text:
Advanced search Sitemap Contact us EFI EU REDD Facility Login
What is FLEGT
What is illegal logging?
What is the EU FLEGT Action Plan?
EU FLEGT Action Plan evaluation
FLEGT-Licensed timber
What is the EU Timber Regulation?
The EU Timber Regulation and VPAs
What are the requirements for operators?
Who enforces the EU Timber Regulation?
EU-China cooperation
Map of FLEGT projects
VPAs
What is a VPA?
What does a VPA contain?
How are VPAs negotiated?
VPA Unpacked
VPAs and SMEs in Mekong countries
TLA workshop 2019
Asia-Pacific Forestry Week 2019
Combating illegal timber. Sustainability, good governance
FLEGT week 2015
In Central and South America
FLEGT Factsheets
Other documents archive
Subscribe to our news releases
New to FLEGT/VPAs? Start here
Illegal logging and the EU FLEGT Action plan
What is special about VPAs?
Why does governance matter?
Reporting on FLEGT/VPAs
Maps and illustrations
FLEGT icons
Join our media list
What is FLEGT/
EU Timber Regulation/
What is the EU Timber Regulation?/
The EU Timber Regulation aims to reduce illegal logging by ensuring that no illegal timber or timber products can be sold in the EU. It was created as part of the EU's FLEGT Action Plan.
The EU Timber Regulation came into force on 3 March 2013. It prohibits operators in Europe from placing illegally harvested timber and products derived from illegal timber on the EU market. 'Legal' timber is defined as timber produced in compliance with the laws of the country where it is harvested.
The regulation applies to timber and a wide range of timber products, including pulp and paper. It sets out three main requirements for operators in Europe that place timber or timber products on the EU market for the first time.
The European Commission has useful information on the Timber Regulation intended for European operators, traders and timber associations. This includes answers to the following questions:
Why do we need a new law?
Who is affected?
How is it applied?
The EU FLEGT Facility has produced useful questions and answers on the EU Timber Regulation:
FAQ: Importing and exporting (CH EN ES FR VIE)
FAQ: Due diligence, certification and enforcement of the EUTR (CH EN ES FR VIE)
The EU Timber Regulation is available in all official EU languages. The Regulation text is also available in several other languages including Chinese, Indonesian, Japanese, Lao, Thai and Vietnamese. Only the versions in the official EU languages have legal value in the EU. Other translations do not constitute official translations and are for information purposes only.
The EU Timber Regulation and Voluntary Partnership Agreements work together to combat illegal logging and improve forest governance (EN FR CH)
Sources of information on the EU Timber Regulation (EN FR)
All you need to know about the US Lacey Act, the EU Timber Regulation and the Australian Illegal Logging Prohibition Act 2012 (EN ES FR)
Please contact Joseph Hennon, spokesperson for environment commissioner Janez Potocnik, at joseph.hennon@ec.europa.eu
Official publication of the Regulation on 12 November 2010
European Commission press release, 3 December 2010 (EN FR ES)
The Regulation on the Directorate General for the Environment website
Go to our media room
About the EU FLEGT Facility
The EU FLEGT Facility supports the implementation of the EU FLEGT Action Plan with a focus on Voluntary Partnership Agreements (VPAs). The EU FLEGT Action Plan sets out a programme of actions that forms the EU's response to the problem of illegal logging and the trade in associated timber products. The Facility is hosted by the European Forest Institute (EFI), and was established in 2007.
Facility office contact information:
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This website has been produced with the assistance of the European Union and the Governments of Finland, France, Germany, the Netherlands, Spain, Sweden and the United Kingdom. The contents of this site are the sole responsibility of the European Forest Institute's EU FLEGT Facility and can under no circumstances be regarded as reflecting the position of funding organisations.
© European Forest Institute 2020


text:
Tag Archives: Underbelly Cowgate
Four Woke Baes
Underbelly Cowgate
August 17, 2019 ReviewsColin Grenfell, Craig Unadkat, Edinburgh Festival Fringe 2019, Four Woke Baes, Hidden People, Jeff Gardener, Jonathan Caren, Lyndsy Fonseca, Matt Stadelmann, Michael Braun, Noah Bean, Quincey Dunn Baker, Quincy Dunn-Baker, Something for the Weekend, Teddy Bergman, Underbelly Cowgatethespyinthestalls
Reviewed – 16th August 2019
"a clever, awkward and incredibly tense comedy"
Four Woke Baes, written by Jonathan Caren, directed by Teddy Bergman and presented by Hidden People; the show features the true story of four men on a stag party drinking beers and barbecuing out in the woods. Everything changes, however, when an alluring female approaches their campsite.
The show builds in awkward tension and uses the breaking of this tension to create most of its comedic moments. None of the guys are particularly good at holding a conversation with Emma (Lyndsy Fonseca) not just because of her ravishingly "symmetrical features", but because of her vastly superior intellect and ability to dissect each of the guys' behaviour. So a large amount of this performance sits you in a pool of awkwardness, begging to be alleviated by someone. Oftentimes, Boardman (Quincy Dunn-Baker) is the person that provides this. Dunn-Baker's performance has the audience in hysterics as his heavy-handed comments land at almost perfect moments to assuage the tension in the room. However, some of the more pure comedy for comedies sake moments aren't as sound and serve, in the context of the quality of the performance, to feel slightly cheapening.
Consistent brilliance shines from each of the actors as they work through a well-written story to hook you in. Learning about each of the guys' lives through Emma's diagnosing of them helps to build a strong connection to each character. When the show reaches its precipice, a do it or don't do it moment, you can hear a pin drop… it's skin-crawlingly tense.
Emma's soothingly calm yet aggressively inquisitive demeanour often has the guys on the back foot and being very defensive. Though the conversation is not often elevated into any form of argument, you can feel the unwillingness of the four men to allow themselves to be read by, or to learn from, a woman. The piece's overall tone appears to be one of a feminist nature, and achieving this with a male-dominated cast is incredibly impressive.
Colin Grenfell's lighting and Jeff Gardener's sound design are a highlight of the play, being integral in creating a natural feel to the performance. Together, they ease the piece through time and slowly travel from a sunset evening into the dead of night. It is done so carefully and concisely you almost don't notice it happening, such understated and considered tech is hard to come by.
Four Woke Baes is an exceptionally interesting piece. Knowing that the story is true, you feel as if you're watching some of the most intimate moments of a person's life, which is quite a unique feeling. It's a clever, awkward and incredibly tense comedy but overarchingly is a thought provoking piece of theatre.
Reviewed by Craig Unadkat
Underbelly Cowgate until 25th August as part of Edinburgh Festival Fringe 2019
F. Off
Belly Button Underbelly
August 15, 2019 ReviewsAmelia Braithwaite, Edinburgh Festival Fringe 2019, Emily Morris, F. Off, Libby Todd, Meghan Doyle, NYT REP Company, Paul Roseby, Tatty Hennessy, Tim Jackson, Underbelly Cowgatethespyinthestalls
"Not only does 'F. Off' talk about issues, it lays them out for you, right in front of your face"
The National Youth Theatre has been the home of the best young talent in the country, and 'F.Off' demonstrates this in spades. It is an interactive theatrical gem, putting Facebook's creator Mark Zuckerberg on trial in front of the people. Well, Zuckerberg doesn't actually make an appearance, but an excitable audience member takes his place. The play exposes the disturbing truth behind algorithms, social media and politics. Did you know that the average person shares 27,000 pieces of data on their profile? Did you know that you can be tracked even if you don't use Facebook? All of these facts bubble to the surface through improvised interactions with audience members. Masterful directorial decisions are made in this piece, (Paul Roseby and Meghan Doyle) such as asking a viewer if they can look on their Facebook page in real time and tell the audience what information it gives away. Not only does 'F. Off' talk about issues, it lays them out for you, right in front of your face.
The stage design (Libby Todd) captures the central metaphor of the play, as said in one of the first lines of text: 'Why build a net unless you want to catch something?'. The stage has a bare frame, covered in blue netting that ensnares various props as the drama progresses. Every detail, from the set to the direction, has been thoroughly thought-through and has a clear purpose.
There is potential for a show on this topic to become preachy and overly-didactic. However, the three main storylines display the effects of the internet in a variety of ways: through a political campaign, the effect the campaign has on the politician's child, and the courtroom itself. The ensemble is strong in terms of characterisation and movement (Tim Jackson). Stylised physical theatre sections move the action along between scenes, building a sense of growing momentum. Amelia Braithwaite's performance of the politician's daughter is of particular note as she portrays the typical adolescent struggle of trying to fit in, with authenticity and nuance. The ensemble uses music for comedic effect, keeping in line with the tongue-in-cheek tone used throughout. A highlight of this is their adaption of Stevie Wonder's classic anthem 'Superstition', with new lyrics about reading the 'Terms and Conditions', as a viewer signs away their freedom.
'F. Off' tows the line between informative content and comedic delivery, while remaining attentive to the quality of the storytelling. This piece of theatre should be viewed with no less validity and merit than the adult shows produced by the same company. I can't wait to see what this bunch of budding actors goes on to do next.
Reviewed by Emily Morris

redpajama_set_name: RedPajamaCommonCrawl


text:
Plysch är ett slags långhårig sammet mjukare än schagg med uppskuren lugg liggande åt samma håll. Den kan vara av silke, bomull eller ylle.

Ibland kallas även trikåvävd velour för plysch.

Källor

 Nationalencyklopedin multimedia plus, 2000 (uppslagsord Plysch)

bomullstyger
ylletyger
sidentyger

redpajama_set_name: RedPajamaWikipedia


Well, DJI has done it again – they've blown my mind and proven how little I know about what's possible in a piece of gear. And, I'll be honest, when I had the chance to review the DJI Osmo Pocket, I wasn't entirely sure what I would be looking to say. Handheld gimbal setups aren't really "in my lane" creatively, so-to-speak, and for one as small as the Osmo pocket is with its own native camera, I half anticipated it to be toy-ish.
Yeah, no, it's not a toy.
With a 3-axis mechanically stabilized gimbal, 1/2.3″ sensor that can capture 4k video up to 60fps at 100Mbps, and 12-megapixel stills in either JPEG or DNG formats this little thing is an amazing travel companion that is about the size of an egg roll – and, boy do i love egg rolls.
Even if all it had going for it was it's ability to capture super slow motion b-reel clips at 1080p, 4k video and raw photo that would be enough, but DJI doesn't stop there. Using its FaceTrack feature, it can automatically keep the subject's head in the center of the frame – so for all of you vloggers who walk around with a camera pointed at yourself, it's a double win; you get a much smaller piece of equipment to get a lot less attention (not that I think that bothers you if you make a living off of people's voyeurism of your life), and the ability to move around freely without constant frustration of your movement taking you off or out of frame. With its ActiveTrack feature, you can make more broad selections for the Osmo to track with – amazing for moving interviews and sport video. The FPV mode will lock the camera in place, while stabilizing, but allowing for a straight on view of the action in any angle you're facing.
Sometimes, for the traveler, there are only small windows of time to upload and share your footage. Whether it's unreliable WiFi or a busy schedule, having the ability for some automation in how we share our experiences for some would be a game changer. Using the Osmo and the DJI Mimo app you can use some of their presets like sport, jazz, rhythm, party, Inspire, and more to have the Osmo go through some automated capture sequences, stitch them together for you, and create something more compelling or professional in a pinch.
Click here for more information on the Osmo Pocket Story Mode.
The selfie, photo, pano, video, slow motion, and timelapse modes are all fairly self-explanatory. Within each mode there are further options that continue to expand and get more controllable, including more professional options with each released firmware update. On the onboard screen you are able to navigate via swiping to the modes, then another swipe in the same direction opens up that mode's submenu. With photo you can select things like aspect and format. With video you can select video size and frame rate. Slow-motion is a locked 120fps at 1080p. With timelapse you can select a standard timelapse or motionlapse, and set up the desired interval for footage there. It's also really efficient that you can just rotate the Osmo 90º to have it orient itself in portrait, or turn upside down for it to orient itself to underslung mode.
Before the Osmo pocket ever came out, or the Osmo Mobile, or even before the Ronin, I was holding my drone by its legs and getting handheld footage with it. The concept of having the amazing DJI technology in a handheld device is incredible. As someone who has had plenty of time with handheld stabilizers where you spend painstaking hours getting the balance correct, not to mention the amount of money at stake of it failing, or the mounting failing, the relief of that stabilization being digitized makes those old rigs feel archaic and clunky.
Usually when a piece of technology comes along that replaces its predecessor, it has its own awkward stage and tends to be wildly more expensive – not so with the Osmo Pocket.
I wish the way to connect the phone to the osmo had some kind of clamp native to the gear without having to get another accessory. Because I didn't have something holding my phone, having to hold my phone and the Osmo with both hands doesn't free me up to make timely setting changes as quickly as I'd need to.
I love the case it comes with, super secure. Over two hours of battery life is fantastic. I was worried I'd lose the small phone plug adapter – it would be amazing to have some kind of spot on the handle to keep it attached when it's not being used. Quality of the 1080 superfine video was more impressive than I was anticipating. Stills are acceptable but leave me wanting – reminded me of editing my Phantom 3 images a couple years ago. I wish it had an input to take an external microphone, like a lav mic to do some better selfie videos with stronger audio. The default color/look from the automatic camera settings were strong in contrast, but the colors were not abrasive or unnatural.
This would be a great piece of gear for someone traveling to a country where having 'professional' gear wouldn't make it past the gate security. And, finally, I'm sure my experience would have been even better with the massive lineup of already available accessories you can find here.
If you're really looking to step your game up you can also look at PolarPro's lineup of filters and accessories.
In case any of you are reaching for the 'fanboy' comment, don't, because I don't think I'd end up with this in my bag – not because it's not worth the price tag, but because I couldn't imagine myself using it too often. I am impressed with the kinds of improvements they've made to the firmware and software for the Osmo pocket to allow it to accommodate the needs of professional creators, or more meticulous hobbyists.
The introduction of advanced menu options like RAW photo and Cinelike video profiles are always going to make the experience better for me with how involved I love getting into the post-processing space. And, while it may not have anything to do with the Osmo Pocket itself, it is an increasing reality that laws and regulations are cracking down on professional photo equipment, especially in travel, so the smaller gear just has a better chance of making it to the destination, which is a legitimate consideration.
If you're looking to pack light, get a solid introduction into vlogging, travel journaling, or hobby filmmaking, this is worth a second, third, and fourth look. If you're not in a hurry though, I'd say keep an eye peeled for whatever the Osmo Pocket 2 is bound to have. My vote would be a Hassleblad camera, onboard WiFi, a mic input, and make the handle a little bigger to accommodate a bit bigger screen and sturdier grips – all of which would send this already impressive handheld gimbal into the realms of truly insane.
I grew up in the Eastern Sierras and since I was a kid I loved being outdoors and art. I went to school for music and theology and think both of those weave their way into my photography. I have a passion to change people from being cynical about people and this planet to being hopeful and seeing the beauty in it. I have a wife and two daughters and they could care less how successful I am at taking pictures, and that's great, because it's a constant anchor to what is best.


Next week I will be traveling to West Point for the week and my wife is honoring my birthday by a getaway weekend when I return late Friday Night.
That being said, I will not be providing A/V Service for Sunday August 28th.
In order to fully understand the recording/converting/uploading streaming requirements. Someone should sit at the A/V desk during service to watch the process fully.
A typical day of A/V Process ends by noon. This past Sunday I made a mistake while recording so had to stay a little longer to "fix" John's talk to upload to the web site. (not typical) I also had to upload a proper MP3 archive of the week before.
Can someone please sit with me this Sunday and take notes of the processes required?


text:
ElliptiGO, Girls!
Two friends complete 280-mile trek to fight breast cancer.
By Heather Johnson
During a bad day at work, many of us have fantasized about quitting to travel the world, hike the Appalachian Trail, or live in an Airstream in the woods. When Malinda Walker, a San Francisco-based runner, joked with her coworker, Lamorna Brown Swigart, about walking across the country, little did she know she would set the wheels in motion for a seven-day, 280-mile journey around the Bay Area—riding ElliptiGOs.
What started as a fantasy became a real project called We Go for Good. Walker and Brown Swigart "ElliptiGO'd" through cities surrounding San Francisco to raise awareness and funds for their employer, the Helen Diller Family Comprehensive Cancer Center's Breast Oncololgy Program at the University of California San Francisco. "I started working at UCSF in 1995," Walker said in her kickoff speech. "In that year, a friend of mine from high school and college died of breast cancer. She had two small children. Many young women continue to suffer from this disease. But with the proper investment, we can continue to make advances. That's why Lamorna and I are going to go for good."
"I knew the ElliptiGO would be a great way to draw attention to our cause," says Walker, who knew of the machine as the cross-training method of choice for elites, such as Meb Keflezighi, as well its other benefits.
"And I had no idea what an ElliptiGO was!" adds Brown Swigart, a mother of two. "I've never been an athlete in any sense, so contemplating this a year ago—essentially completing seven marathons back to back—I thought, 'How could I possibly do that?' But now, I'm certainly in much better shape than I used to be."
Inspired by Tri-Valley SOCKs, a Pleasanton, California-based not-for-profit that raises money for breast cancer research, most colorfully through a "Bras for a Cause" walk, Walker and Brown Swigart created a route that started and finished at UCSF. Along the way, the team traveled through Silicon Valley hotspots Redwood City and Mountain View; through small towns Danville and Martinez; and through Napa, Sonoma, and Petaluma wine country.
The duo stopped at libraries, churches, businesses, and bike shops to spread the word about their cause, the ElliptiGO, and the benefits of exercise. Cyclists joined them for random stretches along the route. "The SOCKs put on a party for us in Pleasanton when we arrived," says Brown Swigart. "And members of Malinda's running club, Pamakid Runners, ran beside us for 15 miles in the heat on a Sunday morning. That was pretty impressive."
The Fremont Public Library also laid out the welcome mat. "When we arrived, there were people cheering and clapping and the mayor came out to greet us," says Walker. "It really made us feel like we were doing something great."
Probably because they are. To date, We Go for Good has raised nearly $17,000 toward a revised $20,000 goal. (Walker and Brown Swigart planned to raise $100,000 before reality hit.) They intend to continue their fundraising efforts riding ElliptiGOs. Although they haven't nailed down a destination or a date yet, Walker says, "There is definitely more 'going for good' in our future."
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text:
Notable Clients
Associate Event Planners
Back to All DJs
Gianna started her DJ'ing career at Providence College for 91.3 WDOM. It was there that she began a blossoming career that would be the backbone of her career. As music director and general manager of the station, Gianna acted as a liaison between the radio station and the college administration. After college, she spun music in many local clubs in and around Providence, Rhode Island.
In 2002, Gianna arrived in Los Angeles. Not only has she worked in some of Hollywood's hottest nightclubs, Gianna has also been performing a lead role with 123 DJ's and Dubgypsy Entertainment. She is known on both coasts as a rising star in the world of club DJs, weddings and high profile events. In addition to mixing and constantly discovering new music, Gianna plays an important role in planning and coordinating events. A few past clients have included NBC, CBS, Amgen, The William Morris Agency, and MaxMara.
Gianna enjoys making every occasion a special and unique one. Her innovative and self-styled manner of DJ work is an all inclusive performance in which Gianna showcases her talents, engages the audience and holds a packed dance floor the entire night. For a personalized and unique event, Gianna is the best of what Dubgypsy has to offer.
We'd love to hear from you! Please tell us a bit about yourself and your event. You can also contact us directly at info@dubgypsy.com or 323-972-2328.
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©2021 Dubgypsy. All Rights Reserved


text:
/* Code generated by IfcQuery EXPRESS generator, www.ifcquery.com */
#pragma once
#include <vector>
#include <map>
#include <sstream>
#include <string>
#include "ifcpp/model/GlobalDefines.h"
#include "ifcpp/model/BasicTypes.h"
#include "ifcpp/model/BuildingObject.h"
#include "IfcGeometricRepresentationContext.h"
namespace IFC4X3
{
	class IFCQUERY_EXPORT IfcGeometricRepresentationContext;
	class IFCQUERY_EXPORT IfcPositiveRatioMeasure;
	class IFCQUERY_EXPORT IfcGeometricProjectionEnum;
	class IFCQUERY_EXPORT IfcLabel;
	//ENTITY
	class IFCQUERY_EXPORT IfcGeometricRepresentationSubContext : public IfcGeometricRepresentationContext
	{
	public:
		IfcGeometricRepresentationSubContext() = default;
		IfcGeometricRepresentationSubContext( int id );
		virtual shared_ptr<BuildingObject> getDeepCopy( BuildingCopyOptions& options );
		virtual void getStepLine( std::stringstream& stream ) const;
		virtual void getStepParameter( std::stringstream& stream, bool is_select_type = false ) const;
		virtual void readStepArguments( const std::vector<std::string>& args, const std::map<int,shared_ptr<BuildingEntity> >& map, std::stringstream& errorStream );
		virtual void setInverseCounterparts( shared_ptr<BuildingEntity> ptr_self );
		virtual uint8_t getNumAttributes() const { return 10; }
		virtual void getAttributes( std::vector<std::pair<std::string, shared_ptr<BuildingObject> > >& vec_attributes ) const;
		virtual void getAttributesInverse( std::vector<std::pair<std::string, shared_ptr<BuildingObject> > >& vec_attributes ) const;
		virtual void unlinkFromInverseCounterparts();
		virtual uint32_t classID() const { return 4142052618; }

		// IfcRepresentationContext -----------------------------------------------------------
		// attributes:
		//  shared_ptr<IfcLabel>											m_ContextIdentifier;		//optional
		//  shared_ptr<IfcLabel>											m_ContextType;				//optional
		// inverse attributes:
		//  std::vector<weak_ptr<IfcRepresentation> >						m_RepresentationsInContext_inverse;

		// IfcGeometricRepresentationContext -----------------------------------------------------------
		// attributes:
		//  shared_ptr<IfcDimensionCount>									m_CoordinateSpaceDimension;
		//  shared_ptr<IfcReal>												m_Precision;				//optional
		//  shared_ptr<IfcAxis2Placement>									m_WorldCoordinateSystem;
		//  shared_ptr<IfcDirection>										m_TrueNorth;				//optional
		// inverse attributes:
		//  std::vector<weak_ptr<IfcGeometricRepresentationSubContext> >	m_HasSubContexts_inverse;
		//  std::vector<weak_ptr<IfcCoordinateOperation> >					m_HasCoordinateOperation_inverse;

		// IfcGeometricRepresentationSubContext -----------------------------------------------------------
		// attributes:
		shared_ptr<IfcGeometricRepresentationContext>					m_ParentContext;
		shared_ptr<IfcPositiveRatioMeasure>								m_TargetScale;				//optional
		shared_ptr<IfcGeometricProjectionEnum>							m_TargetView;
		shared_ptr<IfcLabel>											m_UserDefinedTargetView;	//optional
	};
}

redpajama_set_name: RedPajamaGithub


text:
Sophia Rosamond Praeger, MBE
(auch Rosamund; * 17. April 1867 in Holywood, County Down, Nordirland; † 16. April 1954 in Rock Cottage, County Down) war eine irische Künstlerin, Bildhauerin, Illustratorin und Dichterin.

Leben

Praeger wurde als Tochter von Willem Emil Praeger und Marie Ferrar Patterson geboren. Der Vater war aus Holland nach Belfast eingewandert, um mit seinem Onkel in der 1860 gegründeten Leinenfirma der Familie zu arbeiten. Rosamond Praeger hatte fünf Brüder, von denen der älteste der Naturforscher Robert Lloyd Praeger war. Praeger erhielt ihre Grundschulausbildung an der Tagesschule des Pfarrers Charles McElester der Non-Subscribing Presbyterian Church of Ireland. Praeger unterrichtete später selbst an dieser Schule. Sie besuchte die Sullivan Upper School, die Belfast School of Art und die Slade School of Fine Art in London. An der Belfast School of Art studierte Praeger bei dem Maler George Trobridge und wurde 1886 Mitglied des Rambler's Sketching Club, einem Vorläufer der Royal Ulster Academy. 1888 schrieb sie sich an der Slade School ein, wo sie bei Alphonse Legros studierte und eine Silbermedaille im Zeichnen gewann. Während dieser Zeit freundete sie sich mit der Bildhauerin Ellen Mary Rope an. Von 1892 bis 1893 reiste Praeger nach Paris, um dort zu studieren, nachdem sie von Legros und Rope dazu ermutigt worden war.

Nach ihrem Aufenthalt in Paris kehrte Praeger nach Holywood zurück und richtete ein Atelier ein. Nachdem sie eine Reihe von Ateliers in Belfast gemietet hatte, baute sie 1914 das St Brigid's Studio in der Hibernia Street, in dem sie bis zu ihrem Tod arbeitete. Ihren ersten großen Auftrag führte Praeger 1907 aus, ein Denkmal für T. Hamilton für die Queen's University Belfast.

Praeger schrieb und illustrierte Kinderbücher und lieferte auch botanische Illustrationen für die Arbeiten ihres Bruders. Am bekanntesten ist sie jedoch für ihre Skulpturen, die sie vor allem in Gips, aber auch in Marmor, Terrakotta und Stein anfertigte. Ihre bekanntesten Werke stellen Kinder in einem manchmal als sentimental bezeichneten Stil dar. Ihr bekanntestes Werk, The Philosopher, wurde erstmals 1920 in der Royal Academy of Arts in London ausgestellt; anschließend fertigte Praeger mehrere Kopien für verschiedene Museen an.

Weitere bekannte Skulpturen sind Johnny The Jig (1942), errichtet in Holywood (High Street, Ecke Shore Road), Original heute im North Down Museum, das Halbrelief Fionnuala, the Daughter of Lir im Ulster Museum oder die Gedenktafel Lord Edward Carson Memorial in der St Anne's Cathedral in Belfast (1938).

Eine Gesamtliste ihrer Werke ist im Rahmen des Mapping Sculpture Project der Glasgow University, dem Victoria and Albert Museum und dem Henry Moore Institute online verfügbar.

Praeger war Präsidentin der damaligen Ulster Academy, die später zur Royal Ulster Academy wurde.

Praeger wurde 1927 Ehrenmitglied der Royal Hibernian Academy, erhielt 1938 einen Ehren-MA von der Queen's University Belfast und wurde 1939 mit dem Order of the British Empire ausgezeichnet. Sie starb am 16. April 1954 in Rock Cottage und wurde auf dem Priory Cemetery beigesetzt.  Praegers Werke befinden sich in den Sammlungen des Ulster Museum und der National Gallery of Ireland sowie in einigen Privatsammlungen in aller Welt.

Literatur

Weblinks

Einzelnachweise

Bildhauer (Vereinigtes Königreich)
Illustrator (Irland)
Illustrator (Vereinigtes Königreich)
Member des Order of the British Empire
Ire
Brite
Geboren 1867
Gestorben 1954
Frau


From August 21st to 23rd I will be doing an internet-free dissertation boot camp. In some ways it's a bad match for my project and the current state of my research, since a lot of my research materials are in an encrypted archive on a computer I won't be able to bring with me, while a lot of non-sensitive material is online in GMail and Google Docs.
Still, if it just means hunkering down with some of the literature review materials which remain that will fully justify and occupy three days.


text:
Blue Fin
There's a section of Phoenix announced on the train as a "cultural district." Signs on the I-10 off-ramp at 7th Street point to an "arts district" in the same area. For decades, this part of town, also sometimes called the "Midtown Museum District," has been defined by major cultural institutions such as the Burton Barr Library and the Phoenix Art Museum. The space between these attractions has largely been vacant lots. One exception is Blue Fin, a quick service Japanese restaurant located across the street from the McDowell / Central light rail station.
Daily Special
Blue Fin has been around since 1981 in a modest standalone building at Central and Willetta. The location is close to both the Burton Barr Central Library and the Phoenix Art Museum. The Circa apartment building, one of many new multi-housing developments rapidly filling empty land in the area, now wraps around the restaurant but leaves room for the drive-thru, a feature that persists despite the pedestrian traffic in the area. There's no bike rack at the restaurant, but Circa has added some just to the east at Willetta and First Street.
Healthy Special
The restaurant's building has a little decor on the outside — mainly just some window decorations. Inside, it's a plain, tight space. There's more seating on a patio facing Central and on the sidewalk along Willetta. Despite the Spartan aesthetics, Blue Fin's food and longevity have generated the type of popularity that means a line, albeit one that moves quickly, during the peak time at lunch. Since the restaurant is not open weekends or evenings, a lot of its business is concentrated into one midday burst of teriyaki enthusiasm.
panko fish plate
That teriyaki is of course the main attraction here. Before lunch, it's often possible to smell the meat grilling while walking nearby on Central Avenue. Like most entrees, the teriyaki comes in either a bowl or on a plate paired with a salad. There's also something known as the "daily special." If that suggests something that changes from day to day, let it be known that it's actually the same assortment all the time: a generous serving of chicken on top of rice, greenery on the other side of the plate, and two crisp vegetable spring rolls at the summit of it all.
beef bowl
When marinated in the sweet, salty, and smoky teriyaki sauce, a mix of white and dark meat chicken yields the most flavor. Nevertheless, there is a "healthy special" available for those who prefer only chicken breast. Not every part of the dish is white, though. As expected, the rice in the healthy special is brown, an upgrade available for a small extra charge with most other dishes served here. There's also teriyaki beef, available in a "beef bowl" special with a side. The flavor is as satisfying as the poultry, but the meat is tougher.
chicken katsu plate
Look around the dining room and the patio, and you'll see a whole lot of teriyaki. The second most popular item is probably the panko. A thin cutlet of chicken is coated in light bread crumbs (made that way by omitting the crusts) and fried. The result is filling but not particularly greasy. The chicken's enjoyable, but the poultry is so thin that the ratio of meat to coating is about even. The panko fish is an even better choice because the generous slabs of flesh hold up better when fried, producing a flaky, moist interior in each piece.
A similar approach is evident in the katsu pork and the coconut shrimp, the other fried entrees on the menu. With these items, there will be a default sauce served on the side, but feel free to request another one that seems more enticing. The tonkatsu sauce takes a base of ketchup and amplifies it with soy and spices. The chili sauce is, as expected, more spicy, and the tartar sauce served with the fish is the least exciting. These sauces are provided on request, but there's also an array of condiments on a table near the front door.
vegetable yakisoba
Beyond food marinated in teriyaki sauce or covered in panko, the Japanese curry is worth sampling at Blue Fin. It's a mix of chicken meat and carrots in a mild, medium brown sauce, a distinct taste that evolved as British colonists adapted Indian food traditions and created commercial curry powders, which were later adopted by Japan. If there's a weak item here, it's the yakisoba, a mix of flaccid noodles and vegetables with sauce on the side. It's among a few vegetarian items here, but the meatless egg rolls are a better choice.
sunomono
Those egg rolls, with or without meat, are one of several choices worth having as a side dish or appetizer. The gyoza come four to an order with a ground meat stuffing and a dipping sauce featuring both chile and vinegar tastes. Vegetable sides include the inevitable edamame; a crunchy, chewy seaweed salad; and a sunomono salad of sliced cucumber. Drinks are all of the non-alcoholic variety: fountain sodas, lemonade, iced tea, Japanese orange soda, and a selection of canned Hawaiian Sun fruit drinks.
To end the meal, there's a little cheesecake and some ice cream, but the Blue Fin's most interesting dessert is the mochi, a cake made with glutinous rice and stuffed with a sweet red bean paste. The exterior is then studded with either black or white sesame seeds, producing an initial layer of crunch followed by a softer core. These small treats come in multiple flavors and even a few varieties of ice cream mochi. New apartments are rapidly filling the void between the library and the art museum, but Blue Fin remains an essential part of the neighborhood.
1401 N. Central Ave., Phoenix AZ 85004
McDowell / Central Station
http://phxbluefin.com
McDowell / Central
Burton Barr Library, curry, egg rolls, gyoza, Japanese, katsu, mochi, panko, teriyaki, yakisoba
Restaurant Atoyac Estilo Oaxaca
Federal Pizza
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text:
package net.peelo.kahvi.compiler.ast.expression;

import net.peelo.kahvi.compiler.ast.AtomVisitor;
import net.peelo.kahvi.compiler.ast.annotation.ElementValueVisitor;
import net.peelo.kahvi.compiler.ast.type.ReferenceType;
import net.peelo.kahvi.compiler.util.SourcePosition;

public final class InstanceOfExpression extends Expression
{
    private final Expression expression;
    private final ReferenceType type;

    public InstanceOfExpression(SourcePosition position,
                                Expression expression,
                                ReferenceType type)
    {
        super(position);
        (this.expression = expression).setEnclosingScope(this);
        (this.type = type).setEnclosingScope(this);
    }

    public Expression getExpression()
    {
        return this.expression;
    }

    public ReferenceType getType()
    {
        return this.type;
    }

    @Override
    public <R, P> R accept(ExpressionVisitor<R, P> visitor, P p)
    {
        return visitor.visitInstanceOfExpression(this, p);
    }

    @Override
    public <R, P> R accept(VariableInitializerVisitor<R, P> visitor, P p)
    {
        return visitor.visitInstanceOfExpression(this, p);
    }

    @Override
    public <R, P> R accept(AtomVisitor<R, P> visitor, P p)
    {
        return visitor.visitInstanceOfExpression(this, p);
    }

    @Override
    public <R, P> R accept(ElementValueVisitor<R, P> visitor, P p)
    {
        return visitor.visitInstanceOfExpression(this, p);
    }

    @Override
    public String toString()
    {
        return this.expression + " instanceof " + this.type;
    }
}