinguely, desaparecido en 1991, que ha creado las estructuras metálicas de las enormes esculturas y ha añadido otras con sus mécaniques, ensamblajes móviles de elementos mecánicos en hierro.

Para realizar la obra han colaborado también Ricardo Menon, amigo y asistente personal de Niki de Saint Phalle, y Venera Finocchiaro, ceramista romana; las esculturas más pequeñas del Jardín (la Templanza, los Enamorados, El Mundo, el Ermitaño, el Oráculo, la Muerte y el Colgado), realizadas en París con la ayuda de Marco Zitelli, posteriormente han sido producidas en poliéster por Robert, Gerard y Olivier Haligon. El arquitecto suizo Mario Botta, con el arquitecto toscano Roberto Aureli, ha dibujado el pabellón de entrada, una pared medianera con una gran abertura circular al centro, pensado como un divisoria entre el Jardín y la realidad cotidiana.

Acabado recién en el verano de 1996, la realización del Jardín ha requerido, adicionalmente a un enorme trabajo de instalación, un costo de aproximadamente 5.16 millones de euros totalmente autofinanciado por la autora. En 1997 Niki de Saint Phalle creó a la Fundación El Jardín del Tarot, cuyo objetivo es preservar y mantener la obra realizada por la escultora. El 15 de  mayo de 1998 el Jardín del Tarot fue abierto a la audiencia. Al visitar el parque se nota que no se han terminado algunas intervenciones y que una estatua está inacabada debido a la enfermedad respiratoria que mató al artista en 2002 y cuyo deseo era no completar las partes que ella misma no había logrado terminar.

La crítica

Las esculturas inspiradas en los arcanos mayores del Tarot, por lo tanto llenas de significados simbólicos y esotéricos, son la última etapa de un recorrido artístico empezado por Niki de Saint Phalle a mediados de la década de 1960, después de haber abandonado el Nuevo Realismo y los conjuntos multimateriales para la creación de las llamadas "Nanas", enormes, sinuosas figuras femeninas transitables y habitables, la primera de las cuales - La Hon -  fue realizada en 1966 para el Museo de Estocolmo y la más famosa de las cuales, la Tête, fue instalada en 1973 en el bosque de Milly-la-Forêt en Francia y declarada monumento nacional por el presidente Mitterrand.

En los colores intensos y vivaces, en la "espasmódica dilatación de las formas y en la luminosidad inspirada en los maestros del cromatismo, de Matisse a Picasso, de Kandinskij a Klee", las esculturas corpulentas y explosivas del Jardín del Tarot, recubiertas de un "vestido de luz que transforma las diferentes figuras personalizadas en una fabulosa sucesión de aderezos neobarrocos", arroban "la atención y los sentidos del espectador", que, lejos de recorrer un parque de atracciones, realiza un tipo de recorrido de iniciación que recuerda a distinguidos personajes precedentes - Bomarzo, el Palacio Ideal de Ferdinand Cheval en la Drome, el Park Güell, las Watts Towers de Simon Rodia de Los Ángeles - pero que se caracteriza sobre todo por la presencia de un Femenino materno y potente, cargado de complejidad simbólica y de "no casuales conexiones (...) con los "calvarios" psíquicos y físicos" de la autora.

Celebrada como obra única en su género, al Jardín del Tarot se le dedicó en el verano de 1997 una exposición dentro de la "Polveriera Guzmán", sobre la laguna de Orbetello, preparada por Gianni Pettena, a cargo de Anna Mazzanti con intervenciones de Pierre Restany y Enrico Crispolti, y acompañada de una película biográfica de Peter Schamoni sobre la historia artística de la escultora. En el verano de 2006 la administración comunal de Capalbio organizó la primera muestra sobre el Jardín con exposición de aproximadamente 60 obras y documentos de obras de colecciones privadas, realizada en el Castillo Aldobrandeschi Collacchioni. El curador de la exposición fue Roberto Aureli, colaborador durante más de una década de Niki y Jean Tinguely para la definición del Jardín del Tarot.

De la obra está unánimemente reconocido la unión entre arte y arquitectura, porque "de la primera utiliza los amplios repertorios figurativos y lingüísticos, pero de la segunda tiene la dimensión: humana, habitable, tangible" y para la "voluntad de destino del acontecimiento plástico a configuración ambiental, por lo tanto transitable, habitable". Además, con la decoración de su escultura-vivienda, la Emperatriz-Esfinge, Niki de Saint Phalle ha elaborado y realizado la otra estrecha relación entre arte, arquitectura y diseño, mientras que, aún, presentes y evidentes son la integración arte-naturaleza, tradición-contemporaneidad, formas-color, materia-espíritu, de manera que el Jardín del Tarot  es una obra integral.

Descripción

Ubicación
El Jardín se encuentra en la ladera meridional de la colina de Garavicchio, en la Maremma toscana. La obra, se desarrolla por aproximadamente 2 hectáreas de terreno, constituye una verdadera "ciudad" en la que las esculturas-casas marcan las etapas del recorrido resaltando muy pintadas ya de la calle en el salvaje paisaje natural. A los pies de la colina de Garavicchio, el acceso al Jardín está cerrado por una larga muralla del pabellón de entrada realizada por Mario Botta, formado por una doble pared medianera en toba con una sola gran abertura circular al centro, cerrada por una verja. El mismo Botta ha afirmado que en el dibujo de la entrada ha intentado interpretar el sentimiento de "separación" entre el Jardín y el mundo exterior que Niki de Saint Phalle pedía: la pared se entiende por lo tanto como un "umbral", a cruzar para entrar en una "pausa mágica" claramente dividida por la realidad de todos los días. En el proyecto, el muro ha tomado cada vez más espesor para ser equipado, en el interior, con los servicios requeridos por una actividad de tránsito; las dos paredes paralelas están divididas por un espacio, pavimentado en pórfido, que acoge, a los lados de la abertura circular, las estructuras de metal y vidrio para la taquilla y la pequeña tienda.

La plaza central
Al cruzar el umbral, el camino de ripio sube hasta la gran plaza central ocupada por una piscina y dominada por las figuras unidas de la Papisa y el Mago, los primeros arcanos mayores del Tarot que marcan el inicio del recorrido. Rodeada por el verde y los sinuosos bancos de Pierre Marie Le Jeune, la plaza, tipo de gran anfiteatro dominado por las otras, pintadas esculturas, comunicará inmediatamente esa impresión de inquietud y hechizo, de fascinación, de juego, de espléndida visión que anima a todo el Jardín. La piscina circular en la que se recogen las aguas que salen de la cascada de la escalera que viene de la enorme boca abierta de la Papisa, clara reminiscencia del Ogro de Bomarzo e ideal vínculo con los juegos de agua de Villa d'Este está marcada en el centro por la Rueda de la Fortuna, la escultura mecánica móvil realizada por Jean Tinguely. Las sendas que se bifurcan de la plaza recorren itinerarios diferentes que siguen las sinuosidades del terreno, subiendo o bajando a lo largo de la cresta. También los caminos juegan en la obra un papel fundamental: sobre el cemento que las reviste, en efecto, Niki de Saint Phalle ha grabado indeleblemente apuntes de pensamiento, memorias, números, citas, dibujos, mensajes de esperanza y de fe, desenvolviendo un camino que una vez más no es sólo físico sino sobre todo espiritual. Sobre la cresta derecha, la pequeña escalera que sube de la plaza pasa bajo la figura del Sol, encarnado en el gran pájaro del fuego, blanco, rojo y amarillo, colocado sobre un gran arco azul, en el que es evidente la llamada a la iconografía de los indios de América. Inmediatamente después del Sol, aquí está el Papa, obra favorita de Tinguely que consolidó su estructura "en solitario" y que adopta la técnica filiforme llamada skinny.

El Árbol de la Vida, la Justicia, los Enamorados y el Profeta

El árbol de la Vida está en contraste con el espacio cable encerrado en las columnas del Papa. Su sólido cuerpo coronado por cabezas de serpientes está recubierto, como un periódico mural, de inscripciones, grafismos y dibujos de Tinguely y de Niki de Saint Phalle, que cuenta en particular su experiencia autobiográfica en los bloques del panel "My Love". Delineado con hilos de color en el centro de un sector ovalado cubierto de espejos, el Árbol de la Vida muestra la figura del Ahorcado, que desde su punto de vista invertido sugiere otra manera de ver la realidad de las cosas.

En frente sube hasta la cabeza del Mago la serpenteante escalera azul intenso bajo la cual se esconde el acceso escondido al interior de la cabeza-fuente de la Papisa, pintado de azul con estrellas plateadas. A la derecha está la figura de la Justicia, inquietante en su claro contraste de blanco y negro, con la balanza sobre sus grandes senos y el espacio interior, cerrado por una puerta con un enorme candado, ocupado por otra de las siniestras mecaniqués de Jean Tinguely que representa La Injusticia.

A lo largo del sendero de cemento - mientras que un cartel señala una posible desviación en un bosquecillo, donde están colocadas las esculturas de los Enamorados, pintadas y felices figuras en poliéster que sentadas comen su pícnic y, más atrás, solitaria en medio a una pequeña radura, el Profeta, gran fantasma cable enteramente cubierto de espejos -  se encuentra el castillo del Emperador, pensado "como una ciudadela imperial con torres, un paseo de ronda, de un patio adornado con una fuente y 22 columnas (el número de los Arcanos Mayores) que sostienen un pórtico".

El Emperador y la Torre
El Emperador es la figura con mayor plenitud arquitectónica, que Niki de Saint Phalle ha estudiado mucho y ha modificado donde parece recogida la herencia de Gaudí. Representa el papel del masculino, físico y psíquico (simbolizado por las estructuras verticales y del cohete rojo dirigido hacia el cielo puesto en fregio al camino superior), de la ambición, del poder consolidado "un recuerdo onírico del arte encontrado de los años Sesenta"- que comprende "vidrios de Murano y murrine, espejos de Francia, cecoslovacos y de Boemia, relieves decorativos (...) y piezas de un rompecabezas", recordando "objetos y elementos de los más varios o son los calques  de los rostros de todos aquellos que han colaborado a la creación del Jardín del Tarot, cuyos nombres están reproducidos también en murrine todo entorno a una de las columnas del pórtico".

En el centro del patio, rodeado por este ondulado pórtico, está una piscina circular en la que cuatro felices, pintadas nanas se bañan, chorreando de los pechos chorros de agua. En la parte posterior del Castillo, desconectada pero incumbente, se eleva la Torre, símbolo de las construcciones mentales no fundadas sobre bases sólidas, enteramente cubierta con espejos y decapitada por la violencia del rayo-máquina-chatarra pensada por Jean Tinguely.

Desde las ventanas rectangulares recortadas a lo largo de las paredes de la Torre se puede ver el interior del edificio, cuyas estrechas habitaciones habían sido destinadas a oficina, hoy no accesible.

La Emperatriz-Esfinge

Anteriormente cerrada al público es también la escultura más representativa e importante del complejo, la Emperatriz-Esfinge en la que Niki de Saint Phalle vivió durante largos períodos de tiempo durante los trabajos. Situada al lado del Castillo, la Emperatriz se asoma a la plaza de abajo y se encuentra en posición dominante sobre todo el Jardín. Enorme y opulenta, el cuerpo excesivamente formoso cubierto con una fantasmagoría de cerámicas moladas, la Emperatriz encarna quizás mejor que cualquier otra escultura la cifra estilística de la "curva" adoptada por Niki de Saint-Phalle desde los años sesenta en sus "Nanas". Dentro de la "gran madre" - "espacio todo redondo sin ángulo" según las palabras de la autora, destinado a vivienda con el dormitorio en un seno, la cocina en el otro y el espacio central amoblado como salón de estudio - fueron colocadas el 17 de agosto de 1996 - actualmente visibles - las figuras del Juicio, de las Estrellas y del Carro, reflejadas por los miles de fragmentos de espejos venecianos que recubren las paredes. En el dorso de la Emperatriz, los hilos de la melena cubierta de espejos azul eléctrico que enmarca el rostro negro de la figura, delimitan una terraza-mirador toda recovecos y concavidad, accesible desde una escalera modelada en el lado externo, desde donde se disfruta del gran panorama del campo circundante y la visión plateada de la Luna, escultura "skinny" sostenida por el cangrejo rojo situado en el centro de un claro más abajo.

La Templanza
Siguiendo el camino, a la izquierda surge la cúpula-capilla de espejos y cemento dominada por la figura de la Templanza, dedicada a la memoria de Jean Tinguely y de Ricardo Menon; el iglú está cubierto en el interior de espejos y formas cerámicas en forma de flores, y se centra alrededor de un pequeño altar con el bajorrelieve pintado de una Virgen negra, que vela sobre las fotografías de los amigos desaparecidos. Entrar en la capilla significa entrar en una dimensión en la que se pierden los parámetros espaciales conocidos: más que en otros lugares del Jardín (y aún más fuerte debe ser la sensación dentro de la Emperatriz), el efecto es de un envolvente, caleidoscopio de colores y formas curvas continuamente reflejadas y rotas, un espacio mágico y escurridizo en el que parece traducirse el concepto mismo de infinito. Cerca de la capilla, en medio del verde, se encuentran esculturas-asientos en forma de animales, utilizables como momentos de parada, de contemplación y de meditación, mientras que otras esculturas, de sujeto mítico (la Diosa de las serpientes o el Oráculo) o animal (el gato Ricardo) se dispersan en el bosque.

La Muerte, el Diablo, el Loco, el Mundo

Volviendo hacia atrás hasta la escultura del Sol, otro pequeño camino de tierra llega hasta el último, salvaje sector del Jardín, un solitario itinerario de tres pequeños claros cercanos a las esculturas de la Muerte, puesta sobre una base de espejos y simbolizada por una sonriente figura dorada montada sobre un caballo azul que corta a hombres y animales a sus pies; del Diablo, que está al acehco en el fondo de un nicho vegetal, con las alas de murciélago desplegadas, el cuerpo pintado, el sexo incierto, las dos figuras humanas - femenina y masculina - a los lados; del Loco, filiforme escultura "skinny" en la que el joven vagabundo, en el cual el artista se identifica, es el símbolo del caos, del espíritu y del entusiasmo y, finalmente, del Mundo, realizada junto con Tinguely que creó la máquina ferrosa en la base que hace girar a intervalos regulares, alumbrando mágicamente con minúsculas partículas de luz el verde circundante, la esfera de espejos que se encuentra entre las espiras de una serpiente y dominada por una figura de mujer con los brazos abiertos.

La Fuerza
La escultura de la Fuerza representa el undécimo Arcano del Tarot y muestra una mujer que refrena a un dragón, liado a ella de un hilo invisible.Es una original interpretación de este Arcano, que, del Mazzi Visconti Sforza del 1450, representa a una mujer que abre las fauces a un león. La introducción de la figura del dragón muestra también las deudas iconográficas que la artista tiene hacia las esculturas del Bosco Sacro di Bomanzo, donde está un dragón que acuerda mucho lo de Niki de Saint Phalle.

Referencias

Bibliografía

 Niki de Saint Phalle, Collaborazioni, in Jean Tinguely. Una magia más fuerte de las muertas, Catálogo de la Muestra Venecia, Palacio Gordo, Venecia 1987
 Niki de Saint Phalle. Bilder-Figuren-Phantastische Garten, Catálogo de la Muestra a cura de C. Schulz Hoffman, Bonn 1987
 B, Catalani Il Giardino dei Tarocchi, de Niki de Saint Phalle, "Arquitectura y Arte", n¡ 1, enero-marzo de 1998
 Nathalie de Saint Phalle Niki de Saint Phalle y Jean Tinguely , "Galeries Magazine", n. 31, junio-julio de 1989
 Le jardin des tarots, en Niki de Saint Phalle. Oevres des annés 80, Catalogo de la Muestra a cura de P. Hulten P., París, Galerie de France 1989
 P. Braff Nanas, Guns and Gardens "Art en Ámsterdam", 12 de diciembre de 1992
 Alberto Giorgio Cassani, "Garavicchio (Grosseto), il giardino dei Tarocchi (1979-1991)", en "'ANAGKH", II, n° 5, marzo de 1994, pp. 50–59.
 B. Graziani, Niki de Saint Phalle colossal, colossal!, "Paris Match", 24 de junio de 1993
 Niki de Saint Phalle, A little of my story with you Jean, en Museum Jean Tinguely Basel. The collection, 1996
 Niki de Saint Phalle, Catálogo de la muestra a cura de A. Mazzanti, Orbetello Polveriera Guzman, 1997
 A Mazzanti Niki de Saint Phalle a Orbetello: cuando l juego se hace duro, "ART y Expediente", n¡ 125, julio#-agosto, pp. 12–16 1997,

 Y. Morelli, introduzione alla sezione spazi per l'arte, Il Girdino dei Tarocchi di Niki de Saint Phalle en G. G. Rizzo, A. Valentini (a cura de), Lugares y paisajes en Italia, Firenze University Press, Firenze 2004.
 R. Aureli Niki de Saint Phalle a Capalbio Catálogo de la muestra a cura de Roberto Aureli, Palacio Collacchioni verano 2006, AION ediciones (2006).
 Silvia Bottinelli, Claudia Lamberti, Matteo Mattei, Progettare lo spazio onirico: il "Giardino dei Tarocchi" a Capalbio, tra arte e architettura, in "Bollettino ingegneri", n° 10, 2007, pp. 10–20.
 R. Trapani, Il Giardino dei Tarocchi di Niki de Saint Phalle: un'opera d'arte totale nella campagna toscana, in Echi d'arte, Anno 2, n° 10 (novembre – dicembre 2007).
 L. Agostini, Il Giardino dei Tarocchi, Ed. Lulu.com, Anno 2007, 136 pagine, ISBN 978-1-84799-344-1.

Enlaces externos

  Wikimedia Commons contiene immagini o altri file su Giardino dei Tarocchi

Tarot
Esculturas de Italia del siglo XX

redpajama_set_name: RedPajamaWikipedia


If you are lucky enough to live in one of the handful of cities around the country that can get access to the Sprint or Clearwire 4G WiMax networks Toshiba has announced some of its notebooks can be purchased with WiMax modems installed already. The newly updated machines are set to hit stores this month and run a range of sizes and price points.
The machines include the Satellite A665 with a 16-inch HD screen, GeForce graphics, and Intel Core processors. The machine will be offered in three models with WiMax inside starting at $804.99. The Satellite M645 is a 14-inch HD widescreen notebook with harman/kardon sound system, Intel Core processors and more. It will start at $759.99 for WiMax packing models.
Toshiba is also offering the Portege R705 with a 13.3-inch screen that is designed to be portable with a weight of 3 pounds. The R705 with WiMax inside is $899.99. The final WiMax notebook is the Satellite E205, a Best Buy exclusive machine. It has a 14-inch screen GeForce 310 M graphics and Intel Wireless Display tech for $1079.99.


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Previous Chapter Chapter Four: Online Learning and Differential Participation in a Democratic Society: Ireland as a Case Study Next Chapter
Sarah FitzPatrick & Paul Conway
In: Global Perspectives on E-Learning: Rhetoric and Reality
Chapter Four: Online Learning and Differential Participation in a Democratic Society: Ireland as a Case Study
Edited by: Alison A. Carr-Chellman
Subject: Online Learning & Distance Ed
FitzPatrick, S. & Conway, P. (2005). Online learning and differential participation in a democratic society: ireland as a case study. In A. A. Carr-Chellman (Ed.), Global perspectives on e-learning: Rhetoric and reality (pp. 71-88). Thousand Oaks, CA: SAGE Publications, Inc. doi: 10.4135/9781452204390.n5
FitzPatrick, Sarah and Paul Conway. "Online Learning and Differential Participation in a Democratic Society: Ireland as a Case Study." In Global Perspectives on E-Learning: Rhetoric and Reality, edited by Alison A. Carr-Chellman, 71-88. Thousand Oaks, CA: SAGE Publications, Inc., 2005. doi: 10.4135/9781452204390.n5.
FitzPatrick, S & Conway, P 2005, 'Online learning and differential participation in a democratic society: ireland as a case study', in Carr-Chellman, AA (ed.), Global perspectives on e-learning: rhetoric and reality, SAGE Publications, Inc., Thousand Oaks, CA, pp. 71-88, viewed 20 January 2020, doi: 10.4135/9781452204390.n5.
FitzPatrick, Sarah and Paul Conway. "Online Learning and Differential Participation in a Democratic Society: Ireland as a Case Study." Global Perspectives on E-Learning: Rhetoric and Reality. Ed. Alison A. Carr-Chellman. Thousand Oaks: SAGE Publications, Inc., 2005. 71-88. SAGE Knowledge. Web. 20 Jan. 2020, doi: 10.4135/9781452204390.n5.
Online Learning and Differential Participation in a Democratic Society: Ireland as a Case Study
SarahFitzPatrickPaulConway
Information society developments have a particular significance for Ireland as a small open economy in an increasingly networked global economy, where knowledge-based innovation is becoming the key source of sustainable competitive advantage (Information Society Commission [ISC], 2004).
Situated at the edge of Western Europe, Ireland's location has traditionally circumscribed its struggle for social and economic development. Emerging from its traditional, poor, conservative, and colonial past, Ireland has recently proven itself immensely attractive to multinational capital investment. In the late 1990s, Ireland experienced unprecedented economic growth and even during the economic downturn at the beginning of the 2000s maintained a ...
Part II Online Education in Europe: An Analysis of Ireland, the United Kingdom, Turkey, and International Study Circles
Chapter Five E-Learning, Democracy, and Social Exclusion: Issues of Access and Retention in the United Kingdom
Part I: Online Education in Asia: An Analysis of China, Taiwan, and India
Chapter One: China's Online Education: Rhetoric and Realities
Chapter Two: The Gap Between E-Learning Availability and E-Learning Industry Development in Taiwan
Chapter Three: Distance Education and Online Technologies in India
Part II: Online Education in Europe: An Analysis of Ireland, the United Kingdom, Turkey, and International Study Circles
Chapter Five: E-Learning, Democracy, and Social Exclusion: Issues of Access and Retention in the United Kingdom
Chapter Six: International Study Circles
Chapter Seven: A Critical Look at Distance Education in Turkey
Part III: Online Education in North America: An analysis of the U.S. and Canadian Contributions
Chapter Eight: Canada's SchoolNet: Wiring up schools?
Chapter Nine: The New Frontier: Web-Based Education in U.S. Culture
Part IV: Online Education Down Under: An Analysis of Aotearoa/New Zealand and Australia
Chapter Ten: New Zealand: Is Online Education a Highway to the Future?
Chapter Eleven: Towards Borderless Virtual Learning in Higher Education
Part V: Online Education in Africa: An Analysis of Namibia and Sub-Saharan Africa
Chapter Twelve: Development and Democracy in Namibia: The Contribution of Information and Communication Technologies (ICTs)
Chapter Thirteen: Can you Lead from Behind?: Critical Reflections on the Rhetoric of E-Learning, Open Distance Learning, and ICTs for Development in Sub-Saharan Africa (SSA)
Chapter Fourteen: Stalled: E-Learning as Thwarted Innovation
online learning,
broadband,
ICT in education,
online education,
primary schools,


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Champagne comes with its very own nomenclature. Here are a list of terms that commonly crop up...
The crisp or tart taste synonymous with Champagne created by the presence of Malic and Tartaric acid. This natural acidity is balanced with the presence of sugar and other aromas.
Aging en Tirage
The ageing of a sparkling wine during production 'en lees' to allow the prized flavour of autolysed yeast to develop in the wine.
A large metal clip used to secure the cork during second fermentation and lees ageing – originally before capsules were invented. A bottle secured with this clip is said to be agrafé.
Often most associated with smell, aromas can also be detected on the palate. These are the essences of a Champagne after fermentation. Artisan Champagne has particularly distinct aromas and flavour profiles.
Champagne's made in small batches in individual vineyards by the same famers that tend the soil, grow and harvest the grapes. They are also known as 'Grower Champagnes' for this very reason. They are at the opposite end of the spectrum to the Grand Marques and they are the only types of Champagne we offer at Sip.
The term for using more than one grape variety (typically Chardonnay, Pinot Noir or Meunier) and blending them together to make a particular cuvée.
Autolysis
Autolysis is the technical term for yeast cells breaking down in the wine when the Champagne is 'en lees'. It's during this time that the Champagne develops its character and the all-important effervescence.
A 12 litre bottle for Champagne. Named after one of the three wise men who visited Jesus.
Barriques
The percentage of wine that was vinified and aged in oak barrels.
Translated as 'white from whites'. This is Champagne made solely from Chardonnay grapes.
As per the above, this means 'white from blacks.' And refers to Champagne made from only Pinot Noir or less commonly, Meunier.
The most common sugar concentration in Champagne. Brut (which rhymes with 'foot') will feature up to 12 grams of sugar per litre.
An ever-more common terminology. Brut Nature is dryer than Brut and is sometimes referred to as 'non dosé 'or 'zéro dosage', as these Champagnes contain no added sugar to balance their acidity.
Cepage
The grape or blend that makes up the wine.
The official term for a standard sized, 75cl Champagne bottle.
The most common white grape used in Champagne, accounting for around 30% of planting in the Champagne region.
Cœur de Cuvée
This refers to the best quality grape must that is extracted from the grapes. It is taken from the very middle, hence the translation as 'heart of the pressing'.
Coopérative de Manipulation
Denoted as 'CM' on a Champagne label. This is a Champagne made by a team of cooperatives that work together to create shared or individual blends.
In Champagne, cuvée can mean one of two things. It is the technical term first 2,050 litres of grape juice from 4,000kg of grapes – knowns as 'a marc' – and it is also more commonly used as the term for a particular blend of Champagne produced by a specific Maison or vineyard.
Disgorging (Dégorgement)
The process of extracting dead yeast deposits or 'lees' after secondary fermentation. This is achieved by dipping the neck of the bottle into frozen brine to form an ice plug of yeast which is then removed from the bottle before the bottle is re-sealed with a cork.
A decidedly sweet Champagne that can feature anything from 32 to 50 grams of sugar per litre.
Following disgorging, a portion of sugar and wine known as 'liqueur d'expedition' is added to the bottle before corking a Champagne. This is often undertaken to counteract high acidity for a smooth and harmonious blend.
The sweetest type of Champagne on the scale, consisting of anything more than 50 grams of sugar per litre.
A dry Champagne that features no more than 6 grams of sugar per litre.
Somewhat confusingly extra dry is actually a sweeter version of Champagne, featuring 12-17 grams of sugar per litre.
A two-stage process in Champagne. The juice is first fermented in steel or oak vats to produce alcohol from the yeast. It is then subsequently fermented in the bottle in order to allow the added yeast and sugar to create the effervescence.
The traditional term for a half bottle of Champagne – 37.5cl.
The top 17 villages in Champagne, recognised for their exceptional grapes and Champagne.
The most famous Champagne brands that make up a union of Champagne makers.
Grape Must
The freshly crushed grape juice that contains the skins, seeds, and stems of the grapes. Grand Maisons often buy a large portion of grape must from a number of vineyards to create their own Champagnes, which are then labelled 'Négociant Manipulant' (NM) to denote this process.
See Artisan Champagne.
Jéroboam
A 3-litre bottle of Champagne. Named after the founder of the kingdom of Israel.
These are the yeast deposits left in a bottle after fermentation. A Champagne is left 'en lees' during the aging process to create its own distinctive flavour profile.
Liqueur d'Expédition
Before corking, a blend of sugar and wine, known as the 'dosage' is added to the Champagne to balance the acidity.
Liqueur de Tirage
A combination of wine, yeast and sugar is added to the Champagne before secondary fermentation, which creates Champagne's prized effervescence.
See Saignée.
Perhaps the most famous Champagne bottle size. A Magnum is double the size of a standard bottle at 1.5l.
Literally 'House', the term is used to denote a specific Champagne producer.
A process whereby bacteria is added during fermentation, which introduces a creamier flavour profile to the wine.
Marque d'Acheteur
Denoted as 'MA' on a Champagne label. This is used for Champagnes that have been exclusively produced for one client – typically a supermarket.
Millesime de Base
The age of the youngest wine in the bottle.
See Tirage.
Moût
The moût is the must or leftovers from the pressed grapes. This is often used to create a liqueur known as Ratafia.
Methode Champenoise
The superior method of making sparkling wines as outlined and enforced in Champagne, which involves fermenting, aging 'en Tirage', riddling and disgorging in the same bottle. Méthode traditionnelle refers to wines produced by the same method outside of Champagne.
Methuselah
A 6-litre Champagne bottle. The name of the oldest person recorded in the Old Testament.
The second major red grape used for making Champagne, it accounts for 32% of regional production. Meunier has been historically less popular than Pinot Noir and Chardonnay but is enjoying a recent resurgence in popularity.
A term used to highlight a particularly promising vintage.
Muselet
The technical name for the wire cage that, along with a metal plaque, holds the Champagne cork in place.
A 15-litre Champagne bottle. Named after Nebuchadnezzar, the king to conquer Jerusalem.
Négociant distributeur
Denoted as 'ND' on a Champagne label. A distributor buys in finished bottles of Champagne and labels them on their own premises.
Négociant Manipulant
Denoted as 'NM' on a Champagne label. Perhaps the most common to come across, as all of the big Champagne Houses belong in this category. It refers to a person or legal entity that buys in the grapes and/or grape must to make Champagne on their own premises and sell it under their own label.
Non-Dosé
See Brut Nature.
A French term for Champagne's tiny bubbles, that literally translates as 'pearling'.
Perpetual Reserve
A portion of wine from each vintage is stored and these reserves are added to non-vintage blends to achieve consistency.
The most planted grape in Champagne, accounting for approximately 38% of the region's production. A notoriously fragile grape, with a long maturity, it is prized as More fruit-forward that Pinot Meunier.
The metal capsule that covers a cork, which is held in place by the Muselet.
Pointe Sur
During fermentation, a Champagne bottle is placed upside down, allowing the yeast cells or 'lees' to settle in the neck of the bottle, which subsequently aides disgorgement.
A rung down from Grand Cru, these 42 villages, nonetheless, produce an exceptional quality Champagne.
Récoltant-Coopérateur
Denoted as 'RC' on a Champagne label, this refers to a type of cooperative where a number of independent producers group together to produce Champagne under a single label.
Récoltant-Manipulant
Denoted as 'RM' on a Champagne label. A Récoltant-Manipulant is a type of producer that tills the soil, plants their own vines, grows the grapes and bottles and sells their own Champagne. The majority of our wines are made in this way.
Réhoboam
A 4.5 litre bottle of Champagne. Named after the first king of Judea.
Remuage / Riddling
A process undertaken during fermentation, where the 'sur pointe' bottles are turned to ensure the 'lees' fall towards the bottle's neck.
Saignée
The process of creating rosé wine. The grape skins are allowed to macerate in the juice for a period of time, imparting colour and flavour to the Champagne.
Salmanazar
A 9 litre bottle of Champagne. Named after one of the five Assyrian Biblical kings.
Translating as 'dry' from French, this is actually very sweet Champagne that contains between 17 and 32 grams of sugar per litre.
Single Vineyard Champagne
A cuvée made entirely from a single vineyard, or parcel of land, as opposed to being blended from a range of different vineyards.
Société de Récoltants
Denoted as 'SM' on a Champagne label. The term is used to highlight a family firm of growers that produce Champagne under their own label, using grapes sourced from a collection of family vineyards.
Sous Bois
See Barriques.
A word with two meanings. It is both the act of trimming the grapevines just after winter before it growing season and also the name for the second pressing of grapes, following the cuvée, that is considered to be of a lower quality.
A French term used to describe the specific qualities of a locality that impart a wine with unique flavour and character.
The final process when making Champagne – the corking of the bottle. This can be used to determine the vintage or base vintage of the wine.
Vins de Reserve
The percentage of wine that is from vintages other than the base vintage.
Champagne produced from the harvest of one specific year.
Zéro-Dosage


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La novela sentimental es un subgénero literario histórico que se desarrolla entre el final de la Edad Media siglo XV y el Renacimiento de la primera mitad del siglo XVI. Se incluye dentro del género épico o narrativo y se compone en prosa con versos largos en la literatura intercalados, a veces en forma epistolar; posee temática amorosa, frecuentemente dentro de las leyes del llamado amor cortés.

Origen
Surge a mediados del siglo XV; algunos de los elementos externos proceden de los libros de caballerías, como la caracterización de los protagonistas y algunos episodios concretos como el de Beltenebros del Amadís de Gaula. Otro elemento configurante es la retórica de la lírica cancioneril con su visión del amor cortés. Debajo de las finuras del estilizado amor cortés se esconden violentas pulsiones sexuales, que cuando se ven frustradas provocan conflictos tales que conducen a los héroes a vivir como fieras en terrenos desérticos. Prácticamente terminada la Reconquista en el siglo XV, acaece la crisis de los ideales guerreros medievales y es preciso sustituirlos por otros de naturaleza cortesana. El guerrero pasa a un segundo plano reemplazado por el cortesano.

Frente a Marcelino Menéndez Pelayo, que define al género por su temática amorosa, su heterogeneidad estructural ha sido señalada por Carmelo Samonà como muestra de que no constituye un género separado de cualquier otra ficción amorosa. Pero el género no se presenta heterogéneo ni falto de uniformidad, sino que posee unos rasgos característicos y elementos comunes: son narraciones cortas frente a las ficciones caballerescas, mucho más extensas y en cierto modo opuestas en cuanto a sus arquetipos, que plantean situaciones de un curioso sadomasoquismo: el guerrero inflexible, fuerte y cruel es sin embargo un rendido, pusilánime y blando amante completamente entregado al amor de una dama. Se analizan aspectos emocionales de la relación amorosa; no se fijan en acciones externas; utilizan los códigos literarios del amor cortés: divinización de la amada siendo el amante siempre inferior; la novela se desarrolla en un marco social elevado de nobles y de reyes; el final es siempre trágico y desdichado; se da prioridad al sentimiento sobre la razón; la heroicidad sentimental del amante viene dada por su suicidio o su destierro; las novelas poseen un contenido feminista plenamente renacentista; los hechos se suelen situar en lugares alejados (Escocia, Hungría) y en sitios tenebrosos como cárceles o castillos; existe una mínima narración, pero falta la descripción: no aparece la realidad cotidiana ni la descripción costumbrista y el mundo es noble e idealizado; como consecuencia de todo lo anterior, predomina un absoluto subjetivismo; el cronotopo no sufre modificaciones y es estático y los personajes aparecen siempre iguales: la atemporalidad narrativa más obvia preside estos relatos.

Evolución
La evolución diacrónica del género entre Padrón y Juan de Flores es la siguiente. En el Siervo el mundo caballeresco es aún muy importante, existe consumación carnal, lo que es propio de los libros de caballerías. El caballero es el centro de la pasión amorosa de dos damas, aunque esta concepción inicial se ve modificada más tarde. Las ideas caballerescas se van paulatinamente transformando en Diego de San Pedro, que las considera anacrónicas, dando a sus novelas un tinte más moderno que culmina con Juan de Flores que transforma el duelo violento en duelo verbal, sublimando lo cortés.

La visión de la mujer se transforma progresivamente hacia su humanización, pasando a ser sujetos y no sólo objetos de amor; existe una evolución y progresiva tendencia hacia la autobiografía; la alegoría registra un proceso inverso al anterior, pasando de una perfección a su derrumbamiento; la forma epistolar también va declinando y las fórmulas literarias evolucionan desde el tratadismo y aspectos didácticos de los que la novela es la excusa, aminorándose ese deseo instructor conforme avanza el género y se va insertando en la acción. En las primeras obras la acción es una sola, mientras que Juan de Flores unifica dos acciones en sus novelas, siendo el debate una de ellas. El realismo consiste no en describir la vida diaria, sino en hacer verosímil la narración de las pasiones. El estilo es el usual en el siglo XV, con su morfosintaxis latinizante y el empleo de abundantes figuras retóricas. Las dos novelas de Flores, las mejores de la novela sentimental, suponen la superación de gran parte de los lastres retóricos y de las vacilaciones narrativas de sus predecesores, desaparece el didactismo, las alegorías y las disgregaciones. Se consolida la unidad y se multiplican las acciones, reafirmándose la autobiografía y la trabazón novelesca. La novela sentimental española está formada por un conjunto de narraciones cortas, que proponen modelos de actuación desde presupuestos de amor cortesano con aspiraciones a presentar valores ejemplares universales. El ambiente es siempre aristocrático, el lugar geográfico extraño y exótico, las viviendas misteriosas o luctuosas. Las alusiones clásicas o latinizantes se emplean para dar un tono cultural elevado. El móvil es la pasión amorosa, a cuya satisfacción se dirige la acción dentro de los convencionalismos del amor cortés. Algunas de las novelas sentimentales fueron auténticos «best-seller» como la Cárcel de amor o las dos obras de Juan de Flores, e influyeron en otras obras francesas, italianas e inglesas. En la literatura española tiene una interesante influencia, pues de ellas deriva la poesía pastoril, su influjo se nota en algunas novelitas intercaladas en el Don Quijote.

Trayectoria del género y representantes
Empezaron el género Juan Rodríguez del Padrón o de la Cámara (Siervo libre de amor, c. 1440) y la Sátira de felice e infelice vida (hacia 1453) del Condestable don Pedro de Portugal (1429–1466), dirigida a su hermana, la reina Isabel, traducida del portugués. En esta ficción sentimental el autor lamenta su desgracia amorosa. Tres virtudes teologales y cuatro cardinales equiparan a la princesa con damas virtuosas del pasado. Piedad reconforta al lloroso amante.

También puede considerarse inicial Triste deleitación (h. 1465), del enigmático catalán F. A. D. C. (¿[Fra] Artal de Claramunt?), que refleja la política aragonesa de su época: un enamorado escribe a su señora por medio de una madrina y un amigo (Eº, Sª, Mª y Aº, en el texto). Cuando Eº marcha a la guerra, Sª admite su amor y los consejos de Mª. El escándalo los separa: Eº recorre Barcelona y un infierno de enamorados, entre jueces y alegorías que reconocen su lealtad. De súbito, en su casa descubre que Sª ha entrado en un convento.

El género llega a su madurez con las obras de Diego de San Pedro y Juan de Flores. Del primero son Tratado de amores de Arnalte y Lucenda (1491) y Cárcel de amor (1492), considerada esta última la obra maestra del género. En la primera Belisa, hermana del tebano Arnalte, logra que Lucenda acepte sus cartas, pero esta se casa con el falso Elierso, a quien Arnalte matará en duelo. Cuando él proponga matrimonio a Lucenda, la familia de ella la enclaustrará en un convento. Veintiuna coplas reales exaltan a la reina Isabel y casi cincuenta narran las Siete angustias de Nuestra Señora. En la segunda, la famosísima en su época Cárcel de amor, el macedonio Leriano, desde una cárcel alegórica, logra del Autor que la princesa Laureola corresponda a su carta. Denunciada por el celoso Persio, a quien vencerá el Autor, es condenada a muerte y rescatada por Leriano, que, rechazado, se deja morir, elogiando a las mujeres, tras beber las cartas de su amada disueltas en agua.

El Breve tratado de Grimalte y Gradisa y la Historia de Grisel y Mirabella, ambas de Juan de Flores y publicadas en torno al año 1519, supusieron la culminación de la novela sentimental. En la Historia de Grisel y Mirabella (h. 1475–1485), cierta ley escocesa condenaba a muerte al amante más culpable de la relación con el otro. Defendida la princesa Mirabella por Brazaida, y Grisel por el poeta Torrellas (abanderado de la corriente misógina), resulta culpable aquella. Grisel ofrece su vida, pero ella muere de dolor, arrojándose a unos leones que su padre guardaba en un patio. Brazaida la venga, seduciendo a Torrellas para matarlo cruelmente ayudada de las damas de la corte. Grimalte y Gradissa (a. 1486), basada en un episodio de Boccaccio, muestra el fracaso de aquel al reconciliar a Fiometa —que muere de dolor— con Pánfilo. Así, concluida su relación con Gradissa, marcha como penitente a Asia, acompañando a un Pánfilo torturado por la visión de Fiometa condenada.

A partir de 1495 la novela sentimental entra en declive, escribiéndose la Repetición de amores (1486–1497), de Luis de Lucena, recuerdo de una lección universitaria: despreciado por su amada, Lucena ofrece un discurso o repetición cuajado de exempla del mundo clásico o medieval sobre las calamidades del amor, la imperfección de la mujer y la virtud y mérito del hombre, centrado en el ejercicio militar. También pertenece a esta etapa la continuación de la Cárcel de amor de Nicolás Núñez, del año 1496, en forma de sueño en que los amantes se justifican; las dos obras se imprimen juntas. La Penitencia de amor (1499) es del aragonés Pedro Manuel de Urrea. La Cuestión de amor (1513) es anónima y en realidad es una novela de tipo histórico, pues se centra en el valenciano Flamiano, que ama a Belisena y escribe a Vasquirán para confesarle que no es correspondido. La guerra con el rey de Francia hace que Flaminio sirva a Carlos I y muera en Ravena. El Veneris tribunal de 1537. Puede considerarse como la última obra del género el Proceso de cartas de amores (1548), una novela epistolar de Juan de Segura.

Bibliografía
 Marcelino Menéndez Pelayo, Orígenes de la novela (Madrid, 1905–1915), cuatro vols.
 Carmelo Samonà, Studi sul romanzo sentimentale e cortese nella letteratura spagnola del Quattrocento. Roma: Carucci, 1960.
 Armando Durán, Estructura y técnicas de la novela sentimental y caballeresca, Madrid: Gredos, 1973.
 Regula Rohland de Langbehn, La unidad genérica de la novela sentimental española de los siglos XV y XVI. London, Department of Hispanic Studies—Queen Mary and Westfield College, 1999.
 Antonio Cortijo Ocaña, La evolución genérica de la ficción sentimental. London, Tamesis, 2001.

Véase también
 Novela romántica
 Novela rosa

Enlaces externos
 La novela sentimental en Trivium
 La novela sentimental. Wikillerato
 La cuestión del género en los libros sentimentales

Novelas sentimentales


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package net.jadfreex.pv.view;

import net.jadfreex.pv.commons.io.util.Input;
import net.jadfreex.pv.commons.view.util.View;
import net.jadfreex.pv.logic.CarritoLogic;
import net.jadfreex.pv.logic.ContenedorLogic;
import net.jadfreex.pv.logic.TiendaLogic;
import net.jadfreex.pv.model.Articulo;
import net.jadfreex.pv.model.Carrito;
import net.jadfreex.pv.model.Cliente;
import net.jadfreex.pv.model.Contenedor;
import net.jadfreex.pv.model.Ticket;
import net.jadfreex.pv.model.Tienda;
import net.jadfreex.pv.util.Constantes;
import net.jadfreex.pv.util.Messages;

/**
 *
 * @author 170828 Grupo Salinas
 */
public class TiendaView extends View<Carrito> {

    private TiendaLogic tiendaLogic;
    private Tienda tienda;
    private CarritoLogic carritoLogic;
    private Carrito carrito;

    public TiendaView() {
        //
        tiendaLogic = new TiendaLogic();
        tienda = tiendaLogic.newInstance();
        //
        carritoLogic = new CarritoLogic();
        carrito = carritoLogic.newInstance();
    }

    @Override
    public Carrito print() {
        //SHOPPING CAR
        int oper;
        while (true) {
            System.out.println("\n+++++++++++++++++++++++++++++++++++++++++++++");
            //
            System.out.println(Messages.INTRODUCE_OP);
            System.out.println(String.format(Messages.ADD_CAR, Constantes.OP_ADD));
            if(this.carrito.getSize() > 0) {
                System.out.println(String.format(Messages.REMOVE_CAR, Constantes.OP_REMOVE));
                System.out.println(String.format(Messages.VIEW_CAR, Constantes.OP_VIEW));
            }
            System.out.println(String.format(Messages.END_CAR, Constantes.OP_EXIT));
            oper = Input.getInt();
            //
            System.out.println("+++++++++++++++++++++++++++++++++++++++++++++\n");
            //
            if(Constantes.OP_EXIT == oper) {
                break;
            }
            //
            switch (oper) {
                case Constantes.OP_ADD:
                    this.transfer(this.tienda, this.tiendaLogic, this.carrito, this.carritoLogic);
                    break;
                case Constantes.OP_REMOVE:
                    this.transfer(this.carrito, this.carritoLogic, this.tienda, this.tiendaLogic);
                    break;
                case Constantes.OP_VIEW:
                    System.out.println(this.carrito);
                case Constantes.OP_EXIT:
                    break;
                default:
                    System.out.println(Messages.INVALID_OP);
            }
        }
        if(this.carrito.getSize() > 0) {
            //CTE
            Cliente cte = new Cliente();
            cte.setCarrito(this.carrito);
            //TICKET
            System.out.println("\n+++++++++++++++++++++++++++++++++++++++++++++");
            Ticket ticket = this.tiendaLogic.sell(this.tienda, cte);
            System.out.println(ticket);
            System.out.println("+++++++++++++++++++++++++++++++++++++++++++++\n");
            //FACTURA
            System.out.println(Messages.PRINT_BILL);
            System.out.println(Messages.PRINT_BILL_YES);
        }
        return carrito;
    }

    private void transfer(Contenedor origen, ContenedorLogic logicOrigen,
            Contenedor destino, ContenedorLogic logicDestino) {

        System.out.println(origen);
        //
        System.out.println(Messages.SELECT_PRODUCT);
        Integer id = Input.getInt();
        System.out.println(Messages.INPUT_QUANTITY);
        Integer num = Input.getInt();
        //
        Articulo article  = new Articulo(logicOrigen.getArticle(origen, id));
        article.setQuantity(num);
        //
        logicDestino.addArticle(destino, id, article);
        logicOrigen.removeArticle(origen, id, article);
    }

}


Any interface of chemical compounds represents a solvation shell. Water solvents are better known as hydration shells, even though the majority of people call them solutions. But that kind of solvent can't be genuinely considered a shell if there isn't another element that will interact with water.
For example, you can take the metal as it can represent a sample of attraction on the electrostatic basis. If that metal is the cation, then the electronegative oxygen atom would be attracted to the positive charge of the metal. This creates a shell of water molecules. The thickness of the molecule shell depends on the load, spatial dimensions, and distribution.
It is hard and complicated to list all details regarding solvation shells without using a plethora of complicated words that only one in ten people understand. But, using an example makes it easier to share the info in a way people will understand it without any problems. The previous case dabbled in the reaction of water with the positive metal ion. Even better example (and one more accessible to explain) would be the interaction of water molecules with starch, or to be more precise, glycogen, which is found in starch.
The hydration shell works with starch in several exciting ways due to the very nature of the starch. This example sees massive attraction due to the charge of the glycogen. The interaction is also attractive due to the high number of small charges.
The interaction between these two creates physiological consequences because the glycogen has a high dose of glucose that is ready to interact with water molecules. The implications of the interaction involve an increase of the mass and the bulk of glycogen as it attracts water. The amount of water molecules it can draw is limited, but that limit is extremely high as the glycogen molecule will expand three times in its size.
This is different than the reaction water has with oil molecules. In the majority of these interactions, the solvent shells either can't be formed, or their thickness doesn't exceed one or two molecules.


National Dietitian's Day - March 18, 2015 | Health Stand Nutrition Consulting Inc.
Today is National Dietitians Day!
Canadians say it's a challenge to eat healthy at work and I think many of us would agree.
For National Dietitian's Day, I'd like to share one of my favourite go-to healthy and delicious snacks which are my nutty chocoholic balls. Make a batch for yourself and keep them in the freezer for when you need something quick and easy to snack on.
Click here for a printer-friendly PDF of the Nutty Chocoholic Balls recipe.


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New Calgary restaurant where everyone you meet is the owner
CBC June 19, 2019
After graduating with a master's degree in sociology, Jared Blustein needed a job. So he combined his intellectual area of interest — contemporary economic issues — with his own personal experience, working in the restaurant industry.
He came up with The Allium, a restaurant where every single staff member is the boss.
It's an elevated, vegetable-forward restaurant on 12th Avenue S.W. that will be collectively run by a team of co-owners when it opens in August.
Blustein spoke to The Homestretch's Jenny Howe on Tuesday about how the idea was born from a combination of idealism and necessity — and a willingness to put an interesting idea into actual practice.
"A lot of what I looked at [in my thesis] pointed to the worker co-operative as addressing a lot of contemporary issues of economy," Blustein said.
"Many people are extremely debt-dependent households or need a double income," he said.
"We all have mortgages. We see that real wages haven't really increased proportionate to the rise in the cost of living since the '70s. And these are all just basic facts."
Of course, it's one thing to identify a problematic pattern. It's another thing altogether to try to disrupt a pattern through innovation — and have it actually work.
Courtesy The Allium
After a conversation with his wife over a drink and some tapas in San Cristobal, Mexico, Blustein began to entertain the notion of launching a co-operatively owned and run eatery.
He was accepted into a program run by Momentum, a local nonprofit that he says provides free business classes with a social focus.
"I was able to develop the business plan with Momentum and then I had one-on-one business coaching through them for about maybe three months after the program ended," Blustein said.
"I was able to really commit to this idea," Blustein said.
"I just began approaching various people and asking them if they were interested — and slowly, the co-op has has come to this, where we're now standing in a physical space and we're about a month and a bit to open."
The Allium
Every person an owner
What Blustein hopes will separate The Allium from other Calgary restaurants is that every single staff member has a vested interest in providing the best possible customer experience.
"Every person you interact with is an owner," Blustein said.
Of course, none of that answers the question of whether or not The Allium — the name refers to "the genus of cultivated onions and garlic, and a foundation to many delicious dishes", says Blustein — can provide a living for each of its owners.
Blustein isn't banking on it, at least not at the start.
"That is the hope," he said.
"It takes time to grow, for sure," he added. "All of us have other jobs right now. I myself am working with two different non-profits while I'm here.
"My work weeks are close to 80 hours on average right now," he added, "but we do value work-life balance.
"That's something that we really want to work towards," he said, "and that's part of making your own business collectively."
With files from The Homestretch.
South Korean forced labor victims to seek Japan's Mitsubishi asset sale
WestJet sued over failed attempt to store overhead luggage
Tech executives head to Capitol Hill for antitrust hearing


This entry was posted in Bring Cool, Fantasy, Fashion, Gothic, Gothic Fashion, Parenting, Teens, Vampire, vampire fashion, Vampire moms, Vampires and tagged being the cool mom, blogging, getting the word out, mom fashion, my mom, my mom writes, shirt designs, teen fashion, teens, vampire maman. Bookmark the permalink.
Didn't know there were vampire butterflies????
What happens if you get bitten by a vampire butterfly? Do you turn into a vampire, a butterfly or both?
Cool design. Do you have a UK franchise yet?
Glad you like the design! I WISH I had a UK franchise!
Isn't there an international vampire network you can plug into?
There might be an extra shirt to go with those earrings yours too if you want it!
great! Love it. tried to like, but won't let me.
I've been having some technical issues as well. At home where we have horrible internet service I can't get half of the WordPress functions. I can't view blogs I follow. I can't even use Chrome or Firefox anymore. When I'm somewhere else, several other places, I can get a full functioning WordPress. Glad you like it!
I wish you success in sorting t all out. Sometimes, I think the Internet os too complicated for the likes of non nerds. I can't live without the Internet now.
Interesting. My bathroom has many black butterflies, and a few white ones too. Don't know if any are vampire butterflies. How can you tell?
Story ideas coming to mind.
I often use the butterfly or moth image in my posts because they are both beautiful and mysterious. Moths are attracted to light and flame in the darkness. In some cultures the butterfly is the symbol of the soul or rebirth or joy. If one just happens to be the rare Vampire butterfly it will never tell.


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Home | News | Tick tock goes the Cayman Beneficial Ownership Regime clock
Tick tock goes the Cayman Beneficial Ownership Regime clock
At the end of 2017 changes to the Cayman Islands Beneficial Ownership Regime ("the Regime"), established on 1 July 2017 were passed making substantive revisions to previous exemptions where certain categories of companies or limited liability companies do not need to maintain a register. All Cayman Islands companies and limited liability companies need to take steps to determine whether they fall within the scope of the Regime (as amended) including those that have previously made a determination as it may have changed.
Out-of-scope companies
Most notably, a company that is exempt from the Regime (as amended) is now required to provide a written confirmation of the exemption identifying the grounds for exemption in a prescribed form to its corporate service provider together with instructions to file the written confirmation with the competent authority. The prescribed form and any prescribed information to be provided are to be finalized in a separate regulation.
There are now three additional exemptions available to companies and limited liability companies which are:
regulated in a jurisdiction included in a list published by the Anti-Money Laundering Steering Group of countries and territories whose anti-money laundering legislation is deemed to be equivalent to that of the Cayman Islands;
the general partner of special purpose vehicle, private equity fund, collective investment scheme or investment fund that is registered or holds a license under a regulatory law or is managed, arranged, administered, operated or promoted by an approved person;
the holder of a direct legal or beneficial interest in the shares of a legal entity which holds a license under the Banks and Trust Companies Law, the Companies Management Law, the Insurance Law, the Mutual Funds Law (Part III only) or the Securities Investment Business Law of the Cayman Islands.
There have also been changes and clarifications to the existing exemptions:
company or limited liability that is registered as an excluded person under section 5(4) of the Securities Investment Business Law of the Cayman Islands (a SIBL Excluded Person) will no longer be able to rely on the regulated person exemption;
a SIBL Excluded Person will no longer be an "approved person" within the meaning of the Regime;
the Directors Registration and Licensing Law of the Cayman Islands is not a "regulatory law" within the meaning of the Regime;
an entity will not be considered to be managed, arranged, administered, operated or promoted by an approved person solely as a consequence of that entity having appointed an individual who is an employee of a legal entity that holds a license under a regulatory law as a director
an entity will not be considered to be managed, arranged, administered, operated or promoted by an approved person solely as a consequence of that entity having appointed an approved person to act as its registered office in the Cayman Islands.
Timeline for compliance
It is imperative all companies act now to ensure compliance notwithstanding the Regime does have a transitional "non-enforcement" grace period until 30 June 2018.
An out-of-scope company will be compliant as soon as it has filed a declaration of exemption in the prescribed form with the prescribed particulars with its corporate service provider.
An in-scope company will be compliant as soon as it has instructed its corporate service provider to establish a beneficial ownership register noting the words "enquiries pending" to show it is still in the process of taking reasonable steps to find out if there is anyone who is a registrable person in relation to the company (provided they do then take those reasonable steps to find such persons).
Ultimately, an in-scope company must identify all registrable persons, collect certain particulars in respect of each such person and provide such information to its corporate service provider so that its beneficial ownership register can be completed and maintained.
The role of the corporate service provider
All exempted companies and limited liability companies must maintain their beneficial ownership register at their registered office and only a licensed corporate service provider can provide this information to the General Registry, which it must do on a regular basis. As a licensed corporate service provider, we also have an obligation to review the information that is provided to us.
Intertrust offers a full suite of beneficial ownership services. If you would like to discuss engaging us to provide any of our beneficial ownership services, are interested in receiving further advice on your obligations under the new regime or have any questions, please get in touch with your usual Intertrust Cayman representative, one of our specialists below or email us at [email protected].


By Arthur Etchells·	 8/4/2015, 5:37 p.m.
Now the Aston, PA brewery (120 Concord Road) is ready to go. Tonight through Thursday, August 6th, from 4 to 7 p.m., 8 beers will be pouring during a series of celebratory happy hours.
After Thursday, 2SP Brewery will be open from 2 p.m. to 8 p.m. on weekdays, and 12 to 8 p.m. on weekends.
Look for beer bars like Memphis Taproom, Varga Bar, Jose Pistola's, the Industry Bar, Local 44 and Good Dog, among others to be carrying some of 2SP's beer starting the week of August 10th.
Delco Lager is 2SP's all-weather beer, it's described as a crisp and clean amber lager.
Baby Bob Stout is a petite version of a Russian Imperial Stout, the beer Barrar has won 6 Great American Beer Fest medals for.
The Weiss Wit is a blend of a Berliner Weiss and a Belgian Wit.
ASAP IPA is another "sessionable IPA" with a malt backbone to balance out the big hops.
Bellcracker Double IPA weighs in at 8.7% alcohol by volume and is said to be sneaky smooth.


text:
Alexander Aloysius McGuckian, dit Alan McGuckian, né le  à  Cloughmills, dans le comté d'Antrim en Irlande du Nord (Royaume-Uni), est un prêtre jésuite actif dans le domaine de la culture et des media. En 2017, il est nommé évêque de Raphoe. Il est le premier jésuite nommé comme évêque dans un diocèse en Irlande.

Biographie
Né le  à Cloughmills, dans le comté d'Antrim (et le diocèse de Down et Connor) Alan est le plus jeune fils de Brian McGuckian et Pauline McKenna. Deux de ses frères aînés, Bernard et Michael, sont également prêtres jésuites. Son père était un prospère éleveur de porcs qui, avec ses frères, développa une ferme porcine qui fut considérée comme la plus grande au monde.

Après un an à la  de Belfast (1971-1972), Alan entre au noviciat jésuite de Clontarf à Dublin (). Ayant achevé les deux ans de formation spirituelle il poursuit des études universitaires à l'University College de Dublin [UCD] avec en plus un diplôme d'espagnol et de latin. Muni de son diplôme universitaire en 1977 il étudie la philosophie au Jesuit Milltown Institute of Theology and Philosophy de Dublin puis la théologie à la Toronto School of Theology de l'université de Toronto (le Jesuit Regis College), se qualifiant avec une maîtrise et une licence en Théologie.

Ordonné prêtre en 1984 le père McGuckian passe quelque temps à enseigner au collège jésuite de 'Clongowes Wood'. En 1992, il est nommé directeur du Centre jésuite des communications sociales. Un de ses succès est la création et développement du site Web 'www.sacredspace.ie' qui utilisant les nouvelles technologies et ressources informatiques, offre à ceux qui le souhaitent la possibilité de développer une vie de prière personnelle. [5] [6]. Le père McGuckian fait sa profession solennelle dans la Compagnie de Jésus le .

De 2011 à 2017, il travaille à temps plein pour le diocèse de Down et Connor, contribuant à y renouveler la vie pastorale. Prédicateur apprécié et œcuméniste engagé il écrit en collaboration avec l'historien presbytérien irlandais Philip Orr une pièce de théâtre intitulée 1912 - A Hundred Years on  qui explore des deux points de vue nationaliste et unioniste le célèbre pacte de 1912 appelé Covenant d'Ulster et la Home Rule qui s'ensuivit.

Le père McGuckian est un linguiste et est particulièrement attaché à la langue gaélique. Durant ses études il obtint une maîtrise en traduction irlandaise de la  de Belfast. Il visite annuellement le 'Gaeltacht' de Donegal, dans la province d'Ulster, région où la langue gaélique est couramment parlée.

Le , il est annoncé que le père Alan McGuckian avait été nommé évêque de Raphoe. Le  de la même année il reçoit la consécration épiscopale des mains de Mgr Eamon Martin, archevêque d'Armagh et Primat de toute l'Irlande. Dans la Conférence des évêques catholiques irlandais, il est membre de plusieurs commissions nationales et internationales (ICEL, Pax Christi, Justice et Paix).

Liens externes

Naissance en février 1953
Jésuite irlandais
Évêque catholique en Irlande
Évêque catholique du XXIe siècle


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Exam Fee / Application Fee Details for NFL: Application Fee:Non - refundable application fee of `200/- (Rupees Two Hundred only) plus `35/- (Rupees Thirty Five only) as Bank Charges are required to be paid by General and OBC category candidates at the time of submission of online application form. Candidates can opt to pay either through internet banking account or credit/ debit card. No other mode of payment of application fee would be accepted. Application fee once paid will not be refunded under any circumstances. Candidates are, therefore, advised to verify their eligibility before payment of application fee. SC/ST/PwBD/ExSM category candidates are not required to pay any application fee.


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ACCEPTED

#### According to
Index Fungorum

#### Published in
null

#### Original name
Sphaeria septorioides Desm.

### Remarks
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