The inventive work of the Strand + Hvass duo continues in a direct line from their celebrated Danish predecessors.
Industrial designer Christina Strand (b. 1968) and architect Niels Hvass (b. 1958) founded their Copenhagen-based design firm in 1998 to unlock the potential of two minds working together to create truly innovative, purposeful solutions to universal design challenges.
Their mutual design philosophy is user-centric, deeply rooted in Scandinavian culture, and based on research and a strong emphasis on function.
This has resulted in simple and comprehensible furniture that conveys a deep understanding of the potential of various materials. Strand + Hvass focus on simplicity, superior quality, and the combination of uniqueness and industrial production to create the modern classics of tomorrow.
With the Extend Table design, Strand + Hvass infused the modern Danish furniture tradition with a bold new expression and additional functionality.


Anastasija focuses her attention on areas with very real currency within the contemporary design scene. Biophilia and human centred design—a concern for creating objects and spaces which facilitate the needs of real live, diverse, frustrating, complex, unpredictable and unique human beings. For as long as there has been a professionalised design industry, practitioners have payed homage to the abstracted "User" as the focus of their activities. In ergonomics manuals filled with statistical data for every conceivable rationalised situation. Design for a homogenised, faceless, human drone, for whom Chair+Desk+Cubicle=happy and productive worker. In the 21st century however, this is no longer enough, as our day to day lives have become more and more technically complex, fragmented and abstracted, so the focus has shifted to ways in which design can support the human-organism reconnected to the rhythms and patterns of the natural and the organic. So the designer must now ask 'What do actual humans need?' The answer: Complexity and Simplicity, Variety and Uniformity, Stimulus and Quiet (not too much), Focus and Distraction (just enough). Light, Views, Colours, Pattern, Personal space, Social space, 3rd spaces (somewhere in-between). A whole boatload of non-specifics in fact. So this is the challenge, how to pull from such disparate and conflicting requirements, functionally appropriate and visually resolved solutions for workplaces and public spaces. Responding broadly to these concerns, Anastasija's project is a semi enclosed concentration pod which allows for multiple uses and supports multiple functionalities. A visually gentle, ovoid form, dressed with natural materials and textures, to be used as an individual reclining space or an intimate meeting or brainstorming hub. A statement piece for offices or public spaces where the central intention is abundantly clear—"Insert Human Being here".


text:
in: Articles incorporating text from Wikipedia, Armored cavalry regiments of the United States Army, Military units and formations of the Philippine–American War,
Military units and formations of the Spanish–American War
Military units and formations established in 1836
Military units and formations of the United States in the Indian Wars
Military units and formations of the Great Sioux War of 1876
Utah War
United States military in Germany
United States Regular Army Civil War regiments
Military units and formations of the Gulf War
2nd Cavalry Regiment (United States)
2nd Cavalry Regiment (Stryker)
Regimental coat of arms
23 May 1836 – Present
United States Army Europe
(USAREUR)
Rose Barracks, Vilseck, Germany
Second Dragoons[1]
Motto(s)
Toujours Prêt (Always Ready)
Remember Your Regiment and follow your officers (Unofficial motto)
Yellow and Orange
Philippine-American War
Colonel Douglas A. Sims
William S. Harney
Henry Hopkins Sibley
David E. Twiggs
Philip St. George Cooke
Joseph T. Dickman
Harry Chamberlin
Creighton Abrams
David M. Maddox
John H. Tilelli, Jr.
Walter L. Sharp
Tommy Franks
distinctive unit insignia
shoulder sleeve insignia
U.S. Cavalry Regiments
1st Cavalry Regiment 3rd Armored Cavalry Regiment
The 2d Cavalry Regiment (2 CR), also known as the Second Dragoons,[1] is an active "Strykerized" infantry and cavalry regiment of the United States Army. The Second Dragoons is a component of V Corps and United States Army Europe, with its garrison at the Rose Barracks in Vilseck, Germany. It can trace its lineage back to the early part of the 19th century where the 2nd Cavalry has the distinction of being the longest continuously serving regiment in the Army.
The regiment has previously been known as the 2nd Regiment of Dragoons (5/1836-3/1843, 4/1844-8/1861); 2nd Regiment of Riflemen (3/1843-4/1844); 2nd U.S. Cavalry Regiment (8/1861-7/1942); 2nd Cavalry Regiment (Mecz) (1/1943-12/1943); 2nd Cavalry Group (Mecz) (12/1943-7/1946); 2nd Constabulary Regiment (7/1946-11/1948); 2nd Armored Cavalry Regiment (11/1948-7/1992); 2nd Armored Cavalry Regiment (Light) (7/1992-6/2006); 2nd Stryker Cavalry Regiment (6/2006-7/2011) and most recently 2d Cavalry Regiment (July 2011–present).
1 Motto and patch
2.1 Between 1808–1815
2.2 Early organization
2.3 Civil War
2.4 Indian wars
2.5 Spanish-American War, World War I and World War II
2.6 The Cold War, Desert Storm, and reorganization
2.7 Bosnia service
2.8 The 21st century
2.9 Operation Enduring Freedom
3 Current structure
4 Medal of Honor recipients of the 2nd Cavalry Regiment
5 Alliances
Motto and patch
The Regimental Motto: Toujours Prêt (French: 'Always Ready') – remember your regiment and follow your officers.
The fleur-de-lis on the badge commemorates the Regiment's service in France during WWI.
The palmetto Leaf symbolizes the campaign against the Seminole Indians.
The eight-pointed shield represents the original badge of a Dragoon as does the color.
Between 1808–1815
In 1808, there was one Regiment of Dragoons and during the War of 1812 another regiment was raised. Units of both Regiments of Dragoons served in engagements at the Mississineway River; the Battle of Lundy's Lane; Fort Erie and the siege of Fort Meigs. These two regiments were consolidated on 30 March 1814 into the Regiment of Light Dragoons but this new unit was dissolved on 15 June 1815.[2]
Early organization
Bezaleel W. Armstrong, 2d Lieutenant, 2d Dragoons, 1846; served in Mexican War at Vera Cruz and Mexico City, 1847–48; died 1849, aged 26. Daguerreotype, c. 1846.
The precursor organization was originally established by President Andrew Jackson on 23 May 1836, as the Second Regiment of Dragoons of the U.S. Army. Two squadrons were originally raised, one at Jefferson Barracks, Missouri, and one in Florida to combat the Seminole Indians. It saw its first combat during the Seminole Wars, then served on the Texas frontier under Col. David Twiggs. The regiment fought in the Mexican-American War, the early frontier Indian Wars, Bleeding Kansas, and the Utah War. 2nd cavalry regiment was station in Waterloo, Iowa
At the onset of the Civil War in 1861, it was recalled to the Eastern theater and redesignated in August of that year as the Second Cavalry. For much of the war, it was a key part of either the "Reserve Brigade" or the "Regular Brigade" of the Cavalry Corps of the Army of the Potomac and served in numerous campaigns and battles. During the Battle of Gettysburg, the 2nd U.S. Cavalry served under Wesley Merritt and engaged the Confederates south of Gettysburg on the third day.
Like the other early mounted units, many members of the Second Cavalry went on to higher ranks and command positions on both sides during the War.
Fetterman Massacre (21 December 1866)
Kidder massacre (2 July 1867)
Marias Massacre (23 January 1870)
Battle of Powder River (17 March 1876)
Battle of the Rosebud (17 June 1876)
Spanish-American War, World War I and World War II
During the Spanish-American War, the 2nd Cavalry deployed to Cuba, joining Teddy Roosevelt and the Rough Riders, fighting at El Canay, San Juan Hill, Aquadores, and Santiago. The Regiment remained in Cuba on pacification duty for the next three years. From Cuba, the Regiment deployed to the Philippines, participating in the Cavite Campaign in 1899 as well as fighting the Moro in 1911 and 1912.
During World War I, the Regiment 'saddled up' again, this time under 'Black Jack' Pershing in Europe, participating in several battles, including the Aisne-Marne Offensive. Troops B, D, F and H became the last elements of the Regiment to ever engage the enemy as mounted horse cavalry.
During World War II, the Regiment (this time under the designation of '2nd Cavalry Group, Mechanized') landed in France in July 1944, becoming part of General Patton's Third Army. During this period, the Regiment became known as the 'Ghosts of Patton's Army' due to their ability to conduct reconnaissance, materializing seemingly at will behind German lines. The Regiment made the deepest penetration of the war, arriving in Czechoslovakia before finally linking up with Soviet forces heading west. Under the leadership of Col. Charles H. Reed, the Regiment rescued the famous Lipizzaner Stallions from the combat zone and brought them to safety in Germany. At the end of the war, the unit was re-designated, yet again, as the 2nd Constabulary Regiment, and eventually the 2nd Armored Cavalry Regiment in 1948.
The Cold War, Desert Storm, and reorganization
During the Cold War, the Regiment was responsible for guard/surveillance duty along the Iron Curtain, acting as a tripwire for the long-expected, but never materializing, Warsaw Pact invasion of Western Europe. The Regiment's border sector varied in its dimensions over the years but always included portions of both the East German and Czechoslovakian borders with the Federal Republic of Germany. The Regiment patrolled the border by air and ground. Ground cavalry troops on the border operated out of border camps close to the frontier. Regular border tours in sizable sectors contributed to the development of independence and self-sufficiency that characterizes cavalry operations and paid great training dividends in leader training to the cavalry squadrons of the Regiment.
In 1978, M Company, 3rd Squadron, 2nd ACR was selected to represent the US in the 1979 Canadian Army Trophy (CAT), finishing 4th – the first time the US entrant had not placed last. The fall of the Berlin Wall and the collapse of Communism in Eastern Europe meant the Regiment had to now redefine its role. During this process, the Regiment was alerted for deployment to Saudi Arabia in response to the invasion of Kuwait by Iraq.
The regiment spearheaded the VII Corps end-run deep into Iraq during the Persian Gulf War. During its covering force mission, units of the Regiment destroyed two brigades of the Iraqi Republican Guards Tawakalna Division in the Battle of 73 Easting. The unit earned the Valorous Unit Award for its service in Operation Desert Storm.
Returning from the Gulf, the Regiment was relocated from Germany to Fort Lewis, Washington. The Regiment's ground squadrons were converted into a light cavalry unit consisting of Humvees mounted with TOW launchers, MK-19 grenade launchers, .50 caliber machine guns and squad automatic weapons (SAW). The 2nd ACR "light" was then sent to Ft Polk, LA in 1992. From here, the Regiment deployed in support of the peace enforcement operation in Haiti from 1995 to 1996. The 3rd Squadron ("Wolfpack") was the first ground unit to deploy and operated under the 25th Infantry Division in Port au Prince, Haiti. After six months in Haiti, 1st Squadron arrived to replace 3rd Squadron. 2nd Squadron replaced 3rd Squadron in October 1995 and redeployed in March 1996 completing the cycle.
Bosnia service
In April 1997, the Regiment received orders to be prepared to deploy to Bosnia and Herzegovina. Following the first Mission Rehearsal Exercise held at the JRTC in June, the unit moved to Germany to begin integration with the 1st Armored Division. Meanwhile, all its equipment was shipped to the Intermediate Staging Base at Taszar, Hungary.
The Regiment's participation in Operation Joint Guard began when the 2nd and 3rd Squadrons moved across the Sava River into Bosnia in August 1997 to augment the 1st Infantry Division (Forward) in support of Bosnia-Herzegovina's municipal elections. The Regiment's air cavalry, the 4th Squadron and the Regimental Support Squadron also moved into the country. The Regiment's separate units – the 502nd Military Intelligence Company; the 84th Engineer Company; Company H (Aviation Maintenance), 159th Aviation Regiment; and the Air Defense Battery – completed the Regimental troop list.
While the ground squadrons were in Bosnia, the Regimental headquarters deployed to Germany to train with the 1st Armored Division Headquarters in preparation for assuming command in Bosnia. During August and September, the Regiment was spread across five countries on two continents, and was under the direct command and control of three different general officer commands. This period included another first for any Army unit during a 12-month period: the Regiment participated in major training exercises at all three of the Army's Combat Training Centers: The National Training Center (NTC) at Fort Irwin, the Joint Readiness Training Center (JRTC) at Fort Polk, and the Joint Multinational Readiness Center (JMRC) at Hohenfels, Germany [1]. In October the remainder of the Regiment rode into theater, assuming responsibility for the American sector of Multinational Division (North), which stretched from the war-torn bridge at Brcko in the north to the shattered city of Srebrenica in the south.
The first major action of the Regiment in Bosnia was the seizing of Serbian radio-television towers to control communications into the Republika Srpska. Other significant operations that the Regiment conducted include: the restructuring of the Republika Srpska Specialist Police; the creation of the first multi-ethnic police department, in the city of Brčko; security for the announcement of the Brcko Arbitration Decision (an effort to resolve the status of this Serb-dominated city within Bosnia); institution of common license plates and currency in Bosnia, and the opening of the Bosnian rail system. In conducting operations in sector, the Regiment executed an estimated 12,500 patrols and 480 weapon storage site inspections, supervised the removal of over 12,000 mines, and oversaw 350 training exercises for the former warring factions. The Regiment served one of the longest tours of military units there.
The 21st century
After returning from Bosnia, the unit remained at Fort Polk, Louisiana until deployed again to the Gulf for Operation Iraqi Freedom, remaining for a total of 16 months earning another presidential unit citation. The Regiment was required to fight against insurgent forces in areas ranging from Baghdad to Najaf to Al Kut. On its return from combat operations, the Regiment found itself heading back to Fort Lewis in Washington in December 2004. The Regiment was re-designated the 2nd Cavalry Regiment and reorganized as a Stryker Brigade Combat Team in April 2005.
A Stryker from the Cavalry Regiment participating in a Joint Task Force-East training exercise at Novo Selo Training Range, Bulgaria, 3 September 2009.
On 1 June 2006 at Fort Lewis, Wash., the 2nd Cavalry Regiment and the 1st Brigade, 25th Infantry Division conducted a joint reflagging and casing ceremony. The 2nd CR was reflagged as the 4th Brigade, 2nd Infantry Division (Stryker). The 1st Brigade, 25th Infantry Division cased its brigade colors and was reflagged as the 2nd Stryker Cavalry Regiment. The Army restationed 2d SCR to Rose Barracks, Vilseck, Germany, near the Regiment's Cold War home of Nuernberg, as of 15 September 2006. With a foundation of infantry-based tactics and the mobility of the Stryker vehicle, the Stryker unit has become more of a hybrid, filling the gap between pure, light infantry and the mechanized, heavy infantry. This move now truly describes the soldiers of the unit as 'Dragoons' – mounted infantry.
On 8 May 2007, the Department of Defense announced that the 2nd Cavalry Regiment (Stryker) would deploy to Iraq in support of Operation Iraqi Freedom in August 2007. The 3rd Squadron (Wolfpack), with Troop N ("Nemesis") of 4th Squadron attached, along with Troop E ("Eagle"), 2nd Squadron (Cougars), were very successful in rooting out Al-Qaeda forces from their last stronghold in Baghdad's Hadar neighborhood in East Rashid. 1st Squadron participated in the final clearance of Sadr City. The regiment served a 15-month tour in Iraq in both the Baghdad area and later Diyala province. It was at its most consolidated by June 2008 with all units but 1st Squadron, which was in Sadr City. On 25 November 2008, the 2nd Cavalry Regiment (Stryker) was officially welcomed back to Vilseck, Germany.
In July 2010, they deployed to Afghanistan upon their return the name was changed from 2nd Stryker Cavalry Regiment to 2nd Cavalry Regiment (Stryker).
On 15 March 2010, the Department of Defense announced that the 2nd Stryker Cavalry Regiment would deploy to Afghanistan in support of Operation Enduring Freedom and the International Security Assistance Force in July 2010. In July 2010, 1st Squadron assumed responsibility of Tarin Kowt, Afghanistan in Uruzgan Province as well as the Shah Wali Kot District Serving alongside 2nd Cavalry Regiment (Australia). The remainder of the Regiment was located in the volatile Kandahar Province with Regimental Headquarters located at FOB Lagman.
In the summer of 2013, the 2d Cavalry Regiment deployed to Afghanistan for a second time in support of Operation Enduring Freedom and the International Security Assistance Force.
Current structure
2nd Cavalry Regiment(Stryker) Structure
The 2nd Cavalry (Stryker) is organized as a Stryker Brigade Combat Team, consisting of the following units (note that all Squadrons minus 1st Squadron conducted reflagging ceremonies in Summer 2012 to realign the Regiment to historical precedence):
2nd Stryker Cavalry Regiment:
Regimental Headquarters Troop (Stryker Headquarters Company)
1st Squadron "War Eagles" – (Stryker Battalion)
Headquarters Company "Mustangs" – (Stryker Headquarters Company)
Apache Company – (Stryker Infantry Company)
Bull Company – (Stryker Infantry Company)
Comanche Company – (Stryker Infantry Company)
2nd Squadron "Cougars" – (Stryker Battalion)
Headquarters Company "Headhunters" – (Stryker Headquarters Company)
Eagle Troop – (Stryker Infantry Company)
Fox Troop – (Stryker Infantry Company)
Ghost Troop – (Stryker Infantry Company)
3rd Squadron "Wolfpack" – (Stryker Battalion)
Headquarters Company "Hammer" – (Stryker Headquarters Company)
Iron Troop – (Stryker Infantry Company)
Killer Troop – (Stryker Infantry Company)
Lightning Troop – (Stryker Infantry Company)
4th Squadron "Saber" (Reconnaissance, Surveillance, and Target Acquisition Squadron)
Headquarters Troop "Warhorse" – (Stryker Headquarters Troop)
Nemesis Troop – (Stryker Cavalry Scout Troop)
Outlaw Troop – (Stryker Cavalry Scout Troop)
Palehorse Troop – (Stryker Cavalry Scout Troop)
Reaper Troop – (Anti-Armor Troop – 9 TOW-equipped Stryker vehicles)
Fires Squadron "Artillery Hell" (Field Artillery Battalion)
Headquarters Battery – "Hellraisers"
Archer Battery (6-Gun 155mm Howitzer Battery)
Bulldog Battery (6-Gun 155mm Howitzer Battery)
Cobra Battery (6-Gun 155mm Howitzer Battery)
Maverick Troop – (Military Intelligence Company)
Regimental Support Squadron "Muleskinners"
Headquarters Troop "Hellraisers"
Supply and Transportation Troop "Pack Horse"
Maintenance Troop "Blacksmiths"
Medical Troop "Stryker Medics"
Quickstrike Troop – (Signal Troop)
Sapper Troop (Engineer Company)
Medal of Honor recipients of the 2nd Cavalry Regiment
Private Heth Canfield. Indian Wars. On 15 May 1870, while serving with Company C at Little Blue, Nebraska, for displaying gallantry in action.[3]
Private Michael Himmelsback. Indian Wars. On 15 May 1870, while serving with Company C at Little Blue, Nebraska, for displaying gallantry in action.[3]
Private Patrick James Leonard. Indian Wars. On 15 May 1870, while serving with Company C at Little Blue, Nebraska, for displaying gallantry in action.[3]
Private Thomas Hubbard. Indian Wars. On 15 May 1870, while serving with Company C at Little Blue, Nebraska, for displaying gallantry in action.[3]
Private George W. Thompson. Indian Wars. On 15 May 1870. while serving with Company C at Little Blue, Nebraska, for gallantry in action.[3]
Private Wilfred Clark. Indian Wars. On 9 August 1877 at Big Hole, Montana, and on 20 August 1877 at Camas Meadows, Idaho, while serving with Company L, for displaying conspicuous gallantry, especial skill as sharpshooter.[3]
Private William Leonard. Indian Wars. On 7 May 1877, while serving with Company L, for bravery in action.[3]
First Sergeant Henry Wilkens. Indian Wars. On 7 May 1877, at Little Muddy Creek, Montana, and 20 August 1877 at Camas Meadows, Idaho, for gallantry in action.[3]
Private Samuel D. Phillips. Indian Wars. On 7 May 1877, while serving with Company H at Little Muddy Creek, Montana, for gallantry in action.[3]
Corporal Harry Garland. Indian Wars. On 7 May 1877 at Little Muddy Creek, Montana, and on 29 August 1877 at Camas Meadows, Idaho, while serving with Company L, for gallantry in action with hostile Sioux, at Little Muddy Creek, Mont.; having been wounded in the hip so as to be unable to stand, at Camas Meadows, Idaho, he still continued to direct the men under his charge until the enemy withdrew.[3]
William H. Jones. Indian Wars. While serving with Company L, on 7 May 1877 at Little Muddy Creek, Montana for gallantry in the attack against hostile Sioux Indians, and on 20 August 1877 at Camas Meadows for the engagement with Nez Perces Indians in which he sustained a painful knee wound.[3]
Second Lieutenant Edward J. McClernand. Indian Wars. On 20 September 1877, for gallantly attacking a band of hostiles and conducting the combat with excellent skill and boldness.[3]
Sergeant T.B. Glover. Indian Wars. On 10 April 1879 at Mizpah Creek, Montana, and at Pumpkin Creek, Montana on 10 February 1880, while serving with Troop B, he was in charge of small scouting parties, fought, charged, surrounded, and captured war parties of Sioux Indians.[3]
Captain Eli L. Huggins. Indian Wars. On 1 April 1880, at O'Fallons Creek, Montana, for surprising the Indians in their strong position and fighting them until dark with great boldness.[3]
Second Lieutenant Lloyd M. Brett. Indian Wars. On 1 April 1880, at O'Fallons Creek, Montana, his fearless exposure and dashing bravery in cutting off the Indians' pony herd, thereby greatly crippling the hostiles.[3]
Australia – 2nd Cavalry Regiment (Bond of Friendship)
Germany – German Logistikbataillon 4 (Bond of Friendship)
↑ 1.0 1.1 "Special Unit Designations". United States Army Center of Military History. 21 April 2010. Archived from the original on 9 June 2010. http://web.archive.org/web/20100609010022/http://www.history.army.mil/html/forcestruc/spdes-123-ra_ar.html. Retrieved 23 June 2010.
↑ Stubbs, Mary Lee; Connor, Stanley. ARMOR-CAVALRY Part I: Regular Army and Army Reserve. From the Office of the Chief of Military History, Washington D.C., 1969.
↑ 3.00 3.01 3.02 3.03 3.04 3.05 3.06 3.07 3.08 3.09 3.10 3.11 3.12 3.13 3.14 "United States Army Center of Military History Medal of Honor Citations Archive". Indian War Campaigns Medal of Honor Recipients. United States Army Center of Military History. 8 June 2009. Archived from the original on 26 June 2009. http://web.archive.org/web/20090626121714/http://www.history.army.mil/html/moh/worldwari.html. Retrieved 2009-06-23.
2CR Official Unit Page
GlobalSecurity.org: 2nd Armored Cavalry Regiment
"Kidder Massacre" in which 11 soldiers of the 2nd Cavalry and an Indian Guide were killed July 2, 1867 at Beaver Creek, Sherman County Kansas by Cheyenne & Sioux. {for Reference only}.
Second Cavalry Association Historical Archives Site
Armored cavalry regiments of the United States Army
Military units and formations of the Philippine–American War

redpajama_set_name: RedPajamaCommonCrawl


Jessie is responsible for driving the growth and partnerships for social impact around end of life and supports the delivery of all our major projects and programs. She has been with GroundSwell since 2012 in various roles and now as CEO.
Holly joined the GroundSwell team in early 2017 and brings with her an extensive background in rights based community development. Since 2007 Holly has worked with communities across the country on projects addressing a range of social issues including; at-risk rural teenagers, isolation in elderly maritime communities and campaigning for justice for indigenous arts communities. Holly believes the arts are a key driver in generating sustainable social change and this forms the underlying approach to her work.
Holly has experienced the impact of unsupported carers and the rippling ramifications this can have on a family and wider community which has drawn her to this work. She is excited to contribute to growing community capacity around end of life care in Australia.
Holly has background in digital comms and a Masters in Development and is also an authorised civil celebrant.
Niki Read has been a part of The GroundSwell project since it's conception. With a background as a multi-disciplinary artist; in community and in health, Niki has contributed as collaborator, supporter, nurturer, early board member and arts worker. She's witnessed this baby grow from big ideas to what it is now – a group of dedicated humans doing great stuff locally, nationally and internationally, changing the way we experience life in all its mess and glory.
Niki has experienced the death of loved ones through suicide, cancer and dementia, where both the beautiful and the tragic were felt, and has been a volunteer in a community development palliative care setting. Niki worked on an acute palliative care ward in 2017 as lead artist on the Reflected Legacy project, and in the past has taught writing skills to people living with life-limiting illness and their carers, as well as hosted intimate community festival experiences in which to remember our dead. Niki was research assistant on both the Bringing our dying home and Caring at end of life research projects with Western Sydney University.
Niki joins us in 2018 as our Compassionate Communities Local Lead where she will work at a grassroots level with people, groups, organisations, businesses and health professionals in the Blue Mountains and Liverpool to build an active and engaged citizenship that gives it's heartfelt, educated best to all who happen upon the end of a life.
Jasmine's background is in community development, visual and performing arts and creative arts therapies. Jasmine has experience in arts, community and health organisations and local government and has involved urban, regional and remote settings in NSW, Vic, QLD, SA and the NT.
Jasmine joined the GroundSwell Team in 2018 and brings her Community development skills, creativity and passion to the 10K project - working with partners Southern Cross Care, Western Sydney University and the Groundswell Project - to build relationship capacity in an aged care facility and its surrounding community.
Jasmine is an arts practitioner performing arts (Honours degree), visual arts (Diploma) and Counsellor (Masters degree in creative arts therapies) and is interested in most things human! From age 15 Jasmine was writing about death and dying and has for years contemplated a role, not yet defined, in working in grieving and dying – where raw lives - in serene beauty, the unmasked, vulnerable, fearful and unmet, not dealt with needs emerge. A diet for the strangely hungry.
Tara brings with her over 15 years experience in various corporate roles, including Human Resources, finance and administration support.
In the last few years she has become more involved in her community and has wanted to combine both her strong administration skills and her desire to make the world a better place.
After the last 10 years of working in her own small businesses, she is excited to bring her unique set of skills to the GroundSwell Project.


text:
Search: open-enrollment×
Disparities Policy (4)
Global Health Policy (2)
Health Costs (23)
Health Reform (284)
Medicare (54)
Private Insurance (94)
Uninsured (134)
Women's Health Policy (3)
Poll Finding (30)
Access to Care (14)
ADAP (1)
Affordability (25)
Alliance for Health Reform Briefing (1)
Care Coordination (2)
Children's Health Insurance Program (CHIP) (4)
Consumer Assistance (34)
Cost Sharing (20)
Coverage (57)
Deficit Reduction (2)
Delivery System (6)
Dual Eligible (6)
Eligibility (8)
Employer Health (4)
En Español (3)
Enrollment (76)
Global Fund (1)
Health Status (6)
High Risk Pools (1)
HIV/AIDS in U.S. (8)
Individual Mandate (10)
Individual Market (73)
KFF/HSPH Surveys (1)
Large Group (1)
Managed Care (1)
Marketplaces (143)
Medicaid's Future (9)
Medicare Advantage (19)
Medicare-for-all (3)
Medicare Part D (28)
Medicare's Future (4)
Medigap (4)
MLR (3)
NYTimes/KFF Surveys (2)
PEPFAR (1)
Polling (67)
Premiums (39)
Retiree Coverage (1)
Safety Net (8)
Small Group (3)
State Budgets (3)
State Level (15)
Subsidies (22)
Tracking Poll (37)
USG Programs (1)
Work Requirements (2)
Total Results: 358
Sort by Relevance | Sorting by Date
January 3, 2020	Fact Sheet
Potential Impact of Texas v. U.S. Decision on Key Provisions of the Affordable Care Act
On December 14, 2018, a federal trial court judge ruled that the Affordable Care Act's (ACA) individual mandate is unconstitutional and that the entire law should be struck down as a result. This brief considers the complex and far-reaching impact were the entire law ultimately held to be invalid.
December 10, 2019	News Release
Analysis: 4.7 Million Uninsured People Nationally Could Get a No-Premium Bronze Plan in the ACA Marketplace,Though Deductibles Would be High
As the Affordable Care Act's open enrollment period nears an end in most areas this week, a new KFF analysis finds that 4.7 million currently uninsured people could get a bronze-level plan for 2020 and pay nothing in premiums after factoring in tax credits, though the deductibles would be high.…
December 2, 2019	News Release
A Small Share of People with Medicare Advantage or Stand-alone Medicare Part D Coverage Voluntarily Switch Plans During Open Enrollment
A new KFF analysis finds that a relatively small share of people with Medicare Advantage or stand-alone Medicare Part D prescription drug coverage voluntarily switch plans during Medicare's open enrollment period, which runs annually from Oct. 15 to Dec. 7. With less than a week remaining for beneficiaries to make…
December 2, 2019	Issue Brief
No Itch to Switch: Few Medicare Beneficiaries Switch Plans During the Open Enrollment Period
This analysis finds that a relatively small share of people with Medicare Advantage or stand-alone Medicare Part D prescription drug coverage voluntarily switch plans during Medicare's open enrollment period, which runs annually from Oct. 15 to Dec. 7. Shopping around among plans is important, since plans can vary significantly and change from year to year, which can have a large impact on enrollees' coverage and costs.
November 21, 2019	Issue Brief
Insurer Participation on ACA Marketplaces, 2014-2020
Since the Affordable Care Act (ACA) health insurance marketplaces opened in 2014, there have been a number of changes in insurance participation as companies entered and exited states and also changed their footprint within states. This brief and interactive maps show how insurance participation has changed over time in every county in the U.S.
November 20, 2019	News Release
Poll: On Health Care, Democrats and Democratic-Leaning Independents Trust Sen. Sanders the Most, but Significantly More People Support a Public Option than Medicare-for-All
3 in 4 Americans Do Not Expect Congress to Take Action to Lower Drug Costs Before the 2020 Election Ahead of tonight's Democratic presidential debate, Sen. Bernie Sanders is the candidate most trusted on health care by Democrats and Democratic-leaning independents, though the Medicare-for-all plan he has championed is significantly…
Millions of Medicare Part D Enrollees Face Increases in Premiums and Other Costs in 2020 if They Do Not Switch Plans During Open Enrollment
Millions of current enrollees in stand-alone Medicare Part D prescription drug plans will face premium and other cost increases next year unless they switch to lower-cost plans during the open enrollment period that began Oct. 15 and ends on Dec. 7, a new KFF analysis finds. This includes two-thirds of…
Data Note: Limited Navigator Funding for Federal Marketplace States
This brief reviews the data from CMS about its 2019 funding awards to Navigator programs serving consumers in the federal marketplace states during the 2020 open enrollment season, as well as funding trends over time. It breaks out the funding by state and identifies counties with no federally funded Navigators available to help consumers.
November 7, 2019	News Release
Affordable Care Act Premiums Are Falling in Many Areas of the U.S. in 2020, But Changes Vary Widely By County and Type of Plan, County-Level Analysis Shows
Although premiums for Affordable Care Act Marketplace benchmark silver plans are decreasing on average across the U.S. in 2020, changes vary widely by geographic location and plan type, including premium increases in a number of counties and plans, according to a new KFF analysis of county-level data. The analysis of…
November 7, 2019	Issue Brief
How ACA Marketplace Premiums Are Changing by County in 2020
Premiums for ACA Marketplace benchmark silver plans are decreasing on average across the U.S. in 2020. However, premium changes vary widely by location and by metal level, including premium increases in a number of counties and plans.


VIENNA (Reuters) - Austria will press ahead with a proposed tax on internet giants after plans for an European Union-wide levy fell through this week, Finance Minister Hartwig Loeger said on Friday.
It said at the time that it would hold off on implementing that plan until an EU finance ministers' meeting this week in case a deal was reached on an EU-wide digital tax, but when European ministers met they abandoned the idea.
Rather than submit legislation to parliament immediately, however, the government will first hold meetings of experts including representatives of Austria's print and broadcast media, the advertising industry and the finance ministry to discuss the plans in coming weeks, he said.
Pending any changes agreed at those talks, the planned tax is part of a bundle of measures that includes lowering the threshold for value-added tax on packages, to one cent from 22 euros (18.79 pounds). Many packages, particularly from China, have a declared value just below that threshold, Austria says.
It is also possible that an existing 5 percent tax on advertising revenue for traditional print and broadcast media will be lowered to 3 percent, Loeger said, adding: "The aim is to have fairness".


Magicians at their work, hugely dedicated, clear in their communication, and all round great guys too.
You probably won't find a creative agency like John Wilson Independent Studios on the Maltese islands, and that's not a bad thing. This incredibly talented agency boasts an impressive range of services and an even more impressive client portfolio.
"The simply smashing Systemato team wax whimsy with words both truly targeted and comfortably creative. They can be salubriously savvy about your specialised subject and rapidly respond to requests.
Working with some of the biggest names in business, we're proud to have collaborated with John Wilson, mainly by means of press release writing, email marketing, and other copywriting tasks. We love getting jobs from them because each job is a guaranteed challenge, and boy, do we love a good challenge.


text:
Q: Elementary Group Theory, Sylow Theorems So it's time for me to post another elementary question. I've been stuck on this exercise for quite some time now, and really can't find a satisfactory solution for this. The section on applications of Sylow theorems in my book is kind of concise, and maybe there is some trivial fact I'm missing.

If $G$ is a group of order 60 that has a normal Sylow 3-subgroup, prove that $G$ also has a normal Sylow 5-subgroup.

Attempts:
I'll denote the set of Sylow $p$-subgroups by $S_p$ and the given normal Sylow 3-subgroup by $N$. By Sylow Theorems, we know that $|S_5| = 1$ or $6$. In the first case, Sylow 5-subgroup must be normal, so I've tried to assume that $|S_5| = 6$ and somehow derive a contradiction. Since $N$ is normal in $G$, quotient group $G/N$ exists, and must have order 20. Function $f: G \rightarrow G/N$ is then our homomorphism between $G$ and it's quotient group. By inspection and ordinary counting arguments we can see that $|S_5| = 1$ in $G/N$, so there are only four elements (cosets) of order 5 in $G/N$. Assuming that $|S_5| = 6$, then we have 24 elements of order 5 in $G$. Then $f$ should map these to a coset which s order is dividing the order of 5, but that is only 1 or 5. Because index of $N$ in $G$ is 20, we get that there are 3 elements in each coset. Then we would have space for at most 15 elements in the cosets of order 1 or 5 in $G/N$, yet by assumption $G$ has 24 elements of order 5.
Am I on the right way? Is there a trivial way to prove this? I've had no bigger problems with other exercises surrounding this one, so I guess there might be a trivial way of proving this.
Attempt 2:
If $N$ is the normal Sylow 3-subgroup, then $G/N$ exists and we established there exists a normal Sylow 5-subgroup $T$ of $G/N$. By Correspondence theorem $T$ is on the form $H/N$, where $H$ is a subgroup of $G$ containing $N$. Since $|H| = |H/N||N|$, I deduce $|H|=15$. Since $H/N$ is normal, quotient $(G/N)/(H/N)$ exists and is by third isomorphism theorem isomorphic to $G/H$. So if $G/H$ exists, then $H$ must be normal of $G$. We see, since $|H| = 15$, that it contains a single normal Sylow 5-subgroup. Now since the Sylow 5-subgroup I'm looking for is contained in the normal subgroup $H$, the number of Sylow 5-subgroups of $H$ must be same as in $G$ because of the Second Sylow Theorem and normality of $H$. I this the correct solution?
edit: Actually I think I've made a mistake in the italic part. $(G/N)/(H/N)$ certainly exists, but does not need to be isomorphic to $G/H$ (?). The theorem I've used assumes normality of H, so I end up in circular logic.

A: I think there is a problem with your solution in that it seems to assume that elements of order $n$ in $G/N$ always lift to elements of order $n$ in $G$. However, that is not true in general. What you do have is that if $gN$ has order $n$ in $G/N$, then $g$ has order divisible by $n$ and dividing $n|N|$.
Here is a suggestion for an alternative approach:

*

*First show that elements of order 3 commute with elements of order 5. Indeed, if $g$ has order 3 and $h$ has order 5, then, $\langle g\rangle$ being normal, $hgh^{-1}$ is either $g$ or $g^2=g^{-1}$. If it's the latter, then what is $h^5gh^{-5}$?... Contradiction (exercise), so $gh = hg$.

*Now, what does that tell us about the order of $gh$?

*As you have observed, the number of Sylow 5-subgroups seems to decrease as you pass from $G$ to $G/N$, i.e. two such groups must become equal "modulo $N=\langle g\rangle$". Use Step 2. to derive a contradiction (what does it mean for two cyclic groups to become equal in the quotient?).

A: An alternative approach to what Alex was suggesting, is to take a look at the product $H := SN$ of $5$-Sylow subgroup $S$ of $G$ and the normal $3$-Sylow subgroup $N$ of $G$. As $N$ is normal, $H$ is a subgroup of $G$.
How many $5$-Sylow subgroups does $H$ have? What does this tell you about the normalizer of $S$ in $H$ rsp. in $G$?

redpajama_set_name: RedPajamaStackExchange


This is a Google Powerpoint presentation, suitable for Teachers, Students, and anyone else interested in learning how to design Box Gutters using the Australian Plumbing Code AS/NZS 3500.3-2015.
It works through the tables and graphs, with enough explanations to understand the theory and logic of how the Code works.
Where possible, shortcuts and simplified methods are explained.
There are a couple of short movies and web links associated with it.
As this presentation is suitable for a classroom environment where live internet may not be available, the files have been zipped for download. Approx 62 megaBytes.
However should you wish to view online without download, click here :- It works online like a normal powerpoint presentation, with nothing to download, thanks to the power of Google.
Note: Teachers should provide their own "voice over".


text:
Default Hamilton location data now restored back to the original Hamilton Gardens. Note also debug version with some other locations. Waikato Uni test file now a separate one as well
other-projects/tipple-android/tipple-standalone/assets/geodata
hamilton-debug.loc (added)
hamilton.loc (modified) (1 diff)
waikato-uni.loc (added)
other-projects/tipple-android/tipple-standalone/assets/geodata/hamilton.loc
<tour>
<!-- Univeristy of Waikato -->
id = only used by AR View
latitude/longitude = used by both 2D view and AR View
elevation = used by only AR View
radius = used by both
title/tts_title = used by both
text/tts = used by only 2D view
colour_fill/colour_outline = used only by 2D view
webpage = only used by AR View
<location>
<id>1</id>
<latitude>-37.78804</latitude>
<longitude>175.31238</longitude>
<elevation>0</elevation>
<radius>0.03</radius>
<title>Bryant Hall</title>
Welcome to Bryant Hall.
<webpage>http://www.waikato.ac.nz/sasd/acso/hor_bryanthall.shtml</webpage>
<title>L-Block</title>
<tts_title>El Block</tts_title>
<colour_fill>#BB0000</colour_fill>
<colour_outline>#000000</colour_outline>
<text>Welcome to L-Block. A lot of lectures are here.</text>
<tts>
Welcome to El Block. A lot of lectures are here.
</tts>
<colour_fill>#00FF00</colour_fill>
<colour_outline>#0000FF</colour_outline>
<title>Gallagher Academy of Performing Arts</title>
The Academy is situated on the University of Waikato campus four kilometres to the east of Hamilton city centre. Parking is available via Gate 2B, Knighton Road, Hamilton, with the Academy a two minute walk around the campus lake.
<webpage>http://www.waikato.ac.nz/academy/</webpage>
<title>Village Green</title>
<text>Here is Village Green. There is a variety of shops and ATMs here.</text>
<latitude>-37.788972</latitude>
<longitude>175.317668</longitude>
<title>G-Block</title>
This building houses the departments of Computer Science, Mathematics
and Statistics.
<audio>
<title>The Library</title>
This is the library
<latitude>-37.80608675</latitude>
<longitude>175.3029395</longitude>
<title>Beginning of gardens</title>
Welcome to the Hamilton Gardens. Hamilton Gardens is not a
traditional botanic garden. We like to say, that while botanic
gardens are collections of plants, Hamilton Gardens is a
collection of gardens. So we have taken lots of different kinds of
garden designs and collected them together in one place. We have
organized those gardens into five collections: Paradise Garden
collection, The Productive Garden collection, Fantasy garden
collection, Cultivar Garden collection and a landscape garden
collection. Hamilton Gardens itself started in 1964 and was
developed in kind of a hodgepodge sort of way until the 1980s when
a new overall plan was laid out.
<longitude>175.30264764</longitude>
<title>Beginning of paradise garden</title>
You are now at the paradise gardens. The reason why they're called
paradise gardens is because they all follow idea that a garden is
a kind of a paradise, so it's a refuge or retreat from the
everyday world. So they're all small walled gardens, enclosed
gardens. The word paradise comes from an old Persian word that
means enclosed garden. We have brought together here different
designs from different eras and different places around the
world. The paradise gardens are the most well known ones of all
our garden collections. We have used actual classic garden designs
that have been highly influential on gardens.
<radius>0.007</radius>
<title>Egyptian Court</title>
These are two statues that were first erected when the area was developed/
They're Egyptian to recognize the origin
of gardening in the Egyptian Nile Delta.
<latitude>-37.8066662</latitude>
<title>Japanese Garden</title>
This is a Japanese Garden of Contemplation. There are certain key elements to look out for here, such as the kind of paradise element; this is a miniaturised, a very abstract version of nature. So everything here is very tightly controlled, and yet, represents something in nature. So some people like to think of this as a miniature landscape. You might say that the moss here is like fields, you know like we're flying across the fields.
The other thing to look out for in the Japanese Garden of Contemplation is the rocks and the rock placement. Have a look at the three rocks. When you look at them they don't look like much special but they are a classic kind of Confucian arrangement; where the two little rocks are bowing to the big rock there, which tells you something about respect for authority and respect to your elders. So there's coded messages in the garden, which it gives you a lot of pleasure and is fun to try and deconstruct or decode.
The Japanese garden tries to create something like an abstract version of nature. For example, if look at the trees. See how the branches are all trained to be straight out there and the trunk is curved; you look at very, very old pine trees they actually do that by themselves. But this is a very young pine tree but it's trained to look old. We don't want something that's a hundred feet tall because that would be out of scale with the garden. So Japanese gardens are a bit like Bonsai: it's trained to look very, very old and very big, but actually they're quite young and they're quite small.
<latitude>-37.8065514565</latitude>
<longitude>175.3029906750</longitude>
<title>Japanese Rock Garden</title>
A Japanese garden is not all revealed to you in one grand moment. It's sort of revealed to you in stages. This part is often called the Zen garden. Its proper name is karesansui which means dry landscape or water mountain landscape. Again, obviously the rock placement is crucial. It's not something that we're necessarily trained to see. There are never any flowers in here; they're always pruned off. The classic kind of interpretation of this landscape is that it is a shoreline. So the gravel is the water and the swirling patterns of the current and then we have the headland from the islands and so on.
There are no flowers as it is thought that bright colours will disturb the tranquillity of the views. It's supposed to be very calming. The background is left blank; so it's as if they're drawn on a blank sheet of paper, and they are a bit like the landscapes that are drawn on silk screen scrolls. They use a lot of negative space when they're painting.
A similar effect can be seen when looking at the water. The rocks up close to us a really big and all the rocks on the far shore are kind of small, which it accentuates the distance. So again it's a vast landscape in miniature, collected here for us. The Japanese garden designers take a lot of care to replicate the patterns in nature; the way that the water arose, the land and the way that the trees grow over the water.
<title>Entrance to English Garden</title>
Now we jump fast forward into the late 1800's; maybe early 20th Century and into England. There was a kind of back to nature type drive happening in response to all the industrialisation and things that was happening in England at the time.
What we've done here is we've taken three classic kind of garden designs, all based on layouts that were done by Gertrude Jekyll and her friend Lutyen. There is a long border, the collector's garden and a white garden.
<title>Long Border</title>
The long border is just simply what it says, it's just a big long path with flowers either side; mostly annuals and some perennials and mixed border, as they say. The warm colours are in the middle and the cool colours are at the end. It has the reds and the oranges and the yellows around the middle, and then at the end all the blues and the more pastely, pinky, bluey things. It's actually quite carefully put together.
<title>Collector's Garden</title>
This is an English collector's garden. This is the garden that the plant collectors really like. By this stage in European garden history, lots and lots of plants have been collected from all around the world. People went to all sorts of interesting places and bring back all these plants, and growing them in their gardens. So, while the other kind of garden traditions are based a lot on what was available natively in that location at that time; this is one of those gardens that brings lots of interesting planting material together. This is a copy of a pavilion that exists that Millmead house.
<title>White Garden</title>
There's not just white flowers in here; there is also silver foliage like one the big trees.
<title>Entrance to Chinese Garden</title>
This is the Chinese Scholar's garden. This is the oldest one from all the paradise gardens. They go right back to second century if we like; although lots of these design elements were common to lots of different viewers. This garden tells the story of a life cycle. Along with the Japanese garden tradition, the Chinese gardeners collected rocks. And one of the things that the rocks connects to is those Chinese scrolls and the scroll art, and those paintings they would do of those amazing kind of mythical mountain ranges where the immortals were supposed to dwell. So this has been a miniature. Again we've got these big blank walls there with the rocks against them; so the classic opening.
<title>The Entrance</title>
One of the interesting things about this garden is the contrast, so this is the dark area; its covered in Jasmine and it smells really good when it's in flower. So there's dark and then there's light inside and outside and so on. So in terms of that story of that lifecycle, I guess that's kind of birth.
Again, there's a kind of representation of nature here that much less restrained and much less abstract than the Japanese version.
<title>Tree, Rock and Bridge</title>
The rock in the enclosure there came from the bottom of Lake Taihu in China. It got shipped over here. The gardeners putt a different bonsai three there every month.
The bridge is not straight to stop the dragons coming across it. They're also dragon shapes represented on the top of those walls. In this garden you can see plants native to china. For the Chinese certain plants had strong associations. For example, the bamboo represented uprightness and strength.
<title>Monk in Grotto</title>
The cave holds a littel statue of a monk.
<title>The High Point</title>
This point symbolises the high point of your life; you get to this point and then you stand up here and you survey where you've been. It is a restful garden because there is a lot of green and not many flowers, just some shade. And at the end of the path, you find yourself back where you began.
<title>Entrance to Modernist Garden</title>
This is the modernist garden based on the designs of Thomas Church; most of his famous designs are in California. This garden represents a domestic backyard. All these plants here are specifically native plants. In America, gardens use American trees and American plants; the ones we used were mostly from Southern California. Some of them come from the east coast but most of them come from the west coast.
The design is very modernist; there's no symmetry and everything's kind of curvy. All the materials are kind of space age materials of the time.
<title>American House</title>
The intention when they built this garden was to symbolize the house with ranch sliders and one looks onto the back yard. Of course we can't build a whole house there so we just had a draft of it.
<title>Indian Garden</title>
The story behind this Indian garden is that we call it the Indian Shaba garden but it's really Persian. So the Persians came from Mongolia; conquered a whole lot of Asia and Western Europe and then settled down in Persia. After a few generations the Persians went eastwards and conquered a lot of northern Indian. They had come from a really dry, arid mountainous region; so for them, water and irrigation was really, really important, and you didn't waste it on big massive fountains. It was going to be really subtle, and it was going to serve the purpose of irrigation as well. By the time they had conquered India, the terrain was a lot flatter and water was a lot more plentiful, but they retained these kind of subtle elements. So there are irrigation channels and little bubbly fountains and water rills. So it's a classic case of something that started off as a design necessity; A couple of centuries later it was like a design exhibit; it's no longer necessary but people use it anyway.
<title>Flower Beds</title>
These four gardens get completely dug up twice a year, replace it with all new plants. The gardeners don't use a lot of sprays but are very, very careful in their plant selections. They use a lot of original species rather than hybrids. Changing all the plants takes them a whole week, the entire workforce of Hamilton Gardens. We close it off and they just distribute them out and replant it. Because the garden designers were Muslims and had a restriction on representations of a human and animal figures, the designs that you see are often abstracts of plants.
<title>River View</title>
The director of Hamilton Gardens, Peter Sergel, who designed these gardens; took a trip to India and took photos of fountains that look exactly like that. He brought the photos home and he had guys reproduce them like that, but they're very close to the original thing. These are kinds of gardens that would have been on the banks of the river.
<title>Italian Renaissance Garden</title>
This is the Italian Renaissance garden; so obviously it comes from the Renaissance period, a rebirth of culture, coming out of the dark ages in Europe, and specifically in Italy where it starts in Florence. So you had a coming together of lots of different historical forces.
You had this concentration of extreme wealth firstly, and that was partially because of the Catholic church had its headquarters, and it was taking a lot of money from the rest of Europe. You had an increased scientific knowledge and increased humanistic rationalism coming along, and with that there was a huge opening up of trades.
This is quite a big garden by our standards. It is based on this small private side garden of a much, much bigger garden complex in Italy. The Italian merchants were quite wealthy and they spent money on their gardens. At the same time there's an increased interest in antiquity; so part of their Roman heritage and kind of the Roman Empire and so on. So there's a really interesting congruent here between a new rationalistic, scientific view of the world and a Christian catholic view of the world, and a pagan classical view of the world; all that is coming together there. For example, the water feature is a pagan Romulus and Remus statue.
<title>Overview of Italian Garden</title>
There's two kinds of key overall layout aspects. One is just the fact that there are three areas. So there's the outside bosco area beyond the garden in the forest, the untamed wilderness from which only the beasts live, and humans came from there but we don't live there anymore. The second area is the orchards, the prater with its fruit trees and grapevines, and then the third one is the bottom part, which is the formal part of the garden.
Cicero talks about the fear of nature. There is the first nature, which is the untamed wilderness. The second nature, which is the farming, and then the third nature which is the garden. Third nature is nature plus art; whereas farming and gardening for food is nature plus science or functional behaviour.
<title>Water in the Italian Garden</title>
Another layout aspect is the progression of water. There are actually little nozzles in the wall next to the grotto and they make this lovely little mist and this is a grotto that represents the female and fertile. Beyond that there's some little fountains that go down underneath it and then there's the big fountain in the middle; it spurts up, and it's a much more masculine. And then beyond that there's the mighty river.
Obviously, it is a highly symmetrical garden area. You may notice that from each garden you can't see any of the other gardens. This garden and the Indian garden are really good examples of what garden designers do; which is that they borrow scenery, they borrow the landscape from outside. So, if your neighbour has a really big, lovely oak tree; you can build that into your design. And so here's a great example. The river is not part of Hamilton gardens but it certainly makes a good impact when you come out here and see it.
<title>Medici Court</title>
This is the Medici court; fantastic for outdoor theatre and so on, and the Medici gallery out there which is a little patio area. </text>
<!-- maori gardens -->
<title>Tainui Landing</title>
This is our newest garden and its consequently the one that we feel most proud of. It's called Te Parapara. Te Parapara is a traditional Maori garden of a kind. It's not a recreation of existing or historical Maori gardens as much as the Paradise gardens are, but it is much more of a narrative garden. It basically tells a story of the establishment of cultivated food crops in New Zealand.
The story begins at the gate; which represents the landing of Tainui waka in New Zealand in a kind of landfall. On the right hand side after the gate there is a pomaderris Tainui tree, big and tall. On the left is a little Pohutekawa tree. The Pohutukawa represents the tree that the Tainui waka was tied to when it first was landed at Tawhia. The Pomaderris represents the floor boards, and in the story of the landing of Tainui, the floor boards took root. We know that this is mythical because pomaderris was native.
This is our newest garden and its consequently the one that we feel most proud of. It's called Tee Paaraa-paaraa. Tee Paaraa-paaraa is a traditional Maori garden of a kind. It's not a recreation of existing or historical Maori gardens as much as the Paradise gardens are, but it is much more of a narrative garden. It basically tells a story of the establishment of cultivated food crops in New Zealand.
The story begins at the gate; which represents the landing of Tye-newee waakaa in New Zealand in a kind of landfall. On the right hand side after the gate there is a Poh-maadeerrees Tye-newee tree, big and tall. On the left is a little Poh-hootee-kawaa tree. The Poh-hootee-kawaa represents the tree that the Tye-newee waakaa was tied to when it first was landed at Kefeea. The Poh-maadeerrees represents the floor boards, and in the story of the landing of Tye-newee, the floor boards took root. We know that this is mythical because Poh-maadeerrees was native.
<title>Hoturoa Statue</title>
The statue here is Hoturoa and he was the captain of the Tainui waka. He is carved in a Tahitian style to represent the fact that there was no kind of indigenous New Zealand art; they were all from the islands. And so all these plants are the plants that we here natively when the waka began arriving. Lots of these native plants were used as foods or textiles, or other kinds of useful things by the early Maori. They discovered that these plants had medicinal uses or you could eat them.
The statue here is Hotooro-aa and he was the captain of the Tye-newee waakaa. He is carved in a Tahitian style to represent the fact that there was no kind of indigenous New Zealand art; they were all from the islands. And so all these plants are the plants that we here natively when the waka began arriving. Lots of these native plants were used as foods or textiles, or other kinds of useful things by the early Maori. They discovered that these plants had medicinal uses or you could eat them.
<title>Gate</title>
This structure represents an entrance way to a Pa or a Marae. The hut on the left of the entrance is a koutou which is a traditional food preparation structure and is outside because it's not tapu. Food preparation is not tapu; its noa, so it's not sacred.
The figures on the gate tell the story of the discovery of Oka, the use of ochre to preserve timber and preserve carvings. The ochre is made with a kind of iron rich clay, mineral rich clay that is often found in stream beds. There are lots of different colours: the red that you see most places to a yellow, a black and a white. It is mixed with fat which soaks into the timber and helps preserve the timber. Often times the coastal tribes would use shark fat.
Coming back to the figures on the gate, they tell the story of a man who was married and then the patupaiarehe, which are like the fairy people; came and stole his wife. He went to look for his wife and he couldn't ever find her because she would be there in the mist and then as soon as he went to get her she would disappear; so he could never get her back. So he went to see a Priest and the Priest said, "You draw a circle around yourself with a mixture of kumara and ochre; smear it on the ground and then when she comes you'll embrace her and it will scare off the patupaiarehe". And the man did as he was told, and it worked. They say that the kind of the patupaiarehe who wanted to marry her still lives at the top of Mount Pirongia when the mist comes over that mountain. She is shown on the right hand side, her husband on the left side and the fairy people up the top.
The figures with square shaped faces represent Matariki, which is the Pleiades. This is the constellation that is quite important for timing the kumara harvest. For the Greeks it was seven sisters but for a Maori it's a woman and six daughters.
This structure represents an entrance way to a Paa or a Ma-rye. The hut on the left of the entrance is a koutou which is a traditional food preparation structure and is outside because it's not tapoo. Food preparation is not tapoo; its noa, so it's not sacred.
Coming back to the figures on the gate, they tell the story of a man who was married and then the Paatoopai-aree, who are a kind of fairy people; came and stole his wife. He went to look for his wife and he couldn't ever find her because she would be there in the mist and then as soon as he went to get her she would disappear; so he could never get her back. So he went to see a Priest and the Priest said, "You draw a circle around yourself with a mixture of koomera and ochre; smear it on the ground and then when she comes you'll embrace her and it will scare off the Paatoopai-aree. And so the man did as he was told, and it worked. They say that the kind of the Paatoopai-aree who wanted to marry her still lives at the top of Mount Peeron-keaa when the mist comes over that mountain. She is shown on the right hand side, her husband on the left side and the fairy people up the top.
The figures with square shaped faces represent Maataareekee, which is the Pleiades. This is the constellation that is quite important for timing the koomera harvest. For the Greeks it was seven sisters but for a Maori it's a woman and six daughters.
<title>Koomera</title>
This is the realm of the cultivated food crops. They were brought here on the waka; they're not native to New Zealand, and there's actually just recently been a really important archaeological discovery on the west coast of the South American continent of a chicken bone that proves contact between Polynesians and south Americans. The Polynesians came to south America. When Columbus got to South America and discovered that there were chickens there. They didn't know why and at the same time Polynesians have got kumara, and kumara is native to south America. It doesn't appear in Europe; it's a new world crop. So there are theories that Polynesians came from Taiwan or they came from the old world. It leaves that question: Where did they get the kumara from?
The kumara we've got growing in this area was the most important crop for Maori. It was the number one source of carbohydrate for them. All other the native plants together did not provide any productive capacity of this kind; the ease of its cultivation and so on. Kumara doesn't set seed in New Zealand because it is too cold. So every season they have to sort out the tubas that they're going to keep for the next year's planting and the tubas they're going to eat.
The maori accumulated a vast knowledge on this problem of how to make sure that they have got enough kumara for the next crop. When the European explorers got here they had this huge plantation of really well organized plantations of kumara.
So this entire garden is now set up for kumara planting in a central position. All kumara in this garden gets harvested and the first bit gets presented to the Maori King and then the rest of it gets eaten in a big hangi. The Hamilton Gardens grow at least two of the original four varieties from pre-European times. When Europeans got here and brought bigger, better kumara from South America, the Maori gardeners started using those as they yield bigger tubers. The old types of kumara got lost and then in the 1960s or 1970s the Crown science people were looking for the old varieties but could not find them anywhere. They had to go to a Japanese scientist who had been out here in New Zealand and got tubers to store them in Japan. So these old types that we have growing here owe their existence to a Japanese scientist.
You will see that each plant is planted in a mound. The mound is there for lots of reasons. It increases the amount of sunlight that hits the ground, to keep it warmer for longer; especially when the sun gets low. You can't plant kumara until November and so it's really crucial to keep the end of the season as far away as possible. April, May; and the sun is getting quite low in the sky. Another aspect is increased drainage so the tubas don't rock. It also provides soil improvement and Maori gardening sites are usually discovered by the existence of borough pits, basically big holes in the ground where good soil; which is usually very, very sandy; very pumicey, would be dug up and watered. So the soil you see here is full of rocks and pumice and sand to make it much better draining than it otherwise would be. So we find very advanced soil improvement techniques that are certainly far beyond hunter gatherer type societies.
This is the realm of the cultivated food crops. They were brought here on the waakaa; they're not native to New Zealand, and there's actually just recently been a really important archaeological discovery on the west coast of the South American continent of a chicken bone that proves contact between Polynesians and south Americans. The Polynesians came to south America. When Columbus got to South America and discovered that there were chickens there. They didn't know why and at the same time Polynesians have got koomera, and koomera is native to south America. It doesn't appear in Europe; it's a new world crop. So there are theories that Polynesians came from Taiwan or they came from the old world. It leaves that question: Where did they get the koomera from?
The koomera we've got growing in this area was the most important crop for Maori. It was the number one source of carbohydrate for them. All other the native plants together did not provide any productive capacity of this kind; the ease of its cultivation and so on. Koomera doesn't set seed in New Zealand because it is too cold. So every season they have to sort out the tubas that they're going to keep for the next year's planting and the tubas they're going to eat.
The maori accumulated a vast knowledge on this problem of how to make sure that they have got enough koomera for the next crop. When the European explorers got here they had this huge plantation of really well organized plantations of koomera.
So this entire garden is now set up for koomera planting in a central position. All koomera in this garden gets harvested and the first bit gets presented to the Maori King and then the rest of it gets eaten in a big hangi. The Hamilton Gardens grow at least two of the original four varieties from pre-European times. When Europeans got here and brought bigger, better koomera from South America, the Maori gardeners started using those as they yield bigger tubers. The old types of koomera got lost and then in the 1960s or 1970s the Crown science people were looking for the old varieties but could not find them anywhere. They had to go to a Japanese scientist who had been out here in New Zealand and got tubers to store them in Japan. So these old types that we have growing here owe their existence to a Japanese scientist.
You will see that each plant is planted in a mound. The mound is there for lots of reasons. It increases the amount of sunlight that hits the ground, to keep it warmer for longer; especially when the sun gets low. You can't plant koomera until November and so it's really crucial to keep the end of the season as far away as possible. April, May; and the sun is getting quite low in the sky. Another aspect is increased drainage so the tubas don't rock. It also provides soil improvement and Maori gardening sites are usually discovered by the existence of borough pits, basically big holes in the ground where good soil; which is usually very, very sandy; very pumicey, would be dug up and watered. So the soil you see here is full of rocks and pumice and sand to make it much better draining than it otherwise would be. So we find very advanced soil improvement techniques that are certainly far beyond hunter gatherer type societies.
<title>Mulberry Tree</title>
This is paper mulberry which can be used to make a type of cloth out of it. During the summer it grows like a weed. In the winter time it just dies down. In Northland it grows for the whole year but where there's a frost, it will die back.
<title>Taro Plant</title>
This one is a Taro plant. You can eat the leaves and its root.
This one is a Taaro plant. You can eat the leaves and its root.
<title>Three Houses</title>
You can see three structures here. They are really interesting and the main focus point. All three of them are storage buildings. When the European missionaries arrived, they reported that the most elaborate sanctuary buildings in the village were not the chief's houses; they were the store rooms. There's an entirely alternative approach to property compared to the European approach. The rua goes down underground so it keeps the kumara's cool and dry. The patika and the whatarangi are raised up, to give security from feeding kids and rats.
Storage house design varied depending on the tribe... some reports would say a whatarangi was 10 metres in the air with one single pole, and it was for dead people; they would put skeletons up there.
If you look at the bottom panel of teh largest structure - that's a replica of a piece of wood that was found buried in a garden in Chartwell in the 1970s; this original piece of wood now belongs to the Waikato museum. So every effort has been made in this garden to make sure that the carvings are accurate, to pre-European carving style. Because of course, like any art form, there's changes in style and changes in technique, so where practical they have used traditional stone tools and traditional patterns
You can see three structures here. They are really interesting and the main focus point. All three of them are storage buildings. When the European missionaries arrived, they reported that the most elaborate sanctuary buildings in the village were not the chief's houses; they were the store rooms. There's an entirely alternative approach to property compared to the European approach. The rua goes down underground so it keeps the koomera's cool and dry. The pateeke and the fataran-kee are raised up, to give security from feeding kids and rats.
Storage house design varied depending on the tribe... some reports would say a fataran-kee was ten metres in the air with one single pole, and it was for dead people; they would put skeletons up there.
If you look at the bottom panel of the largest structure - that's a replica of a piece of wood that was found buried in a garden in Chartwell in the 1970s; this original piece of wood now belongs to the Waikato museum. So every effort has been made in this garden to make sure that the carvings are accurate, to pre-European carving style. Because of course, like any art form, there's changes in style and changes in technique, so where practical they have used traditional stone tools and traditional patterns
<!-- Garden start -->
<!-- geo fix 175.3029395 -37.80608675 -->
</tour>


Under the presidency of Cate Blanchett, the Cannes 2018 jury will include five men and four women from seven nationalities and five continents.
Filmmakers Ava DuVernay and Denis Villeneuve and actors Kristen Stewart and Léa Seydoux will serve, alongside Chinese actor Chang Chen, French director Robert Guédiguian, Burundian singer Khadja Nin and Russian director Andrey Zvyagintsev.
Cate Blanchett: The two time Oscar-winner will be the 11th woman to head the jury. I am anticipating a selection of looks from Givenchy, Armani and Gucci. Most likely custom-made. Following the Times Up and Me Too campaigns that saw Golden Globe attendees wearing all black, I'm wondering if Cate will use this event and her presidency to make a statement.
Ava DuVernay: The filmmaker tends to stick to a fit and flare silouttes with her favourite designer appearing to be Prada. I would love for Versace to create a custom in a similar vein to Oparh's Golden Globes gown for the opening ceremony. I would also love to see her in something edgy from Rodarte.
Kristen Stewart: No doubt it will be Chanel all the way for Kristen, as the face of the brand, so there is no point in wishing for anything else. You hated her Chanel Resort 2018 look for the '120 Beats Per Minute' Cannes Film Festival Premiere, but it was one of my favourite looks from her in 2018. With Kristen at Cannes, she is unlikely to be at the Met Gala.
Léa Seydoux: Like Kristen, this run is likely to be in the hands of one brand: Louis Vuitton. I would be in heaven if they could whip her up some of those drop dead looks we saw during the 'Spectre' promo tour, but it seems that the best looks are created for Alicia Vikander. Hopefully that changes come May 8.


Canon MX432 driver is a software available for Canon MX432 printer device to connect with a computer device. Canon MX432 driver is accessible on this site at no cost.
Canon MX432 is the driver needed to run Canon MX432 printer on compatible operating systems. You can readily download Canon MX432 driver on this site. Canon MX432 is a top excellent printer with an outstanding speed. Canon MX432 can be utilized easily on your house or small workplace. Canon PIXMA MX432 can enable you to improve your work productivity using its excellent features.
Canon MX432 has an integrated Wireless connection for scanning and printing your documents. Therefore, you may print or scan files or photos from your individual computers or mobile devices in a simple manner anywhere close to your home without even attaching any cable between these. The maximum resolution of Canon MX432 is 4800 x 1200 dpi. You can also print your entire HD Video on Canon MX432 via appropriate direct print options. Canon MX432 lets you turn your office into a photo lab by printing high-quality images as much as 5″ x 11″ size.
Canon MX432 is outfitted with AirPrint characteristics which will certainly enables you to print your images, web pages, files, emails, plus a lot more from your compatible devices such as iPod dash, iPhone, and iPad devices to Canon PIXMA MX432. Canon MX432 also features an Auto Document Feeder which will allows you to perform several task effectively as you are working with Canon MX432 printer.
The following is the complete list of compatible platform that fully works with Canon MX432 driver and can be easily downloaded at the end of this post.
Extract the Canon MX432 driver programs to your laptop computer.
Pop up will shows up to make sure that you truly want to eliminate your printer driver file. Click Okay to uninstall Canon MX432 Driver.
After the process for uninstallation complete, restart your laptop or computer device right away.
Canon MX432 is a high quality printer with an excellent speed. Canon PIXMA MX432 can help you to increase your work productivity on your workplace with its excellent features.


text:
The Surprising Reason You Feel So Ashamed Of Yourself
Remaining silent about your insecurities just keeps you small.
by Katherine Schreiber | Apr 14, 2016
You probably already know that shame is an emotion that makes you feel horrible. What you may not be aware of, however, is that your experience of it is shared by just about everyone you've ever met—including those rare folks you're convinced have it completely together and brim with confidence 24/7.
Psychologists define shame as the internal experience (read: feeling or belief) that you are, in some way, inadequate—and thus unworthy of being accepted by another person or belonging to a particular group.
For clarity: Shame is different from guilt, which is the sense that you've done something wrong. Guilt arises in response to actions you've taken or decisions you've made, whereas shame relates to how you feel about yourself and your worth. (Someone could feel badly about having said something nasty to a loved one but still feel OK about who they are as a person, for instance.)
The belief that you are unlovable, unworthy, or otherwise defective can lead to a host of unhelpful behaviors ranging from social isolation to violence, as well as addiction, self-harm, and even excessive weight gain. Not surprisingly, high levels of shame in early childhood and adolescence are tied to an increased risk of psychopathology and emotional issues in adulthood.
With the decades of research into shame's many iterations—labeled "ostracism," "rejection," "stigma," and other synonyms in the psychological literature—you'd think modern society would have a much better handle on how to rid yourself of shame's debilitating consequences. But as most therapists can verify, most people still remain in the dark about how to handle shame.
Thomas Scheff, PhD, professor emeritus at the University of California, Santa Barbara, and author of a recent study examining the impact of silence surrounding shame, tells Cosmopolitan.com that the reasons for this are vast.
For starters, the prospect of others' judgment is intimidating:
Most people fear opening up about their insecurities because they don't wish to receive confirmation they're just as unlovable as they assumed.
But Scheff says that by keeping mum, you deprive yourself of opportunities to gain reassurance from others that what you're so ashamed about might not be a problem at all—or that you're at least not the only one grappling with a particular thought, belief, or feeling about yourself.
Avoiding your shame can also prevent you from processing the icky emotions this state of mind is caught up with, Scheff adds. Sadness. Anxiety. Fear. You name it. Only by allowing yourself to actually feel these sensations can you free yourself from them, he says.
To kick-start this cathartic experience, Scheff recommends finding a person you trust and initiating the conversation. (Though if this is too daunting for now, consider a mental health professional as a go-to for help learning how to open up or a support group.)
Flexing your creativity muscle can also be helpful, as the arts offer numerous outlets for self-expression and connection with other people. Primarily, Scheff says, because mediums like painting, drawing, writing, theater, music, and dance help wedge some aesthetic distance between what you're feeling and how much it rules you. (Not only do you gain mastery over a particular emotion's grip on you by channeling it into a painting, character role, or piece of fiction; you also gain the validation of feeling it's heard once you put it out there—on stage, on paper, or through a set of speakers.)
In fact, comedy can be one of the most effective ways to gut shame of its power to debilitate you, provided you're willing to navigate the tricky balance of pushing boundaries without pissing off too many people. (Again, easier said than done. So maybe start by watching the stuff for a while before jumping into any open mics!) For proof, consider the research showing humor's ability to improve the odds of recovering from post-traumatic stress disorder.
Of course, there are appropriate and inappropriate places to let yourself be vulnerable. Airing your deep-seeded childhood wounds in a morning meeting at work, for instance? Not advisable. No matter how bummed you are about your job.
But since so many people err on the side of a reluctance to share, you're probably not at risk for blurting out too much at the wrong time.
Do yourself a favor by trying your hand at expressing an insecurity to a close friend or S.O. next time it crops up, advises Scheff. And if they can't handle it? Rather than taking their inability to let you be open as a sign you should remain in emotional hiding, look for another person who might be a bit more willing to listen. The more you reach out, the more evidence you'll acquire that you're far less alone than you imagine.
partner,
life-size 2


text:
Biografia

Nato da genitori di origine belga, Bauval ha frequentato la British Boys' School di Alessandria d'Egitto e successivamente un collegio francescano nel Buckinghamshire in Inghilterra. Si è iscritto a corsi di ingegneria delle costruzioni presso la London South Bank University, conseguendo il diploma di laurea. Fu costretto a lasciare l'Egitto durante la presidenza di Nasser. Sovente ha lavorato come ingegnere in Medio Oriente ed in Africa.

Appassionato di egittologia e buon conoscitore del periodo denominato Antico Regno, deve la sua notorietà ad un libro, Il mistero di Orione (The Orion Mystery), edito nel 1994 e scritto con Adrian Gilbert. Questo best seller cerca di dimostrare che le tre principali piramidi della piana di Giza siano accuratamente allineate con le stelle che formano la "cintura" della costellazione di Orione (cintura di Orione). La realizzazione dei tre enormi monumenti sepolcrali rientrerebbe in un grande ed articolato progetto fatto realizzare dai faraoni nel corso del tempo. Nel libro in questione, i due autori, studiando in particolare la Piramide di Cheope, avanzano anche l'ipotesi che gli antichi egizi conoscessero bene il fenomeno astronomico chiamato precessione degli equinozi.

Opere
 Il mistero di Orione (The Orion Mystery, 1994) - scritto con Adrian Gilbert
 Custode della genesi (Keeper of the Genesis, 1996) - scritto con Graham Hancock
 L'enigma di Marte (The Mars Mystery, 1998) - scritto con Graham Hancock e John Grigsby
 La camera segreta (Secret Chamber, 1999)
 Talismano. Le città sacre e la fede segreta (Talisman: Sacred Cities, Secret Faith, 2004) - scritto con Graham Hancock
 Il codice egizio - (The Egypt Code 2006)
 L'Eresia Vaticana - Lorenzo Bernini e la costruzione del Tempio ermetico del sole a Roma (The Vatican Heresy, 2014) - scritto con Sandro Zicari e Chiara Dainelli (2014)

Voci correlate
 Archeoastronomia
 Archeologia misteriosa
 Piramide di Cheope

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia