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Search results for "enormous smallness"
Enormous Smallness: The Sweet Illustrated Story of E. E. Cummings and His Creative Bravery
"It takes courage to grow up and become who you really are."
"In a Cummings poem," Susan Cheever wrote in her spectacular biography of E. E. Cummings, "the reader must often pick his way toward comprehension, which comes, when it does, in a burst of delight and recognition." Such a burst is what rewards the reader, whatever his or her age, in Enormous Smallness: A Story of E. E. Cummings (public library) — an uncommonly delightful picture-book celebration of Cummings's life by Brooklyn-based poet Matthew Burgess, illustrated by Kris Di Giacomo (the artist behind the wonderful alphabet book Take Away the A).
To reimagine the beloved poet's life in a tango of word and image is quite befitting — unbeknownst to many, Cummings had a passion for drawing and once described himself as "an author of pictures, a draughtsman of words."
The project comes from Brooklyn-based indie powerhouse Enchanted Lion Books — publisher of some of the most daring and tender children's books of our time — and was first envisioned by ELB founder Claudia Zoe Bedrick, who approached Burgess about writing a children's biography of Cummings. Miraculously, Burgess had visited Cummings's home at 4 Patchin Place in New York City three years earlier, after a serendipitous encounter with the current resident — an experience that had planted a seed of quietly germinating obsession with the legendary poet's life.
And so the collaboration stretched between them, as Cummings might say, like "a pleasant song" — Burgess and Bedrick worked side by side for four years to bring this wonder of a book to life.
The story begins with Cummings, already known as "E. E." and living in his New York City home where he spent the last forty years of his life, typing away as the love of his life, the fashion model and photographer Marion Moorehouse, summons him to tea-time with an elephant-shaped bell.
From there, Burgess takes the reader on an affectionate biographical detective story, tracing how Edward Estlin became E. E., what brought him to Manhattan from his native Cambridge, and how elephants (and trees, and birds) became his lifelong creative companions in the circus of his imagination.
Young Estlin's first poem "poured out of his mouth when he was only three."
With the loving support of the unsung champions with whom the history of creative culture is strewn — the mother who began recording his spontaneous recitations in a little book titled "Estlin's Original Poems"; the father who stomped on his hands and knees, play-pretending into existence the mighty elephant that was little Estlin's creative muse; the teacher who encouraged him to pursue his love of words; the uncle who gave him a book on how to write poetry — he eventually made it to Harvard.
There, he came upon the words of his favorite poet, John Keats — "I am certain of nothing but the holiness of the Heart's affections and the truth of the Imagination" — which awakened young Estlin's creative courage. After graduation, he began experimenting with poetry and moved to New York City, falling in love with its "irresistibly stupendous newness."
But then World War I struck and Estlin went to France, volunteering as an ambulance-driver. While working in the French countryside, he was mistaken for a spy and sent to prison for several months.
When the war ended, he wrote a book about his experience, titled The Enormous Room. Estlin was reborn as E. E.
The following year, he published his first book of poems, Tulips & Chimneys.
Burgess writes:
Using a style all his own,
e. e. put lowercase letters where capitals normally go,
and his playful punctuation grabbed readers' attention.
His poems were alive with experimentation
and surprise!
And because of his love for lowercase letters,
his name began to appear with two little e's (& a little c, too).
But his expansive experimentation was too much for the small-minded literary pantheon:
Some people criticized him for painting with words.
Other said his poems were
too strange
too small.
Some said they were
no good at all.
And yet Cummings, who viewed society's criteria for what it means to be a successful artist with mischievous wryness, was undeterred. A century before Neil Gaiman's memorable advice that the artist's only appropriate response to criticism is to make good art, Cummings embodied this ethos. Burgess captures this spirit with quiet elegance, weaving one of Cummings's poems into the story:
But no matter what the world was giving or taking,
E. E. went right on dreaming and making.
For inside, he knew his poems were new and true.
love is a place
& through this place of
love move
(with brightness of peace)
yes is a world
& in this world of
yes live
(skillfully curled)
all worlds.
His poems were his way
of saying YES.
YES to the heart
and the roundness of the moon,
to birds, elephants, trees,
and everything he loved.
YES to spring, too
which always brought him back
to childhood, when the first
sign of his favorite season
was the whistling arrival
of the balloon man.
The book's epigraph is a celebration of this unflinching yes-saying: "It takes courage to grow up and become who you really are."
With that courage he catapulted himself into the open arms of those who also hungered for beauty and meaning, and became one of the world's most beloved poets — a capital-A Artist of his own lowercase making.
Complement the immeasurably wonderful Enormous Smallness with a very differently delightful grownup biography of Cummings and his own little-known children's book, then revisit the picture-book biographies of other creative icons: Frida Kahlo, Henri Matisse, Pablo Neruda, and Henri Rousseau.
Illustrations courtesy of Enchanted Lion Books; photographs my own
Our Smallness and the Cosmic Scale: How Big the Universe Is Relative to Us, Animated
A humbling celestial reflection on what enlarges the minuteness of human life with meaning against the vast backdrop of the universe.
At the end of the nineteenth century, well before women could vote, a team of female astronomers at the Harvard College Observatory known as the Harvard Computers made calculations and discoveries that became the basis for Edwin Hubble's eponymous law demonstrating that the universe is expanding — one of the most revolutionary scientific breakthroughs in human history.
But this begot the inevitable questions of what the universe is expanding into, how big it really is, and whether it is infinite or finite.
More than half a century after Hubble formulated his law, NASA named an enormous, ambitious telescope after him and launched it into space to probe these mysteries of the cosmos. What the Hubble Space Telescope found, and how it illuminates the size of the universe relative to us, is what Alex Hofeldt explores in this wonderful animation from TED-Ed and animator Tom Matuszewski:
Complement with these five visualizations to grasp the scale of the cosmos, Nobel laureate Steven Weinberg on the unity of the universe, and physicist Sean Carroll on what gives our lives meaning against our seeming smallness, then revisit other terrific TED-Ed animated inquiries into how you know you exist, what makes you you, how melancholy enhances creativity, why some people are left-handed, what depression actually feels like, and why playing music benefits your brain more than any other activity.
"To be nobody-but-yourself — in a world which is doing its best, night and day, to make you everybody else — means to fight the hardest battle which any human being can fight."
"No one can build you the bridge on which you, and only you, must cross the river of life," wrote the thirty-year-old Nietzsche. "The true and durable path into and through experience," Nobel-winning poet Seamus Heaney counseled the young more than a century later in his magnificent commencement address, "involves being true … to your own solitude, true to your own secret knowledge."
Every generation believes that it must battle unprecedented pressures of conformity; that it must fight harder than any previous generation to protect that secret knowledge from which our integrity of selfhood springs. Some of this belief stems from the habitual conceit of a culture blinded by its own presentism bias, ignorant of the past's contextual analogues. But much of it in the century and a half since Nietzsche, and especially in the years since Heaney, is an accurate reflection of the conditions we have created and continually reinforce in our present informational ecosystem — a Pavlovian system of constant feedback, in which the easiest and commonest opinions are most readily rewarded, and dissenting voices are most readily punished by the unthinking mob.
E.E. Cummings by Edward Weston (Photograph courtesy of the Center for Creative Photography)
Few people in the two centuries since Emerson issued his exhortation to "trust thyself" have countered this culturally condoned blunting of individuality more courageously and consistently than E.E. Cummings (October 14, 1894–September 3, 1962) — an artist who never cowered from being his unconventional self because, in the words of his most incisive and competent biographer, he "despised fear, and his life was lived in defiance of all who ruled by it."
A fortnight after the poet's fifty-ninth birthday, a small Michigan newspaper published a short, enormous piece by Cummings under the title "A Poet's Advice to Students," radiating expansive wisdom on art, life, and the courage of being yourself. It went on to inspire Buckminster Fuller and was later included in E.E. Cummings: A Miscellany Revised (public library) — that wonderful out-of-print collection which the poet himself described as "a cluster of epigrams, forty-nine essays on various subjects, a poem dispraising dogmata, and several selections from unfinished plays," and which gave us Cummings on what it really means to be an artist.
Illustration from Enormous Smallness by Matthew Burgess, an illustrated tribute to E.E. Cummings
Addressing those who aspire to be poets — no doubt in that broadest Baldwinian sense of wakeful artists in any medium and courageous seers of human truth — Cummings echoes the poet Laura Riding's exquisite letters to an eight-year-old girl about being oneself and writes:
A poet is somebody who feels, and who expresses his feelings through words.
This may sound easy. It isn't.
A lot of people think or believe or know they feel — but that's thinking or believing or knowing; not feeling. And poetry is feeling — not knowing or believing or thinking.
Almost anybody can learn to think or believe or know, but not a single human being can be taught to feel. Why? Because whenever you think or you believe or you know, you're a lot of other people: but the moment you feel, you're nobody-but-yourself.
To be nobody-but-yourself — in a world which is doing its best, night and day, to make you everybody else — means to fight the hardest battle which any human being can fight; and never stop fighting.
Page from Enormous Smallness by Matthew Burgess
Cummings should know — just four years earlier, he had fought that hardest battle himself: When he was awarded the prestigious Academy of American Poets annual fellowship — the MacArthur of poetry — Cummings had to withstand harsh criticism from traditionalists who besieged him with hate for the bravery of breaking with tradition and being nobody-but-himself in his art. With an eye to that unassailable creative integrity buoyed by relentless work ethic, he adds:
As for expressing nobody-but-yourself in words, that means working just a little harder than anybody who isn't a poet can possibly imagine. Why? Because nothing is quite as easy as using words like somebody else. We all of us do exactly this nearly all of the time — and whenever we do it, we're not poets.
If, at the end of your first ten or fifteen years of fighting and working and feeling, you find you've written one line of one poem, you'll be very lucky indeed.
And so my advice to all young people who wish to become poets is: do something easy, like learning how to blow up the world — unless you're not only willing, but glad, to feel and work and fight till you die.
Does that sound dismal? It isn't.
It's the most wonderful life on earth.
Or so I feel.
Complement the thoroughly invigorating E.E. Cummings: A Miscellany Revised with a lovely illustrated celebration of Cummings's creative bravery, then revisit Pulitzer-winning poet Robert Penn Warren on what it really means to find yourself and Janis Joplin on the courage of being what you find.
Wallace Stevens on Reality, Creativity, and Our Greatest Self-Protection from the Pressure of the News
"[The artist's] function is to make his imagination … become the light in the minds of others. His role, in short, is to help people to live their lives."
"A society must assume that it is stable," James Baldwin wrote in his timeless treatise on the creative process, "but the artist must know, and he must let us know, that there is nothing stable under heaven." And yet, paradoxically, in the very act of exposing the abiding instability of existence, art moors us to a sense of the eternal and becalms our momentary tumults against the raging ocean that has always washed, and will always wash, the shoreline of the human spirit. The poet Robert Penn Warren captured this beautifully in his meditation on the vital role of art in a thriving democracy, in which he asserted that art "is the process by which, in imagining itself and the relation of individuals to one another and to it, a society comes to understand itself, and by understanding, discover its possibilities of growth."
A generation earlier, Wallace Stevens (October 2, 1879–August 2, 1955), another Pulitzer-winning poet, examined a complementary aspect of the relationship between culture and creativity in his astonishingly timely 1951 book The Necessary Angel: Essays on Reality and the Imagination (public library | free ebook), originally delivered as a lecture at Princeton in 1942 and titled after a line from one of Stevens's most beloved poems: "I am the necessary angel of earth, / Since, in my sight, you see the earth again, / Cleared of its stiff and stubborn, man-locked set…"
Stevens controverts the notion that the imagination is a counterpoint to reality and instead insists that the two are in essential interplay:
The imagination loses vitality as it ceases to adhere to what is real… There are degrees of the imagination, as, for example, degrees of vitality and, therefore, of intensity. It is an implication that there are degrees of reality.
He points to nobility as a defining characteristic of the imagination — the means by which the creative spirit protects its interior integrity from what he calls "the pressure of reality," a pressure of immense and almost unbearable intensity today. In a passage of astounding prescience, Stevens writes in the midst of WWII and more than half a century before the present tyranny of the 24/7 news cycle:
By the pressure of reality, I mean the pressure of an external event or events on the consciousness to the exclusion of any power of contemplation.
For more than ten years now, there has been an extraordinary pressure of news — let us say, news incomparably more pretentious than any description of it, news, at first, of the collapse of our system, or, call it, of life; then of news of a new world, but of a new world so uncertain that one did not know anything whatever of its nature, and does not know now, and could not tell whether it was to be all-English, all-German, all-Russian, all-Japanese, or all-American, and cannot tell now; and finally news of a war, which was a renewal of what, if it was not the greatest war, became such by this continuation. And for more than ten years, the consciousness of the world has concentrated on events which have made the ordinary movement of life seem to be the movement of people in the intervals of a storm. The disclosures of the impermanence of the past suggested, and suggest, an impermanence of the future. Little of what we have believed has been true… It is a question of pressure, and pressure is incalculable and eludes the historian. The Napoleonic era is regarded as having had little or no effect on the poets and the novelists who lived in it. But Coleridge and Wordsworth and Sir Walter Scott and Jane Austen did not have to put up with Napoleon and Marx and Europe, Asia and Africa all at one time. It seems possible to say that they knew of the events of their day much as we know of the bombings in the interior of China and not at all as we know of the bombings of London, or, rather, as we should know of the bombings of Toronto or Montreal.
Photograph by Maria Popova
With an eye to the disorientation of the transitional era in which he is writing — an era perhaps as transitional and disorienting as our own — Stevens examines the familiar helplessness of witnessing reality crumble:
Rightly or wrongly, we feel that the fate of a society is involved in the orderly disorders of the present time. We are confronting, therefore, a set of events, not only beyond our power to tranquillize them in the mind, beyond our power to reduce them and metamorphose them, but events that stir the emotions to violence, that engage us in what is direct and immediate and real, and events that involve the concepts and sanctions that are the order of our lives and may involve our very lives; and these events are occurring persistently with increasing omen, in what may be called our presence. These are the things that I had in mind when I spoke of the pressure of reality, a pressure great enough and prolonged enough to bring about the end of one era in the history of the imagination and, if so, then great enough to bring about the beginning of another.
The imagination, Stevens argues, is our mightiest survival mechanism in such tumultuous times — those endowed with a great magnitude of it are better able to withstand these crushing pressures of reality:
It is one of the peculiarities of the imagination that it is always at the end of an era. What happens is that it is always attaching itself to a new reality, and adhering to it. It is not that there is a new imagination but that there is a new reality. The pressure of reality may, of course, be less than the general pressure that I have described. It exists for individuals according to the circumstances of their lives or according to the characteristics of their minds. To sum it up, the pressure of reality is, I think, the determining factor in the artistic character of an era and, as well, the determining factor in the artistic character of an individual. The resistance to this pressure or its evasion in the case of individuals of extraordinary imagination cancels the pressure so far as those individuals are concerned.
Illustration by Kris Di Giacomo from Enormous Smallness by Matthew Burgess, a picture-book biography of E.E. Cummings and his creative bravery
From this vantage point of the imagination as an antidote to the pressure of reality, he considers the essential existential task of the creative person:
[The artist] must be able to abstract himself and also to abstract reality, which he does by placing it in his imagination… It imperative for him to make a choice, to come to a decision regarding the imagination and reality; and he will find that it is not a choice of one over the other and not a decision that divides them, but something subtler, a recognition that here, too, as between these poles, the universal interdependence exists, and hence his choice and his decision must be that they are equal and inseparable.
A century and a half after John Keats contemplated the three levels of reality, Stevens offers his own taxonomy of reality's three stages across modern history:
First … there is the reality that is taken for granted, that is latent and, on the whole, ignored. It is the comfortable American state of life of the [eighteen] eighties, the nineties and the first ten years of the [twentieth] century. Next, there is the reality that has ceased to be indifferent, the years when the Victorians had been disposed of and intellectual minorities and social minorities began to take their place and to convert our state of life to something that might not be final. This much more vital reality made the life that had preceded it look like a volume of Ackermann's colored plates or one of Töpfer's books of sketches in Switzerland… Reality then became violent and so remains. This much ought to be said to make it a little clearer that in speaking of the pressure of reality, I am thinking of life in a state of violence, not physically violent, as yet, for us in America, but physically violent for millions of our friends and for still more millions of our enemies and spiritually violent, it may be said, for everyone alive.
While Stevens focuses on poetry, he uses the word "poet" much like James Baldwin did, to connote all artists. But he counters Baldwin's notion of the artist as "a sort of emotional or spiritual historian" with his own vision of the artist as a sort of emotional or spiritual futurist. Stevens writes:
A possible poet must be a poet capable of resisting or evading the pressure of the reality of this last degree, with the knowledge that the degree of today may become a deadlier degree tomorrow.
And yet, he argues, the artist must not create out of a mere sense of social duty — any political dimension of art should be a consequence but not a cause:
Reality is life and life is society and the imagination and reality; that is to say, the imagination and society are inseparable… Yes: the all-commanding subject-matter of poetry is life, the never-ceasing source. But it is not a social obligation. One does not love and go back to one's ancient mother as a social obligation. One goes back out of a suasion not to be denied. Unquestionably if a social movement moved one deeply enough, its moving poems would follow. No politician can command the imagination, directing it to do this or that.
Shortly after William Faulkner proclaimed in his spectacular Nobel Prize acceptance speech that "the poet's, the writer's, duty is… to help man endure by lifting his heart," Stevens considers the ultimate function of the artist:
Certainly it is not to lead people out of the confusion in which they find themselves. Nor is it, I think, to comfort them while they follow their readers to and fro. I think that [the artist's] function is to make his imagination theirs and that he fulfills himself only as he sees his imagination become the light in the minds of others. His role, in short, is to help people to live their lives.
But alongside this necessary fidelity to reality is also the supreme function of the artist's imagination — the ability to transcend what is and to envision a different, better version of what could be. (Ursula K. Le Guin would speak to this splendidly in her essay on how our imaginative storytelling enlarges our scope of the possible.) Once again speaking to poetry with insight that applies equally to all creative endeavors, Stevens offers:
The poetic process is psychologically an escapist process… Since what makes the poet the potent figure that he is, or was, or ought to be, is that he creates the world to which we turn incessantly and without knowing it and that he gives to life the supreme fictions without which we are unable to conceive of it.
He returns to the notion of nobility as the central animating force of the imagination. In another passage of acute and almost tragic pertinence to our own time, in which the destructively cynical is routinely replacing the ennobling, Stevens writes:
I cannot be sure that the decline, not to say the disappearance of nobility is anything more than a maladjustment between the imagination and reality… It is not only that the imagination adheres to reality, but, also, that reality adheres to the imagination and that the interdependence is essential.
The imagination gives to everything that it touches a peculiarity, and it seems to me that the peculiarity of the imagination is nobility, of which there are many degrees. This inherent nobility is the natural source of another, which our extremely headstrong generation regards as false and decadent. I mean that nobility which is our spiritual height and depth… But there it is. The fact that it is there is what makes it possible to invite to the reading and writing of poetry men of intelligence and desire for life.
Stevens concludes with a luminous lens on the supreme duty of creative work, be it poetry or any other form of art:
For the sensitive poet, conscious of negations, nothing is more difficult than the affirmations of nobility and yet there is nothing that he requires of himself more persistently, since in them and in their kind, alone, are to be found those sanctions that are the reasons for his being and for that occasional ecstasy, or ecstatic freedom of the mind, which is his special privilege.
As a wave is a force and not the water of which it is composed, which is never the same, so nobility is a force and not the manifestations of which it is composed, which are never the same… It is not an artifice that the mind has added to human nature. The mind has added nothing to human nature. It is a violence from within that protects us from a violence without. It is the imagination pressing back against the pressure of reality. It seems, in the last analysis, to have something to do with our self-preservation; and that, no doubt, is why the expression of it, the sound of its words, helps us to live our lives.
The Necessary Angel is a beautiful read in its entirety. Complement it with this mobilizing modern manifesto for making art in difficult times and poet Elizabeth Alexander on what sets great artists apart, then revisit Baldwin's timeless meditation on the artist's responsibility to society.


About 23 houses are flooded today due to torrential rain in Pailin province's Sala Krao district as local authority intervened and brought villagers to safety.
Srey Chan Eng, director of Pailin provincial Information Department, said that on Sunday night two hours of heavy rain was hitting Sala Krao district, flooding 23 houses in Sala Krao and Andoung communes.
"Twenty-three houses are flooded and 80 meters of the street is under water after two hours of heavy rain," Ms Chan Eng said.
She added that local officials helped move villagers' property to safe places.
"Local authority came to help the villagers immediately to transport their property in the houses to safe places," she said.
According to the Ministry of Water Resources, heavy rain is hitting Sala Krao district, causing some areas to be flooded.
Last week, Prime Minister Hun Sen called on the authorities to pay attention to restore the infrastructures and irrigation systems destroyed by the floods.
Mr Hun Sen said that the flood has happened almost throughout the country which destroyed farms and infrastructure, especially national roads.
"We need to restore those destroyed infrastructures, irrigation system, wells, and canals," he said.
The Water Resources Ministry last week announced that the whole country will experience rainfall until September 26 and provinces along the central lowlands are expected to be flooded.
According to report of National Committee for Disaster Management, so far 52 people were killed by flooding in which 24 people died in Kampong Cham province, 20 people in Prey Veng, four in Stung Treng, three in Kratie and one in Tboung Khmum province.
The NCDM said that the recent flooding affected 21,720 families and 11,000 families were evacuated to safe places.
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Q: Why does not pipe work with 'find' and 'ls' Why does not pipe work with 'find' and 'ls'
If I do find . -name *foo* | ls -lah , it does a ls on $PWD and not the output of find.
The solution however is find . -name *foo* | xargs -r ls -alh or can use exec.

A: Please consult the manual page of ls(1)! The ls command takes it's arguments on the command line not on standard input (i. e. file descriptor 0).
When you run
<SOME_COMMAND> | ls [OPTIONS...]

you instruct the command interpreter to create a pipe (|) from the the standard output of the left command to the standard input of the right command (here: ls). But ls disregards its standard input and inspects its command line parameters, finding no positional argument and listing the current working directory (stored in the PWD environment variable by shell interpreters like Bash) instead.
The xargs(1) takes tokens (delimited by whitespace characters if not specified otherwise) from its standard input stream and adds them as parameters to the command line of another command to run. In your case, the ls command given to xargs receives a set of path names on its command line and performs its task on them as documented by the manual.
Bonus: The "command" option -ls to GNU find will print the matching paths in a similar fashion to ls -dils (see find(1)).

A: Another solution is to use command substitution.
Syntax: command options $(output of another command)
For this example:
ls -lah $(find . -name *foo*)

redpajama_set_name: RedPajamaStackExchange


Tyson was on the comeback trail after his shock defeat at the hands of Buster Douglas in Tokyo. Stewart became the second opponent in succession to be dispatched by first round KO. This is a vintage on-site poster for the initial September date that was subsequently moved to December. The 22" x 28" poster is in very good condition with edge and general handling wear.


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Washington's highest-rated CEOs
LYNSI BURTON
June 9, 2015 Updated: Oct. 12, 2020 11:58 a.m.
Six Washington CEOs made a list of America's top 50 corporate honchos -- which are they?
First the local rankings:
45. Brad Jackson of Slalom Consulting, 89 percent approval
Seattle-based Slalom was not on the list last year. Competition seems tighter this year, as last year's No. 45 CEO -- Dan Hesse of Sprint -- earned 81 percent approval.
Elaine Thompson/AP31. Howard Schultz of Starbucks, 91 percent approval
Schultz falls to this position from No. 9 last year, when he received 93 percent approval.
P-I file29. Blake W. Nordstrom of Nordstrom, 91 percent approval
Nordstrom improves its approval by 1 percent over last year, but falls from the No. 25 spot in 2014.
Associated Press14. John Legere of T-Mobile, 93 percent approval
Employee comment: "John Legere is a fun CEO to work under and is a part of the culture, not an untouchable."
Legere was not on this list last year.
ap/getty13. Craig Jelinek of Costco, 93 percent approval
Employee comment: "There is lots of advancement opportunity and the managers all the way up to the CEO are really good people."
Jelinek was at the No. 6 spot last year, having earned a 95 percent approval rating.

redpajama_set_name: RedPajamaCommonCrawl


We're all understandably frustrated with the lack of signings, but at the risk of coming across all 'in the know' (I'm not), I am told that at least 2 players will be in by the end of this week. Desperately don't want to come across as those awful click bait sites that promise the world and deliver nothing, so I'll explain!!
That's it..no names, no further info. I don't normally put up any of these rumours until the person sending them has a few right-and this person does.. time will tell I suppose, but, although hardly groundbreaking stuff, it could be that things are starting to happen..


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Compaint Register
Pristina 2022
Former Academies
Krakow Academy 2018
Split Academy 2019
ECADOC Summer Schools
Network for Innovation in Career Guidance and Counselling in Europe
Combined ECADOC Summer School & NICE Academy in Pristina, 2022
From August 30 to September 4, 2022, ECADOC and NICE will organize a combined ECADOC Summer School & NICE Academy in Pristina, Kosovo, hosted by the Universum College. Chaired by Lea Ferrari, Scott Solberg, and Johannes Katsarov, the academy and summer school will both focus on the theme of "Social Emotional Learning and Career Guidance and Counselling". The ambition is to share and discuss the newest insights and developments on the role of social and emotional competences in career development and career support and to build bridges between practice and research.
The ECADOC Summer School will begin on August 30, offering up to 25 doctoral researchers the opportunity to share and discuss their work in the field of career guidance and counselling and to become a member of our international research community. On September 1, the NICE Academy will begin, offering a series of keynote lectures, training workshops, and networking activities on the theme of the event to career professionals, academic trainers, interested researchers, and other career specialists. The summer school and academy will both continue until Saturday. All participants – practitioners, researchers, trainers, and others – will be able to select from diverse learning activities that belong to the shared program – including social events
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Шарло́тта Спе́нсер (, род. 26 сентября 1991, Харлоу, Эссекс) — английская актриса. Наиболее известна по роли Шарлотты Эпплби в телесериале «Живые и мёртвые» .

Ранняя жизнь
Спенсер родилась в Харлоу, графство Эссекс. В возрасте 11 лет её родители отправили Спенсер в актёрскую школу в Лондоне. Родители Шарлотты перезаложили дом, чтобы поддержать актёрскую карьеру дочери.

Карьера
Прорывом Спенсер стала роль в мюзикле Мэри Поппинс. Также она играла в сериале BBC «Каменное Устье», который основан на одноимённой книге. За сериал «Клей» она была номинирована на BAFTA Scotland за лучшую второстепенную роль в 2015 году. В том же году Deadline.com объявил о том, что Спенсер получила роль в «Большом отряде». В 2015 году она была номинирована на BAFTA Scotland за лучшую роль в мини-сериале «Каменное Устье». До начала карьеры на телевидении Спенсер играла в театрах на Вест-Энде. В телесериале BBC «Живые и мёртвые» она сыграла роль фотографа, которая становится домохозяйкой.

Избранная фильмография

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Simon Kinberg on 'X-Men: Days of Future Past,' 'The Fantastic Four' Reboot, and Black Superheroes
The writer/producer of the new X-Men film discusses his star-studded latest, plans for the sequel X-Men: Apocalypse, and The Fantastic Four reboot. [Warning: SPOILERS]
Marlow Stern
Senior Entertainment Editor
Alan Markfield
Ask the average moviegoer who Simon Kinberg is. Your query will be answered with a blank stare, followed by a long pause and half-hearted reply: My accountant?
But the 40-year-old British-American filmmaker has become one of the more important, unheralded figures in the recent superhero boom.
The writer of films like Mr. and Mrs. Smith and Sherlock Holmes, as well as the iffy X-Men: The Last Stand, has morphed into a formidable writer-producer whose latest project is the mega-blockbuster X-Men: Days of Future Past—a time-traveling superhero extravaganza directed by Bryan Singer and set in a dystopia where humans are enslaved and mutants are losing the war against drone-like Sentinels. Professor Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen) are forced to send the quick-healing Wolverine (Hugh Jackman) back through time to sync up with their younger selves (James McAvoy, Michael Fassbender), and stop the shape-shifting Mystique from assassinating the Sentinel's architect, Boliver Trask (Peter Dinklage), thereby changing the course of history.
In addition to the excellent Days of Future Past, Kinberg is serving as writer-producer on the film's sequel, X-Men: Apocalypse; writer and producer of the upcoming reboot of The Fantastic Four, directed by Josh Trank (Chronicle) and starring Miles Teller (Mr. Fantastic), Kate Mara (Invisible Woman), Michael B. Jordan (Human Torch), and Jamie Bell (The Thing); producer of a live-action version of Cinderella starring Cate Blanchett; writier and producer of the fantasy epic Magic: The Gathering, based on the card game; writer and producer of Gambit, an X-Men spinoff starring Channing Tatum as the card-throwing superhero; and even serving as a consultant on the upcoming Star Wars: Episode VII, directed by J.J. Abrams.
The Daily Beast tracked down one of the busiest men in Hollywood on the set of The Fantastic Four in Baton Rouge, Louisiana, where they're in their third week of shooting to discuss the X-Men franchise and his myriad projects.
X-Men: Days of Future Past must have been a pretty herculean task for you, weaving a million A-list actors into this time-jumping screenplay.
It was a unique challenge. If you're lucky, you're worried about two of those A-list actors in a movie, but having to take care of eight or nine of them is a challenge. At the same time, you have less to worry about because I could probably write anything and Ian McKellen or Michael Fassbender are going to make it sound good.
How did you decide on what historical events to include in the film? There's the JFK assassination, where Magneto is accused of bending the bullet to kill the president, as well as the end of the Vietnam War and the beginning of Watergate.
When I first started working on the script, Matthew Vaughn was going to direct the movie who did X-Men: First Class, and one of the things he really wanted to do was explore different time periods, because he felt he'd already done the '60s with First Class. We didn't want the events to take place right after, but see what had happened to these characters ten years down the road; see the real repercussions of the events of First Class. And 1973 appealed to me because I was born that year, but more because it was a flashpoint for a lot of different things—the end of the Vietnam War and the beginning of Watergate. Then, I started looking at the events of '73 and I saw the Paris Peace Accords, and thought that would be a great backdrop because the film is really about war and peace, so it felt thematically rich and potentially visually rich.
Peter Dinklage is so great as Boliver Trask. Singer said that he based the character a bit on Adolf Hitler.
[Laughs] Not to my knowledge! Bryan is very interested in World War II, which was a very big part of X-Men, Valkyrie, and Apt Pupil. It's definitely something that interests him, and something that runs through the core of the X-Men world because of Magneto's backstory. But for me, it wasn't based on Hitler. I imagined him as a slightly more benevolent character. I'm sure Hitler imagined he was doing right by the people of Germany and the world, but for me, Trask has a slightly more noble cause—he genuinely believes he can use these scapegoats to bring the world together and save the human race. When I say that out loud, there are some similarities to the way Hitler scapegoating the Jews.
Who painted that hilarious painting in Trask's office of Dinklage handing the amputee girl a prosthetic leg?
[Laughs] I'm sure it was one of our props guys. Bryan owns that painting now. That was an idea that Bryan had—that Trask would have a beneficent public face, and that he would use this technology as much to genuinely help people as he did to kill mutants.
With Quicksilver, there was a weird licensing issue between Fox and Marvel so now there are two separate actors playing the character—Evan Peters in your film, Aaron Taylor-Johnson in The Avengers: Age of Ultron—and apparently there were certain rules placed on the way you could handle the character in the film?
It was pretty clear-cut what the parameters were, and they weren't particularly tough on our side. The only thing we couldn't talk about was The Avengers, but I probably wouldn't have talked about them because when we meet Quicksilver, he's a kid living at home in 1973. They have different restrictions because of the way the deal works, although that's way above my pay grade. We decided we were going to use Quicksilver way before they decided they were going to use him in The Avengers, so we just made the decision independently. Early in the script phase, that character was going to be a young Juggernaut, but Bryan felt we'd exhausted Juggernaut's powers in X-Men: The Last Stand, and he wanted to see a mutant we hadn't put on film before who had an interesting visual power.
I'm interested in the way you used Sentinels in the film—as these kill list-style drones that target mutants. It made the film seem culturally fresh, even though most of the events are set in 1973.
The way that I imagined the Sentinels was that they were programmed to hunt what the U.S. government termed to be enemies, but that they could be manipulated to be turned back on the American people. The danger of having weapons that are slightly autonomous is that they can be manipulated, and that's what happens in the movie where they're designed with no metal, but Magneto manipulates them with metal. I was definitely aware of the way that weaponry technology is advancing right now, and in some ways is beyond our control, and could get out of our control.
With X-Men: Days of Future Past, Captain America: The Winter Soldier, Robocop, Homeland, etc., it does seem like Hollywood has targeted the U.S. drone program as something scary and worthy of reevaluating.
I think the best science-fiction, especially literature, is political in nature and is often an allegory about something problematic in our world, and it's something that makes the X-Men comics so relevant—they're about xenophobia and prejudice. There is a slightly more political bent to the movies, and we all have a political point of view, and it creeps into the films.
Did Jennifer Lawrence wear a new blue Mystique suit in this film? It looked slightly different.
We created a whole new system for the Mystique body in Days of Future Past because in the last one, it wasn't cumbersome but it took such a long time to apply—her time in makeup was six-to-eight hours in First Class. So a lot of care, time, and energy was taken to get that time cut in half, and it was mostly about having a pit crew there like the Indy 500.
Lawrence's role is more significant in Days of Future Past. Was that something you did on purpose? Her star has risen so much since First Class.
For First Class, we were casting her off an amazing audition and having seen Winter's Bone, and she hadn't been cast in The Hunger Games films—I don't even think a Hunger Games book existed yet—so she was a relatively unknown actress. After we cast her, she got nominated for an Oscar, which definitely changed her profile, but she was a young, new face, and now she's a young face everyone in the world knows, and that's happened in the span of three years. But I really just told the best story for Days of Future Past, and Mystique/Raven is a big part of that story. When crafting it, I determined that the movie belongs to Charles Xavier—it's James McAvoy's story. This guy's lost his legs, the people he cared about, and his hope, and is starting to become the Professor Xavier of the Patrick Stewart era, which is the heart of the movie. And the person who created the most crisis for Charles in First Class, and the person he cared the most about, was Raven. And she is such a great actress, I wanted to give her real drama and emotion to play.
Were there any big scenes that got cut? I heard a big action sequence with Anna Paquin/Rogue did.
The Rogue/Anna Paquin scene was by far the biggest cut we made, and that was more my fault than anything. When I was crafting the script, I wanted to create a subplot for old Charles and old Eric—Patrick and Ian—to have a mini-mission together, one final adventure. And that's what the Rogue sequence was—that they went to retrieve Rogue. But it felt like it didn't come from the spine of the film, it was an appendage where I just wanted to see the old guys get in the X-Jet for one last ride. It was a narrative detour, and in a film with this much momentum and narrative flow, you can't afford any detours.
There's an after-credits scene with Apocalypse building the pyramids. What was your approach to that, and reasoning behind it?
At some point in making the movie we talked about what the potential next film would be, and we all really gravitated towards Apocalypse. We really wanted it to be more for the core fans than for the broad audience; to be something that was a genuine tease, and almost mysterious to mainstream audiences who don't know the comics well, so they're thinking, "What's that?"
Is the sequel, X-Men: Apocalypse, going to just feature the younger generation of characters?
It will focus primarily on the First Class cast, but it will certainly have some of the original cast involved, too.
Will Bryan Singer be back in the director's chair for Apocalypse? That is the plan.
As someone who knows Bryan and works closely with him, what do you make of the recent allegations against him?
Well, I don't really want to speak on anything outside the movie, but I believe Bryan created the template for the modern superhero movie. I remember where I was when I saw X-Men, and I thought he redefined the way people made comic book films. All the films that followed in the subsequent years, whether it be the Batman movies, the Spider-Man movies, etc., all took cues from X-Men, because he made it grounded, dramatic, really emotional, and somewhat political. He's the architect of new superhero movies, and I love what he did with Days of Future Past.
I know there are all these licensing issues with studios, but are we ever going to see a crossover with X-Men and some of the other Marvel universes?
As a fan, I would love it. I would love to see the movies be able to do everything the comics would be able to do. In the real world, people don't really understand that certain characters are licensed to certain studios—that Spider-Man is controlled by Sony, X-Men by Fox, the Marvel characters by Marvel and Disney. There are enough characters within each of these separate universes, but listen: a scene between Wolverine and Tony Stark would be awesome. It would be incredible. But for now, you get awesome scenes between Tony Stark, Captain America, and Thor, and you get awesome scenes between Wolverine, Charles Xavier, and Magneto.
You're in the midst of shooting The Fantastic Four reboot now. I gotta say… the original films were very bad.
[Laughs] It's a double-edged sword because you don't have people saying, "Why are you rebooting something good?" and you also have people saying, "Why bother?" The core fans were not wild about the original movies, and nor was I. Last summer, Emma Watts at Fox called me on the set of Days of Future Past and said, "We really want to do a new Fantastic Four." I said to her, "I'm interested but it depends how you want to do it." She said, "Talk to Josh Trank." We were shooting the Washington D.C. finale sequence in Days of Future Past and I talked to Josh, and he had such a clear vision of what he wanted to do with the film that was so different from the other movies—it was grounded, real, gritty, and what it would really be like if you went through a transformation and lost control of your body. That, coupled with him wanting it to be a coming-of-age movie, felt fresh to me.
What's the tone going to be? The first Fantastic films were very slapstick and stupid.
The tone of this movie will feel as unique as when you saw Iron Man, X-Men, or Batman Begins for the first time. It's not as goofy as the first movies; it has humor in it, but the humor is much more real and comes from character, not pratfall jokes. It's a much more dramatic film than it is a comedy. I would say it falls somewhere between Raimi's first couple of Spider-Man movies and Chronicle.
I was just speaking with Jamie Foxx about how there's really no reason why you can't make superheroes be a different ethnicity—like you did in Fantastic Four, casting Michael B. Jordan, a black actor, as The Human Torch. It seems like we've come a long way since the first Fantastic Four films, when they basically made Jessica Alba white… which was crazy.
[Laughs] Yeah, the way we went about casting Fantastic Four was, "Who is the best actor for the part?" We didn't go into it saying we wanted to cast a particular race for any part. Josh had worked with Michael on Chronicle and I'm a big fan of Michael's, so we knew he was the best actor for that part. We knew casting an African-American Human Torch would be news, but I can tell you it's something that Stan Lee loves, and I can also tell you that having been on set and seeing Michael bring him to life, he's really spectacular. He's doing something really cool with the character that I think will become the iconic Johnny Storm.
You're listed as a "Creative Consultant" on Star Wars: Episode VII. Can you talk about how you assembled the amazing cast? I can't talk anything about Star Wars! But J.J. is a master at casting. If you look at his TV shows, the way he perfectly cast Star Trek and Super 8. He is one of the great directors at casting, and especially at casting new faces. As a fan, I'm super excited to see those guys—the ones from the original movies that changed my life, and the new faces.
You're also listed as a writer/producer on a live-action Magic: The Gathering film. What's the vision there?
The vision is absolutely to create a big fantasy epic like the Lord of the Rings movies, or Game of Thrones on a slightly bigger scale. I didn't grow up playing Magic, but over the last several years, I've learned a whole lot more about it and how deep the universe goes. We're talking to different filmmakers and writers now, and should be locking into somebody in the next few weeks.
You're also a writer/producer on Gambit, which recently cast Channing Tatum in the lead. How did you arrive at him as your Gambit, and why did you decide to move away from Taylor Kitsch?
Gambit is still in-motion and being figured out. Channing made it known that it was a character that he loved and would love to play, and all the people who work on the X-Men movies are huge fans of his, so the notion of him playing it is exciting. I'm more fascinated by anti-heroes, and Gambit is one of those. I don't know why he wasn't explored in the original X-Men movies. Maybe the reason why was because they wanted to focus on Rogue/Bobby or the platonic Rogue/Wolverine relationship, and maybe there were too many similarities between Wolverine and Gambit, so in order to make it a Wolverine-centric franchise they had to cut him loose.


The Zephyr Pants are a mesh lined pair of paddle pants designed to provide lightweight protection from wind, rain, splash, and sun.
Polyester face fabric helps the Zephyr paddle pants stay lighter, breathe better, dry faster, and avoid condensation to keep you feeling dry. An articulated cut provides excellent freedom of movement. The mesh lining helps keep the shell off your skin allowing better breathability and eliminates the clammy feeling most waterproof pants create when worn with a short base layers. Adjustable hook and loop ankle cuffs can be tightened down to keep water out or worn loosely to increase air flow. Neoprene waistband creates a comfortable, low profile seal around your waist.


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New study shows veteran benefit discrepancies between states
Nikki Wentling
• • November 11, 2019
A map from the Center for a New American Security's report, "From Sea to Shining Sea: State Level Benefits for Veterans," shows the number of veteran benefits by state, ranging from a low of eight in the District of Columbia to a high of 60 in Illinois, with an average of 36 benefits offered. (Center for a New American Security)
WASHINGTON — Several years ago, Iraq War veteran Kayla Williams and her family moved to Pennsylvania, where she and her husband received $500 each semester toward her two children's school costs, thanks to a statewide benefit.
The only problem? They had relocated from Virginia — a state that provides free tuition to children of disabled veterans. Williams' husband, also a veteran, has a 100 percent disability rating from the VA.
"I was shocked by that difference," Williams said. "My husband had the same level of disability, but the difference between free tuition and $500 each semester was so stark. I thought, 'I have to know more.' "
Williams and her family moved back to Virginia after just one year in Pennsylvania because of a job opportunity. Williams led the Center for Women Veterans at the Department of Veterans Affairs before taking her current position as director of the military, veterans and society program at the Center for a New American Security, a Washington think tank.
In her new role, Williams looked back at her family's move to Pennsylvania and decided to investigate the differences in benefits for veterans, state by state.
She discovered that different states offer a wide variety and number of benefits, from a high of 60 benefits in Illinois to a low of 22 each in Hawaii and Oklahoma. Many of them were enacted by state legislatures after the 9/11 terrorist attacks, creating what the Center for New American Securities describes as a "sea of goodwill."
However, no state does a very good job of promoting the benefits or providing an easy process to apply for them, the think tank found. Williams' findings were released Monday, on Veterans Day, in a new report titled, "From Sea to Shining Sea: State Level Benefits for Veterans."
"To do this research has been totally eye-opening," Williams said. "We were really struck by how hard it was to find these benefits. What's the point in having a benefit if people can't figure out how to use it?"
To address that problem, the Center for a New American Security created an online database that allows veterans to search for and compare state benefits. The tool was also launched Monday, along with the report.
In her research, Williams discovered states in the Midwest and Northeast provide a higher number of benefits on average than states in the South and West. That fact was surprising, Williams said, because southern states typically have higher rates of military enlistment.
"It's a big assumption that the South is so patriotic and they love the military, and they join the military, so they'll support them after," Williams said. "But that isn't necessarily how it played out."
The study couldn't pinpoint a single state that had the best benefits for veterans because what's offered varies so greatly state by state, she said. While Illinois has the most, it's unclear if the benefits there are more valuable in total than what another' state may offer.
"There's just a lot of variation in who's eligible, what the benefits are and the value of the benefits," Williams said.
The report contains takeaways for state leaders and veterans. State officials should make the benefits easier to apply for and receive, the report says, and analyze whether the benefits they offer are serving the state's intended goals.
For veterans, the think tank recommends building a better awareness of state-level benefits and factoring those into decision-making when choosing where to live. Unlike with her family's move to Pennsylvania, Williams plans to research state benefits when it comes time to choose a new home.
"This needs to be one thing that we weigh when we decide if we're going to move," Williams said. "Weighing this, knowing this is something to consider if we want to move, is the biggest lesson that I've taken away — that it can be so significant."
See the Center for a New American Security's benefit finder here.
Read the report here.
wentling.nikki@stripes.com Twitter: @nikkiwentling
Nikki Wentling has worked for Stars and Stripes since 2016. She reports from Congress, the White House, the Department of Veterans Affairs and throughout the country about issues affecting veterans, service members and their families. Wentling, a graduate of the University of Kansas, previously worked at the Lawrence Journal-World and Arkansas Democrat-Gazette. The National Coalition of Homeless Veterans awarded Stars and Stripes the Meritorious Service Award in 2020 for Wentling's reporting on homeless veterans during the coronavirus pandemic. In 2018, she was named by the nonprofit HillVets as one of the 100 most influential people in regard to veterans policymaking.


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Q: How to get button Response/Request URLs in QTP? How do I get Response/Request URLs (which are shown in F12 Developer tools - Network Tab) using QTP 11? Based on these URLs, I need to perform certain action in my application. Is there any alternate solution to get those URLs?
Scenario: Open IE browser and navigate to a URL, Press F12, Go to 'Network' tab. Click on 'Start Capturing' button. Now click on any button or link on the page, you will get a set of URLs in the Developer Tool (F12).

A: Firstly, do you need all of the URL requests generated from a button and/or link click? Remember that what you get from the "Network" tab in the developer tools also include URL's for fetching e.g. Javascript and CSS in addition to, for instance a GET request to an external API.
I'll try an provide you with an alternative approach. If what you are really requiring is the URL associated with each interactive element, then you should be able to get that by using the GetROProperty method like so:
strURL = Browser("YourBrowser").Page("MainPage").WebButton("aButton").GetROProperty("href")

A more generic script for fetching e.g. all the "href" properties for all the links on a page may be found in the following post: (HP QuickTest) How do I get HTTP status using QuickTest?.
Hope this helps.
UPDATE: With regards to your question regarding fetching of the URL's from the IE developer tools; As far as I know there is no way to fetch them from this view by using QTP.


Do It Movin U Beezy!
Da Stooie Bros. - Do It Movin U Beezy!
1 Intro Da Stooie Bros.
2 Stooie Up Da Stooie Bros.
3 Butta Head (Skit) Da Stooie Bros.
4 Like A Horse Da Stooie Bros.
5 Walk Like A Stooie Da Stooie Bros.
6 Get This Ho Da Stooie Bros.
7 Who Is That Rappin (Skit) Da Stooie Bros.
8 Keep It Da Stooie Bros.
9 I'm Your Thinker Da Stooie Bros.
10 You Can See Us Da Stooie Bros.
11 I'm Good Pimp Da Stooie Bros.
12 Dinosaur Da Stooie Bros.
13 Must Be Da Stooie Bros.
14 Pfizer-Viagra Da Stooie Bros.
15 Smokin & Drinkin Da Stooie Bros.
16 Youngblood Da Stooie Bros.
17 Car Crash Da Stooie Bros.
18 Que Onda-Que Pasa Da Stooie Bros.
19 Off My Couch Da Stooie Bros.
20 The Beat Is Free Da Stooie Bros.
21 Outro So Hard-Just Rappin Da Stooie Bros.


Every fundraiser will help us to make a difference in the lives of those affected by epilepsy! It's a great way for you, your school, community group, workplace or club to make a difference and spread awareness about epilepsy. Get creative! From Marathons to High Teas.. there are endless possibilities! The Epilepsy Centre truly appreciates your support through your own fundraising event.
Fundraising is only limited by your imagination! There are many different fundraiser ideas to choose from! You can raise funds doing almost anything!
or give us a call on 1300 850 081 to let us know your fundraising idea so we are able to assist you with any questions you may have!
As soon as you have your Authority to Fundraise from us you are ready to start fundraising!
If you have already held your fundraiser and need to send through the funds you have raised to us, click here for our payment methods.
Thank you for your generosity in supporting The Epilepsy Centre!
Purple Day is a worldwide campaign dedicated to increasing awareness and understanding of epilepsy. On 26 March each year, people are encouraged to wear purple to show their support of those living with epilepsy. Purple Day was founded in 2008, by nine-year-old Cassidy Megan of Nova Scotia, Canada. Motivated by her own struggles with epilepsy, Cassidy started Purple Day in an effort to get people talking about the condition, to spread awareness and to let those impacted by seizures know that they are not alone.
Do you own a business or know any businesses who would like to support epilepsy? Send us an email and we can organise to have one of our donation boxes placed on your counter.
Don't throw them out, we can sort through and recycle them for you. Drop into The Epilepsy Centre at 463 Regency Road, Prospect, 5082, South Australia and let us take your old stamps off your hands.


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Watertank, Silent Running review (Atypeek Music 2020)
September 8, 2020 September 7, 2020 Wayne EdwardsNantes, Post-Hardcore Rock, Shoegaze, Silent Running, Watertank
The new one from Watertank is a chronicle of entwined imagining and tangential observations related in a language from another world that, against all odds, makes perfect sense.
Watertank is from Nantes, France. Silent Running is the band's third album, following Destination Unknown (2015) and Sleepwalk (2013). Tagged as post-hardcore and shoegaze, the music is persistent and loaded with creative guitar riffs. The musicians are Romain Donet on guitar, Jocelyn Liorzou on drums, and Thomas Boutet singing and playing both guitar and bass.
The cover image is something that looks like a Tardigrade Stegosaurus that has leapt through a pane of glass. That would be quite a feat for a microscopic organism. The layering of the unusual and the unexpected into an amalgam that you somehow accept is an excellent image of the music on the album, which is somewhat more complex and reaching compared to the band's earlier releases.
The album opens with "Envision," which warps in on a squeal that drops off a cliff to a tramping rock-pop riff driver that carries a crooked edge. It is a creative mixing of known devices to generate a different sound and, even more importantly, a feeling that shifts unexpectedly from goodtime to uneasy. "Suffogaze" starts with a nice Tony Iommi-inspired riff, and as with the first track, shifts and bends in a way that is not just a quirk. Some of time the music has a very heads-down resoluteness to it and at other times there are lively rock and heavy guitar moments. The vocals are melodic and often soft, even whispering. That quiet element pressed against disconsonant chords or heavy guitar pulses further enwarbles your thinking as the music works its way through you. By the time "Cryptobiosis" comes around at the end, you are willing to believe in the world you have heard.
Silent Running is out now. Bandcamp has the download and there is also a vinyl version available.
https://www.facebook.com/wtrtnk
https://watertank.bandcamp.com
http://atypeekmusic.com/Atypeek_Music.html
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Home Projects Pharmaceutical Sciences AMELIORATIVE EFFECT OF RESVERATROL ON LEAD-INDUCED ORGAN TOXICITY IN WISTAR RATS
AMELIORATIVE EFFECT OF RESVERATROL ON LEAD-INDUCED ORGAN TOXICITY IN WISTAR RATS
Resveratrol is a potent antioxidant found abundantly in grapes and in lesser quantities in peanuts, fruits and other food items. Dozens of reports have shown that resveratrol prevents or slows the progression of a wide variety of illnesses including cancer (colon and melanoma). The aim of this experiment was to investigate the ameliorative effect of resveratrol on lead-induced organ toxicity in wistar rats. The study employed wistar rats (150 – 250 g) which were administered carboxymethylcellulose 10 g/l (control), lead acetate solution (120 mg/kg), lead acetate solution (120 mg/kg) and succimer (10 mg/kg BW); lead acetate solution (120 mg/kg) and resveratrol (200 mg/kg); lead acetate solution (120 mg/kg) and resveratrol (400 mg/kg); and resveratrol alone (400 mg/kg) then administered lead acetate solution (120 mg/kg) daily for 2 weeks and considered as prophylactic group. All treatments were through the oral routes for different days. The acute toxicity of resveratrol was evaluated using the up and down method via oral routes in rats. The animal"s body weights were recorded on days 1, 7 and 20. Also after animals were euthanized, relative organ weights were evaluated. Blood, plasma and organs samples were evaluated for blood lead levels (BLLs), heamatological analysis, biochemical analysis and histopathology. The LD50 was found to be above 5000 mg/kg. The results showed no significant (p > 0.05) change in body weight (BW) in resveratrol-treated group compared to the positive control group. Resveratrol-pretreated group showed improved BW compared to that of the positive control rats, although the difference was not significant (p > 0.05). There was significant (p < 0.001) decrease in BLLs of resveratrol-treated groups compared to both negative and positive control groups. No significant (p > 0.05) change was recorded for the liver function parameters and electrolytes concentration, when the resveratrol-treated rats were compared to negative and positive control groups. There was significant (p < 0.05) increase in platelet counts in resveratrol-treated group (392.33 ± 31.81) compared to both negative (219.50 ± 30.50) and lead acetate treated group (210.50 ± 24.99). No significant (p > 0.05) change was recorded for the other heamatological parameters, when the resveratrol-treated groups were compared to negative and positive control groups. In the histopathology, the toxic effect of lead recorded in liver, kidney, heart and brain in the positive control group were significant (p < 0.05) when compared to resveratrol-treated groups. The toxic effects caused by lead were reduced to minimal level in resveratrol-treated groups. In conclusion, resveratrol ameliorated the adverse effects induced by lead in male wistar rats. This suggests that resveratrol may contain pharmacological compounds that could be useful in treatment of lead poisoning. CHAPTER ONE
Lead is a heavy, low melting, bluish-gray metal that occurs naturally in the Earth's crust. However, it is rarely found naturally as a metal. It is usually found combined with two or more other elements to form lead compounds. For these reasons, lead has been used by humans for millennia and is widespread today in products as diverse as pipes, storage batteries, pigments and paints, glazes, vinyl products, weights, shot and ammunition, cable covers, and radiation shielding. Tetra-ethyl lead was used extensively from the 1930s to the 1970s as a petrol additive to improve engine performance (Rosner and Markowitz, 1985; Landrigan et al., 2002). Tetra-ethyl lead has been eliminated from the petrol supplies of the majority of countries, but is still used in about nine countries (UNEP, 2008).
Lead poisoning (also known as Plumbism, Colica Pictonum, aturnism, Devon colic, or painter's colic) is a medical condition in humans and other vertebrates caused by increased levels of the heavy metal lead in the body (Washington, 2011). Lead interferes with a variety of body processes and is toxic to many organs and tissues including the heart, bones, intestines, kidneys, reproductive and nervous systems. It interferes with the development of the nervous system and is therefore particularly toxic to children, causing potentially permanent learning and behaviour disorders. Symptoms include abdominal pain, confusion, headache, anemia, irritability, and in severe cases seizures, coma, and death (Washington, 2011).
Routes of exposure to lead include contaminated air, water, soil, food, and consumer products. Occupational exposure is a common cause of lead poisoning in adults. According to estimates made by the National Institute of Occupational Safety and Health (NIOSH), more than three million workers in the United States are potentially exposed to lead in the workplace (Staudinger and Roth, 1998) . One of the largest threats to children is lead paint that exists in many homes, especially older ones; thus children in older housing with chipping paint or lead dust from moveable window frames with lead paint are at greater risk. Prevention of lead exposure can range from individual efforts (e.g. removing lead-containing items such as piping or blinds from the home) to nationwide policies (e.g. laws that ban lead in products, reduce allowable levels in water or soil, or provide for cleanup and mitigation of contaminated soil, etc.)
Elevated lead in the body can be detected by the presence of changes in blood cells visible with a microscope and dense lines in the bones of children seen on X-ray (Washington, 2011). However, the main tool for diagnosis is measurement of the blood lead level. When blood lead levels are recorded, the results indicate how much lead is circulating within the blood stream, not the amount being stored in the body (Washington, 2011). There are two units for reporting blood lead level, either micrograms per deciliter (µg/dl), or micrograms per 100 grams (µg/100 g) of whole blood, which are numerically equivalent. The US Centers for Disease Control (CDC) has set the standard for elevated blood lead level for adults to be 10 µg/dl of the whole blood. For children however, the number is set much lower at 5 µg/dl of the whole blood down from a previous 10 µg/dl (DCP, 2012). Children are especially prone to the health effects of lead and as a result, blood lead levels must be set lower and closely monitored for contamination (Washington, 2011). The major treatments approaches are the removal of the source of lead and chelation therapy, administration of agents that bind lead so it can be excreted (Washington, 2011).
Humans have been mining and using this heavy metal for thousands of years, poisoning themselves in the process (CDC, 2012). Although lead mining is one of the oldest known occupation and a contributor to environmental hazards, the modern understanding of the small amount of lead necessary to cause harm did not come about until the latter half of the 20th century. No safe threshold for lead exposure has been suggested, that is there is no known amount of lead that is too small to cause body harm.
Resveratrol (3, 5, 4"-trihydroxystilbene) is a polyphenol that occurs naturally in foods and drinks made from grapes and peanuts, and also in a number of herbal remedies, both alone and as part of plant extracts. Resveratrol attracted little interest until 1992, when it was postulated to explain some of its cardioprotective properties and was thought to account in part for the so-called "French Paradox", that is, the finding that the rate of coronary heart disease mortality in France is lower than that observed in other industrialized countries with a similar risk factor profile (Siemann and Creasy, 1992). Since then, reports have shown that resveratrol prevents or slows the progression of a wide variety of illnesses, including cancer, cardiovascular disease (Bradamante et al., 2004) and ischaemic injuries (Sinha et al., 2002).
Resveratrol enhances stress resistance and extends the lifespan of various organisms from yeast to vertebrates (Valenzano et al., 2006); it reduces the incidence of breast cancer (Whitsett and Lamartiniere, 2006; Wesierska-Gadek et al., 2007; Ferry-Dumazet et al., 2002; Joe et al., 2002), cardiovascular diseases (Renaud and de- Lorgeril, 1992; Renaud and Gueguen, 1998), and possesses antioxidant property (Giovannini et al., 2001).
Resveratrol is a potent antioxidant, demonstrated to ameliorate adverse effects of heat stress-induced toxicity (Putics et al., 2008; Das, 2011, Sahin et al., 2012). Information on the ameliorative effect of resveratrol on heavy metals induced organ toxicity is scanty. The present study was undertaken to assess the ameliorative effect of resveratrol on lead induced organ toxicity in rats.
1.2 Statement of Research Problem
Although lead poisoning has been reported for centuries, it is a relatively new phenomenon in Nigeria. The recent unregulated mining activities in Zamfara State which resulted in serious toxicities and medical problems among adults and children alike is a source for concern. These unregulated mining activities are becoming more widespread in Nigeria and if unchecked, the medical and social consequence will be staggering.
Unfortunately, the people involved in this unregulated mining have little/no education and therefore lack the ability to protect themselves from the ensuing toxicities and medical problems. Reports have so far indicated that children are worse affected with little or no medical help coming their way (MSF, 2010; Blacksmith Institute, 2011). As from March – June 2010, 163 death cases of lead poisoning was reported (BBC News, 2010; independent News and Media, 2010) and 355 cases discovered (BBC News, 2010) with 46 % proving fatal (Yahaya and Sahabi, 2010). From May 2009 to May 2010, 25% (118 of 463) of children greater than 5 years of age in the surveyed compounds were reported to have died and 82% (97 of 118) were reported to have had convulsion before death (Lo et al., 2010).
Effects of lead, such as inhibition of aminolevulinic acid dehydratase (ALAD), elevation of aminolevulinic acid (ALA) in urine and increase of free erythrocyte protoporphyrin in blood, have been observed in humans exposed to lead (Moore, 1988).
1.3 Justification
Lead poisoning is increasingly becoming a health problem with catastrophic consequences especially among children, whereas the known remedies are not easily available and affordable. The treatment for lead poisoning involves the use of chelating agents EthyleneDiamineTetraacetic Acid, Dimercaptosuccinic Acid, and Succimer (Graziano et al., 1985; O"Connor and Rich, 1999) which may not readily be available for such affected rural communities to use.
This therefore necessitates the need for research into possible ethno medicinal forms of treatment that may be easily accessible and affordable. Resveratrol found in grapes, peanut and many other fruits and food items are indigenous and research have shown its therapeutic potentials in curing many medical problems and is reported to have central nervous system, antioxidant, chelating and anti-aging properties (Baur and Sinclair, 2006). These important properties make resveratrol an attractive candidate for investigation with respect to its potential as an antidote/chelating or ameliorative agent in lead poisoning.
1.4 Aim and Objectives of the Study
1.4.1 Aim
The main aim of this study is to evaluate the possible ameliorative effects of resveratrol on lead induced organ toxicity in male wistar rats.
1.4.2 Objectives
The objectives of this study are to:
➢ Assess effects of resveratrol on lead induced toxicities acute and sub-acute in wistar rats.
➢ Determine body and relative organ weight of wistar rats treated with resveratrol in presence of lead.
➢ Determine blood lead levels (BLLs) of wistar rats treated with resveratrol in presence of lead.
➢ Investigate the possible prophylactic effect of resveratrol in preventing lead-induced toxicity in wistar rats.
➢ Evaluate the effect of resveratrol on hematological, biochemical and histo-pathological parameters in lead-induced toxicity in wistar rats.
1.5 Statement of Research Hypothesis
Resveratrol ameliorates the adverse effects of lead induced organ toxicity in wistar rats.
acetate solution 120 mg/kg
AMELIORATIVE EFFECT OF RESVERATROL
EFFECT OF RESVERATROL
free project materials
free project materials/pdf
lead acetate solution 120
lead acetate solution 120 mg/kg
Pharmaceutical Science project topics
Pharmaceutical Science project topics and materials
toxicity in wistar rats
Wistar Rats
TOXICOLOGICAL ASSESSMENT OF THE METHANOL LEAF EXTRACT OF SECURINEGA VIROSA(ROXB EX. WILLD) IN WISTAR RATS
TOXICITY AND IMMUNOMODULATORY PROPERTIES OF METHANOL EXTRACT OF THE STEM BARK OF LANNEA ACIDA A. RICH. (ANACARDIACEAE) IN WISTAR RATS
THE ROLES OF PHARMACISTS IN CARE OPTIMIZATION FOR SCHIZOPHRENIC PATIENTS IN FEDERAL NEURO-PSYCHIATRIC HOSPITAL MAIDUGURI
THE EFFECT OF VITAMIN C ON PHARMACOKINETIC PARAMETERS OF CHLOROQUINE IN HEALTHY HUMAN VOLUNTEERS
SYNTHESIS AND ANTICONVULSANT STUDIES OF 3 ISOMERS OF 4-[(DIMETHYLPHENYL)AMINO]-4-OXOBUTENOIC ACID
SPECTROPHOTOMETRIC DETERMINATION AND STABILITY STUDIES OF ARTEMETHER IN ARTEMETHER-LUMEFANTRINE SUSPENSIONS MARKETED IN ZARIA, NIGERIA
SOLID DISPERSION AS AN APPROACH FOR SOLUBILITY AND DISSOLUTION ENHANCEMENT OF IBUPROFEN AND PIROXICAM
PHYTOCHEMICAL AND PHARMACOLOGICAL STUDIES OF THE BARK OF MITRAGYNA INERMIS (WILLD) O. KUNTZE (RUBIACEAE)
PHYTOCHEMICAL AND INHIBITION STUDIES OF GARCINIA KOLA HECKEL (GUTTIFERAE) SEED EXTRACTS ON SOME KEY ENZYMES INVOLVED WITH DIABETES
PHYTOCHEMICAL AND ANTIMICROBIAL ACTIVITIES ON THE STEM-BARK OF COMMIPHORA MOLLIS (Oliv.) Engl. (BURSERACEAE)
PHYTOCHEMICAL AND ANTIMICROBIAL STUDIES OF Spermacoce verticillata (Rubiaceae)
PHYTOCHEMICAL AND ANTICONVULSANT STUDIES ON METHANOL EXTRACT OF THE ROOT BARK OF UVARIA CHAMA EP. BEAUV. (ANNONACEAE)


San Mateo EcoVillage is located in two four unit apartment buildings on the waterfront between San Mateo and Foster City. We have extensive organic gardens and have planted about three dozen fruit trees and have grafted most of them with three to six varieties, and raise chickens and honey bees.....and sell honey and eggs. We will have a tour about 11:30 and set-up for a potluck about 12:30.
We have some extra dishes and tableware, but it would be useful if you brought your own place settings. We have quite a few chairs, but if you have one that is convenient to carry, bring it along. Depending on the size of the group and the weather, we will eat either on the dock or up in our "community" room. We have a community agreement to not have shared meals with anything higher on the food chain than fish, so please try to keep to vegetarian dishes, or fish. Bring jackets to sit out on the dock in case it remains cool.
If you would like to stay later and help in a garden project that would be great, starting at about 2:00. You might want to bring your garden gloves and your favorite hand tool.
Note that we are also looking for people to live here who want to share in creating a more sustainable lifestyle. You can read more about us on our website.
This is a great chance to meet your fellow chapter members. We'll spend part of the potluck talking about what is going on in the chapter and brainstorming about possible events for the next quarter and beyond. Some of our best ideas have been born at potlucks!


We, at Little Wonders Portraiture, are so excited for 2017's holiday mini sessions! Little Wonders Portraiture is offering three different Holiday Mini Sessions this season, north Houston in Kingwood, Humble and Dayton TX. Two sessions are family oriented and the third option is for the kiddos. We, also, welcome those needing maternity, engagement, milestone sessions, etc. to take advantage of the special pricing. So check us out and reserve your spot before they are all gone.
Our first Holiday Mini Session is our fall session to be on location just outside of Kingwood in Humble Texas. This particular session is considered our "Fall" session and will focus around family. Ideally families should wear fall colors to coordinate with the woodsy area and the limited fall props. We have opted to not have full fall setups to allow the focus to remain completely on the family. We will however have a few pumpkins and other elements to incorporate and even hold little ones attention. Our Fall sessions will be held Saturday, October 21 and Sunday, October 22. To reserve your time and for more details please visit our mini session link on our website.
The second option for a Holiday Mini Session with Little Wonders Portraiture is our Christmas Mini Session also taking place in Humble TX. The session will have a simple setup consisting of a white lights and elegant seating giving that Christmas feel while still allowing the focus to remain on the family. We recommend winter color choices for your family's wardrobe. Take a look at our "what to wear" pinterest board for some great ideas on colors and coordinating the family with contrasting tones. Our Christmas Mini Sessions will take place on Saturday, November 4 and Sunday, November 5. To reserve your time and for more details regarding this holiday mini session please visit the same link as above.
Now!….about our third option for a Holiday Mini Session! I am BEYOND excited about this mini. Our third choice is our Milk, Cookies & Santa Mini Session. This mini session will be extra special for the little ones. Featuring a milk and cookie feast with the big man himself!! This particular mini session will take place in Dayton Texas. Our indoor setup will be a soft setup with creams, whites, hunter greens, weathered wood and deep reds….and of course Christmas Lights and Trees. To keep with the Christmas feel and soft setup I recommend dressing little ones in Christmas attire or creams, whites, golds and khakis. I think jeans will work well too. Our Milk, Cookies and Santa Sessions will take place on Saturday, November 12 and Sunday, November 13. To reserve your time and for more details regarding this holiday mini session please visit this link.
Once we receive your reserved time and payment we will send out electronic forms to gather and give information to you. If you have any additional questions please simply comment on this post or e-mail me at littlewonders@recollectionroad.com.
If you are interested in any of our regular portrait sessions please see our investment page for pricing and investment details. We'd love to get to work with you!
I had the hardest time coming back to work after what all of us Texans went through and continue to go through in these past couple of weeks or so but life must go on. The amount of devastation we have witnessed has been beyond traumatic. According to Wikipedia "the resulting floods inundated hundreds of thousands of homes, displaced more than 30,000 people and prompted more than 17,000 rescues." That is traumatizing.
Texans have lost so much through this catastrophe. Homes, photos, vehicles, food, jobs, businesses and the list goes on and on. I'm so relieved the the number of fatalities in relation to the numbers devastated remains very low. The majority of us still have our lives, we still have each other. Nothing is more valuable that so life must go on.
Now that the initial shock of this enormity has subsided somewhat I wonder how life must go on. Well….Texas Strong, God Strong, that's how. Nothing has put a bigger smile on my life than seeing the number of people, of Texans who have bonded and held strong with one another, to one another. It has been inspiring….It has been comforting. It's been down right amazing. And I honestly, after everything, I feel proud to be a part of such a place and would hate to miss out…..ironic right? It has restored my faith.
The obtaining of new material possessions, new homes, new cars, replaced clothing, etc. will of course come into play. It must, because life goes on. I, however, hope that we hang on deeply to the comradery we have witnessed and participated. I hope our faith remains fixed in God whom has answered a lot of prayers. It doesn't get much sweeter than that. I hope we can be an example to other communities, to other states….to our nation. This devastation may have ripped our lives apart but it bonded our lives together.
As a Christian and a Texan through God and with my community my life will continue. I now have a new appreciation for my particular job that was so hard to return to. As I drove through collapsed neighborhoods witnessing all that was lost and the families beginning recovery, I reflected on how all life moves forward. Time doesn't stop for a hurricane. Children continue to grow, relationships continue to blossom, and we all continue to get older. Its important to capture those moments while they are fresh. Life must go on and when the moment passes it is gone forever. I hope somehow I can help provide and/or replace those images…. those lost portraits with new ones…..those never taken with captured memories. Portraits of families still intact…. portraits of the dear friends we have made. Those are the important things we have retained and gained through this storm. Let's all hold onto them.
I now have a new found excitement in the freshness of our attitudes, the life within our cities, homes and jobs. What a blessing!….Life must go on.
If you wish to book a session with Little Wonders Portraiture please complete our contact form and we will get with you asap.
Little Wonders Portraiture is excited to announce we are having a Newborn Model Call in Kingwood, TX. What is a model call exactly? A model call is when a photographer advertises to acquire models related to specific types of photography in order to build portfolios, refine skills, utilize props, and a number of other things. In this particular case we are specifically hosting a newborn model call in an effort to refine poses, utilize new props and to build portfolio for our particular organic style.
A Newborn Model Call is an excellent opportunity for those seeking a newborn session to acquire not only the session for free but to receive free images as well as discounted products. Not to mention you will be among the first to be featured with various new props and refined artful posing. Our Newborn Model call will be is for the dates between April 22 and June 15. If you are interested in this opportunity you can read more information, our terms and conditions and apply at the following link. Please pass this information on to anyone you feel may also be interested! You can direct them straight here to the blog post or to our Little Wonders Portraiture Facebook Page.
Little Wonders Portraiture is so excited to now be offering three Newborn Mini Sessions every single month! These limited sessions are perfect for the parents, on a budget, looking to get only a few digital images of their precious new baby boy or girl with a professional newborn photographer. The Newborn Mini Sessions are a timed one hour session for the newborn baby only. To keep costs low no sibling or parent shots will be taken during the session. Due to the session having a time limit it is highly recommended that parents bring their baby 5-10 minutes early in an effort to get settled and to not miss any shots that could potentially be captured. Newborn babies should be between 5-14 days old to maximize the pose selection.
Each Newborn Mini Session will include a pre-consultation by phone to plan for the two studio setups consisting of one bean bag color and a backdrop/floordrop option. All studio accessories and props are available for use in your session. The session takes place in the home studio of Little Wonders Portraiture in Kingwood, TX. You can view my studio by visiting the studio page.
If you are interested in one of my more elaborate Newborn Sessions or maybe the Belly-Baby Package please read more information here or contact me directly.
Announcing our first model call of the year! What is a Tween Model Call, you ask? Well let me tell you. First off, a Tween is a youngster, according to dictionary.com, that is between 10 and 12 years of age and considered too old to be a child and too young to be a teenager. Second, a model call, in the photographers realm, is when we offer sessions for free or a small fee in order to practice posing, build portfolios, gain exposure, advertise something new, or a number of other reasons. In my particular Tween Model Call my goal is all of the above.
I've noticed in the past several years, as I have grown in the photographer community and gained many photographer friends across the country that no one really focuses on this precious stage of life. This age seems to be, for a lack of a better word, forgotten. We celebrate the newborns, the milestones, the first birthdays, young children, and then we jump to high school. We need to celebrate these last years of childhood….before entering teen-dom. For this particular model call I chose to ask for tween girls in an effort to utilize the opportunity to do some stylized photos with ball gown or vintage type dresses….as well as some normal, nice outfit, portraits.
So, after all that here's the low down. I'm looking for tween girls, between the ages of 10-12, who are comfortable being in front of a camera. I'll be spending the month of February gathering applications and selecting girls. The number of girls selected will depend on the number of applications received. March will be a month of my gathering and/or purchasing dresses, planning shoot locations and getting to know the tweens and their parents. At that point I'll be scheduling the sessions, according to what works with each tween, in the month of April and May when spring is in bloom.
If you or your girl are interested in participating in the tween model call please submit to me, at Little Wonders Portraiture, 3 photos (cell phone pictures will work), their name, age, height and dress size before February 28, 2017 to be considered. As a thank you for those selected you will receive your choice of a digital/print packages and a discount on additional items. Those not selected will receive a discount for a future session with Little Wonders for their tween or their family.
If you would like to book one of my normal session you can view my session fees on my investment page.


text:
Animal Crackers, from Flash to HTML5!
3halvesgames
At long last, Animal Crackers has been ported from Flash to HTML5!
Back in late 2013, a game jam was hosted by Game Jolt, the theme of which was Party. We quickly thought of a cute concept to merge Political Parties with Birthday Parties. The animal theme was added secondary to maximize the adorable factor. The game was developed for Flash using Flixel.
In 2015, we rediscovered our source code and repository. To our amazement, everything was still functional, and the code, though old, was still maintainable. We quietly finished development and released the game three years ago to great fanfare. It was curated to the front page of itch.io, received multiple LPs, and somehow gained traction on Chinese video streaming sites.
Unfortunately, it was Flash. Many users had problems running the game, even then, and time has not been kind. And thus, HaxeFlixel to the rescue!
Using as3hx and a whole lot of sed, we managed to go through all the differences between Flash Flixel and HaxeFlixel, from changes in API to new ways to import assets, to differences in font rendering, and more. It wasn't easy, as the initial conversion was full of compiler errors, which then were cleared to make room for runtime errors, which then were cleared to make room for performance differences... you get the picture.
Yet after all the trouble, after announcing that the port would happen way back in January... we finally are here.
Animal Crackers came out September 2015. It is September 2018. Welcome back, old friend, and thank you for playing.
Animal Crackers is available for free on our itch.io.
We make games! https://twitter.com/3halvesgames


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redpajama_set_name: RedPajamaGithub


Serious class - and sass, my block heel shoes are oh-so classic and perfect for wearing with any look.
Round toe. Adjustable ankle strap. Block heel. Soft and smooth faux leather.
TRUE WIDE-WIDTH: Designed so you never have to size up again.


In Strasbourg, there are as many Catholic Churches as Protestants Churches. This is mainly to due Germany influence, I believe. Here are the Strasbourg Catholic Church Mass that I gathered.
Commonly known as Strasbourg Cathedral.