Warning iPhone X will not open after you're plastic surgery bandaids come off and the swelling goes down.
Jennifer Lawrence attests to the destructive power brought on by those who worship "Mother Nature".
In a recent British interview, Jennifer speaks of "Mother Nature's" wrath.
Mother nature or the worship of the elements is a common pagan practice. In fact that is what they worship or evoke.
In an attempt to "Bind" President Donald Trump, from accomplishing his agenda to: Fix the economy, Rebuild Airports, Dams, Highways and other infrastructure, all of which take money, "THE WITCHES" have evoked some of the most powerful hurricanes to date costing the Global Economy hundreds of billions of dollars, effectively blocking any good, President Trump was trying to do.
Destruction and it's worshipers are blinded to the fact that they did not bring good to America, but rather hurt millions upon millions of innocent people.
"THE WITCHES", have brought this destruction not wether you believe in global warming Jennifer.
NOTE: a Muggle is a person who lacks any sort of magical ability and was not born in a magical family. Muggles can also be described as people who do not have any magical blood inside them.
Wealthy people are not usually hurt by this destruction, instead the poor, needy, immigrant are usually hurt the most, including if the economy falters.
Is witchcraft really something Jennifer should be promoting?
Jennifer says "Mother Nature" did this because Trump doesn't believe men created global warming. So suddenly mother nature or the goddess responds in her wrath?
More accurately, the hate of humans and witches against President Trump, who evoke the same deities to create these hurricanes are directly to be credited for these storms and also prosecuted for the destruction and financial toll they created.
And for the record, one idiot witch please explain how this did ANYONE ANY GOOD?
The homosexual agenda's you promote do not take money to block.
This administrations leaders in key places still make policies.
The only thing the witches did was put American further in debt and hurt untold millions of people. For no good reason.
So who is the real devil here that all of society should hold accountable?
Those that practice these dark arts.
Eric Bolling's son Eric Chase died on Friday night, just hours after his father lost a high-profile job at the Fox News Channel.The cause of death has not been announced. According to a family friend, an autopsy will not take place until Monday.Eric Chase Bolling was starting his second year at the University of Colorado in Boulder. It is unclear if he died on or off campus. Local authorities did not immediately respond to requests for comment from CNN.His parents learned of the death late Friday night and flew to Colorado on Saturday morning.Eric Bolling confirmed the heart-wrenching news in a tweet."Adrienne and I are devastated by the loss of our beloved son Eric Chase last night. Details still unclear," Bolling wrote. "Thoughts, prayers appreciated."In a second tweet, Bolling said that an autopsy would be conducted next week. "Authorities have informed us there is no sign of self harm at this point. … Please respect our grieving period," he wrote.The family friend said the Bollings are in a profound state of shock. Eric was their only child.Eric Bolling sometimes talked lovingly about his son on Fox News. Bolling, a former trader, joined Fox Business Network in 2007 and later jumped to Fox News, where he became one of the channel's best-known conservative hosts. In his appearances on the 5 p.m. talk show "The Five," he cheered on Donald Trump's campaign for president. He also wrote a pro-Trump book called "The Swamp."Trump's sons Donald Trump Jr. and Eric Trump expressed their condolences in separate messages on Twitter. "I am so sorry for your loss. I know how devoted you were to your son. I cannot fathom how difficult this must be," Donald Trump Jr. tweeted.When "The Five" was moved to 9 p.m. last spring, Bolling stayed on at 5 p.m. as the leader of a new show called "The Specialists."He signed a multi-year contract in June. He parted ways with Fox News in August after an investigation into allegations, first reported by HuffPost, that Bolling had sent female colleagues an "unsolicited" lewd photo.Bolling moved to sue the HuffPost reporter and vowed to fight the claims, which he called "false smear attacks.""I look forward to clearing my name" as soon as possible, he said.Fox announced his departure around 4:30 p.m. on Friday. Fox said it happened "amicably." "The Specialists" was canceled.Sources at Fox said staffers were shaken up about the sudden death."We are very saddened to hear of the passing of Eric Bolling's son," the network said in a statement. "Eric Chase was a wonderful young man and our thoughts and prayers are with the entire Bolling family."Bolling's former colleagues and other journalists also expressed condolences."So awful. My heart goes out to Eric and his family," CNN's Don Lemon tweeted."Overwhelmed by the news of Eric Bolling's son," Fox contributor Katie Pavlich tweeted. "How absolutely horrific and devastating."– Updated: This article has been updated to clarify Bolling's status at the University of Colorado in Boulder.
The Rasmussen Reports daily Presidential Tracking Poll for Thursday shows that 45% of Likely U.S. Voters approve of President Trump's job performance. Fifty-four percent (54%) disapprove.The latest figures include 30% who Strongly Approve of the way Trump is performing and 45% who Strongly Disapprove. This gives him a Presidential Approval Index rating of -15. (see trends).Regular updates are posted Monday through Friday at 9:30 a.m. Eastern (sign up for free daily email update).The Trump Administration on Tuesday announced an end to DACA, the so-called "Dreamers" program, and gave Congress until March to provide a legislative solution to the problem of undocumented adults who arrived in the United States illegally as children.Critics claim illegal immigrants take jobs away from Americans, but voters tend to favor the continuation of the Obama-era program that protects from deportation illegal immigrants who came here as children.The House approved $7.9 billion in Hurricane Harvey disaster relief funds yesterday. More voters than ever now agree the clean-up and recovery efforts in situations like these should be the federal government's responsibility.Americans uniting as one, as they've done in Texas to battle Harvey, represents the true spirit of America, "a spirit of love, determination and resolve," President Trump has said. That American spirit is the subject of this week's Rasmussen Minute as yet another, potentially catastrophic hurricane tracks toward Florida. President Ronald Reagan said in his first inaugural address in 1981 that "government is not the solution to our problem; government is the problem." Voters still agree and hope Congress and the president don't blunt the cutting knife.President Trump this week also expressed his desire to shrink the corporate tax rate in order to boost job growth and help middle-class Americans. We will tell you at 10:30 a.m. Eastern whether voters believe that lowering the U.S. corporate tax rate will help or hurt the economy.
TENS of thousands of witches around the world join forces every month to cast a "binding" spell on Donald Trump, Hollywood witch Vicky Adams has revealed. Vicky, who runs a renowned occult store in tinseltown, says the spell aims to stop the US President from reaping "harm and destruction" across the globe.
"There are probably tens of thousands of witches who take part – it's hard to know exactly – but certainly a great amount of witches are coming together every month to do this spell."It's not unheard of for witches to do things like this – in fact it's been done before decades back.
When William Friedkin shot "The Exorcist" in 1973, he had never seen an exorcism, though even at the time he believed in the power of this rite. Decades later, the U.S. director came full circle when he was able to film one close up — involving violent thrashing, foaming at the mouth and screaming — thanks to Father Gabriele Amorth, who performed exorcisms for the Vatican's Rome Diocese. The result is documentary "The Devil and Father Amorth," which screened at the Venice Film Festival. Friedkin spoke to Variety about the experience.How did you and Father Amorth connect?I was familiar with his books, four or five of which are translated into English. And I knew that he was kindly disposed towards "The Exorcist" movie, even though he had said the special effects were over the top. He felt that it helped people to understand his work. I had never tried to meet him; I never thought I could. But I was in Lucca [Italy] a year or so ago…and someone casually mentioned that Lucca was about a half-hour drive to Pisa…where there was an airport where I could catch a one-hour flight to Rome. Something clicked, and through a friend I was able to write Father Amorth. Two days later he wrote me back, and said he would meet me.RELATEDVenice Film Review: Kirsten Dunst in 'Woodshock'So it was your idea?Yes. This idea just popped onto my head. I call it providential. I had an inner voice that said to me, "I wonder if I could meet Father Amorth?"It's a known fact that Amorth was a fan of "The Exorcist." It's really so wonderful that in that film you had been able to capture something that resonated for him, even without doing that much research into the specifics of what he did.There is no research; the only research is his books. In the United States in the 20th century, there were two reported cases of possession, as far as Mr. Blatty [who wrote the novel "The Exorcist"] and I could tell. There were only two cases that had any substantial writing about them in the United States….The church doesn't say a lot about this. They don't try to publicize it at all. They are not promoting it. I doubt that they will even have a position about my film [this latest one]. They never comment about these things. I doubt that they would have given me permission to do what I did. He gave me permission, and he operated quite independently from church procedure and was openly critical of the Vatican.The amazing thing is that you were able to get access to a real exorcism so easily.I was shocked. I had no idea that I would ever be able to even meet with him. I did know how busy he was. He was doing exorcisms all day every day right up until he went into the hospital and then died [in September 2016].RELATEDVenice Film Review: George Clooney's 'Suburbicon'Why do you think you got the access?I think I came along at a time when he wanted people to become aware of this work because he wanted the Vatican to train more exorcists. He believed that I had enough cachet to take his story…that I would be able to bring it to the public by way of a film.Tell me about the shoot. I had to shoot it alone, obviously. The conditions were that I come along with no crew and no lights. So I used a Sony still camera that shot high-definition video. I had only that camera running and I was about two feet away from them, probably even closer.What was the experience of witnessing a real exorcism so close up like?It was terrifying. I went from being afraid of what could happen to feeling a great deal of empathy with this woman's pain and suffering, which is obvious in the film.As I understand it, Amorth had been doing exorcisms on her for some time.The one that I filmed was her ninth, and she was having one a month.You have subsequently consulted with scientists in the U.S. about what you witnessed and filmed. What did they say?I consulted with neurologists, brain surgeons, some of the best in the United States. The brain surgeons had no idea what her affliction was and none of them would recommend an operation. They believe that everything originates in the brain but — and they say this in the film — they have never seen anything quite like these symptoms….Then the psychiatrists…all described how psychiatry now recognizes demonic possession. It's called dissociative identity disorder/demonic possession. And if a patient comes in and says they are possessed by a demon or a devil, they don't tell them that they are not….They do whatever psychiatric treatment they think is necessary, including medication. And they bring an exorcist in.


this cute wood sign, measures 8x8 and is TWO signs in ONE. It comes as seen in the picture, perfect for the front door to tell those trick or treaters that you are out of Candy!
Cute ribbon is attached to hang on door. Can also stand alone.
These signs are hand made with Love!


and it is also the main spare parts.
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Il bruscello è una forma arcaica di teatro popolare toscano, profondamente legato al mondo contadino ed oggi quasi estinto.

Etimologia
Il termine bruscello deriva dalla parola "arbusto" ed indica in dialetto toscano un ramo frondoso ed eventualmente ornato. Questa etimologia è quella teorizzata nell'Ottocento; più probabilmente "bruscello" deriva da "bruzzello", una specie di lanterna in cui era bruciata legna resinosa la cui luce doveva disorientare gli uccelli stanati dai loro pagliai, loro rifugi notturni. I contadini parlavano infatti di caccia col bruscello. Da questa usanza nacque una farsa teatrale in cui si rappresentavano i cacciatori che magnificavano con grandi bugie i loro successi venatori. Successivamente, il bruscello venne utilizzato per raccontare le gesta di eroi come Fioravante, Buovo d'Antona (personaggi dei Reali di Francia), oppure vicende tratte dalla Bibbia.

Descrizione
È una forma di teatro popolare originario della provincia di Siena e diffuso poco oltre, principalmente nella parte meridionale della provincia di Firenze e nella zona occidentale, tra Pescia e Lucca.

La rappresentazione è cantata, in ottava rima, generalmente con un accompagnamento musicale basato sulla ripetizione di semplici motivetti, spesso con improvvisazioni volte ad evidenziare particolari situazioni sceniche.

Con la fine della mezzadria e l'inurbamento, il bruscello è rapidamente declinato già dalla metà del XX secolo, sopravvivendo solo nelle rappresentazioni di pochissime compagnie teatrali per lo più amatoriali.

Tradizione
Gli attori erano contadini che fungevano da bruscellanti per diletto o con la speranza di ricevere un pasto come ricompensa per lo spettacolo.

Le storie erano legate sia alla letteratura classica che alla mitologia, oppure potevano essere composte in base ai recenti accadimenti della zona (infatti, una trama consueta poteva essere un amore contrastato).

I bruscellanti si muovevano per la campagna raggiungendo il podere che aveva organizzato l'evento tenendo il bruscello ben evidente, affinché si potesse averne notizia; il bruscello veniva piantato ed utilizzato come elemento centrale (e spesso unico) della scena.

L'origine di questa tradizione è persa nei secoli passati e non definibile, data anche la generale assenza di documentazioni fino ai primi studi sul folklore contadino di fine XIX secolo.

Collegamenti esterni

 Mariano Fresta, Vecchie segate ed alberi di Maggio, Montepulciano1982.

Generi teatrali
Teatro in Toscana

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Gosling talked a bit about Network.com, Sun's pay-per-use grid computing network. Sun's grid computing is offering 200 free hours. Tor Norby, the 'Demo Stud' as Gosling introduced him, showed off NetBeans 6 and demoed NetBeans' Ruby on Rails integration and local file history. My favorite demo was of Project Wonderland. Wonderland is a virtual collaborate environment. You can run FireFox, NetBeans, and just about any other application in 3D in Wonderland. In wonderland, Gosling joked, is a virtual world where you could have your own window office. Gosling also talked about a meat scale with a JVM and browser that can communicate to a centralized database. Gosling also had robots, Robosapiens, literally running on Java and dancing on stage.
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With financial support from the European Union UNICEF launches the 'RM Child-Health' project to strengthen vulnerable refugee and migrant children's health
https://www.unicef.org/eca/press-releases/financial-support-european-union-unicef-launches-rm-child-health-project-strengthen
– Under the Health Programme of the European Union, the Directorate General for Health and Food Safety has committed a project grant to UNICEF to support work ensuring refugee and migrant children and their families have access to quality health care and accurate health information in Bulgaria, Greece, Italy, Spain, Bosnia Herzegovina and Serbia. Refugee and migrant children and their families often have more health-related risks and face a number of barriers accessing quality health care. Many children and families also live with severe emotional distress due to the trauma of fleeing home, undertaking dangerous journeys and experiencing abuse and exploitation, including sexual and gender-based violence. The global COVID19 pandemic further exacerbates these health challenges. "With the ongoing pandemic, protecting every child and adult's right to health care and accurate heath information is paramount. This collaboration with the EU Health Programme will help ensure the most vulnerable refugee and migrant children will have better access to primary healthcare services, psychosocial support as well as violence prevention and response services," said UNICEF Regional Director for Europe and Central Asia and Special Coordinator for the Refuge and Migrant Response in Europe, Ms. Afshan Khan. The project 'RM Child-Health' will help improve the health of refugee and migrant children by improving their access to life-saving immunizations, mental health and psychosocial support, gender-based violence prevention and response activities as well as maternal and newborn health care and nutrition support. Information materials on health-related risks and services available for refugee and migrant populations will be created and shared. Medical interpreters and cultural mediators will be deployed to support communication between children and families and health care providers. The project 'RM Child-Health' will also support training programmes so frontline health care workers can better respond to the specific needs of refugee and migrant children and their families. In parallel, national health authorities will benefit from technical support to develop, update and improve the implementation of health policies and address bottlenecks in national health systems that currently prevent refugee and migrant children from accessing services. Refugee mother feeding her baby at ADRA community centre in Belgrade. UNICEF/UNI220342/Pancic
UNICEF seeks $3.3 billion in emergency assistance for 48 million children caught up in conflict and other crises
https://www.unicef.org/eca/press-releases/seeking-33-billion-conflict-refugees
– 48 million children living through some of the world's worst conflicts and other humanitarian emergencies will benefit from UNICEF's 2017 appeal, which was launched today. From Syria to Yemen and Iraq, from South Sudan to Nigeria, children are under direct attack, their homes, schools and communities in ruins, their hopes and futures hanging in the balance. In total, almost one in four of the world's children lives in a country affected by conflict or disaster. "In country after country, war, natural disaster and climate change are driving ever more children from their homes, exposing them to violence, disease and exploitation," said UNICEF Director of Emergency Programmes, Manuel Fontaine. UNICEF's Humanitarian Action for Children sets out the agency's 2017 appeal totaling $3.3 billion, and its goals in providing children with access to safe water, nutrition, education, health and protection in 48 countries across the globe. An estimated 7.5 million children will face severe acute malnutrition across the majority of appeal countries, including almost half a million each in northeast Nigeria and Yemen. "Malnutrition is a silent threat to millions of children," said Fontaine. "The damage it does can be irreversible, robbing children of their mental and physical potential. In its worst form, severe malnutrition can be deadly." The largest single component of the appeal is for children and families caught up in the Syria conflict, soon to enter its seventh year. UNICEF is seeking a total of $1.4 billion to support Syrian children inside Syria and those living as refugees in neighbouring countries. In total, working alongside its partners, UNICEF's other priorities in 2017 are: - Providing over 19 million people with access to safe water; - Reaching 9.2 million children with formal or non-formal basic education; - Immunizing 8.3 million children against measles; - Providing psychosocial support to over two million children; - Treating 3.1 million children with severe acute malnutrition. In the first ten months of 2016, as a result of UNICEF's support: - 13.6 million people had access to safe water; - 9.4 million children were vaccinated against measles; - 6.4 million children accessed some form of education; - 2.2 million children were treated for severe acute malnutrition.
UNICEF seeks $3.6 billion in emergency assistance for 48 million children caught up in catastrophic humanitarian crises
https://www.unicef.org/eca/press-releases/unicef-seeks-36-billion-emergency-assistance-48-million-children-caught-catastrophic
Provide 35.7 million people with access to safe water; Reach 8.9 million children with formal or non-formal basic education; Immunize 10 million children against measles; Provide psychosocial support to over 3.9 million children; Treat 4.2 million children with severe acute malnutrition.
UNICEF commemorates 70 years of tireless work for the world's most vulnerable children
https://www.unicef.org/eca/press-releases/unicef-commemorates-70-years
– On the 70th anniversary of its founding, UNICEF celebrates the immense progress made for the world's children – and renews the urgent call to reach millions of children whose lives and futures are endangered by conflict, crisis, poverty, inequality and discrimination. "UNICEF was founded after World War II to bring help and hope to all children at risk or in need – no matter which country they lived in or what role that country played in the war. Our mission is no less urgent and universal today," said UNICEF Executive Director Anthony Lake. "With so many children around the world in so much need, we are recommitting ourselves to delivering results for every child." The organization was established by the United Nations General Assembly to help children in post-war Europe, China and the Middle East. Funded entirely through voluntary contributions from governments, civil society, the private sector and concerned citizens, it rapidly expanded its reach and by 1955 was working for children in more than 90 countries. Today, UNICEF is the world's largest children's organization, working with partners in 190 countries and territories and through the efforts of 13,000 national and international staff to reach every child. UNICEF's relentless engagement in the world's toughest places has helped create remarkable progress for children in recent decades. The number of children dying before their fifth birthdays has been more than halved in the past 25 years. Hundreds of millions of children have been lifted out of poverty. Out-of-school rates among primary-school-aged children have been reduced by more than 40 per cent since 1990. In the 1940s, UNICEF provided emergency nutrition aid, mainly in the form of milk, to children in post-war Europe. In 2015, the organization and its partners treated 2.9 million children for severe acute malnutrition worldwide. In the 1950s, UNICEF led its first immunization campaigns against diseases such as tuberculosis and yaws. In 2015, the organization procured 2.8 billion doses of vaccines, and with its partners helping to protect 45 per cent of children under 5 years old worldwide from a range of deadly diseases. In 1953, UNICEF launched its first water, sanitation and hygiene programmes. Between 1990 and 2015, 2.6 billion people gained access to improved drinking water sources and 2.1 billion gained access to improved sanitation facilities. In 1961, UNICEF expanded its programmatic focus to include children's education. In 2015, UNICEF and its partners provided 7.5 million children aged 3 to 18 with access to formal or non-formal basic education. In 1989, the United Nations General Assembly adopted the Convention on the Rights of the Child, which specifies that all children should be registered at birth to establish their identity under the law and thus to safeguard their rights. In 2015, UNICEF supported the registration of more than 9.7 million children's births in 54 countries. In 1998, UNICEF became a founding member of the Roll Back Malaria Partnership to support malaria treatment and research, and expand prevention measures such as long-lasting insecticide-treated bed nets. In 2015, UNICEF procured 22.3 million bed nets to protect children and families in 30 countries. Since its founding, UNICEF has responded to thousands of humanitarian emergencies affecting children. In 2015, UNICEF and partners vaccinated 11.3 million children against measles in countries affected by crisis; provided 4 million children in emergency situations with access to formal or non-formal basic education; and provided psychosocial support for 2 million children caught in conflicts and natural disasters. Despite this impressive progress, millions of children are still being left behind because they live in poverty or in hard-to-reach communities, because of their gender, race, religion, ethnic group, or because they have a disability. Nearly 250 million children are growing up in countries affected by conflict and nearly 50 million children have been uprooted from their homes. "UNICEF's vision for the next 70 years is a world in which our work is no longer necessary -- a world in which every child is healthy, safe, educated, cared for and protected … and all children can make the most of their potential," said Lake. "It's the right thing to do, and the surest path to a better future for us all."
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October is here and the long hot days of summer seem like they were an age ago. As much as summer may be an obvious time to take family photographs with its long sunny days, brilliant blue skies and days at the beach, autumn photography brings something special to your family photographs like no other season.
What might seem to be a season of the misty, dreary days with little or no colour is actually one of the best times to book your family photographer. What this season brings with it is warm colours, glowing light and glorious backdrops that at first glance may seem that they are just the tail-ends of summer but once you get some soft light, you have something truly magical that only autumn photography brings.
So though you may be putting your camera away after your summer holiday, now is the time to go outside with your family and find that soft glowing light and take some photographs. One of the great things about family autumn photography is not only the glow and the warm colours, but that it's not too cold so children are more than happy to be outside playing in the leaves and collecting conkers and returning home for a hot chocolate!
So grab your camera before you give it a rest after the summer and then hunt for it for the run up to Christmas and head out. Or better still, get in touch for your autumn family photo shoot.
So here are a few photos I took of my children in a field just 5 minutes from our house. The field appeared to be full of just dark brown grass that was dying off for the winter. But as the sun went down, the autumn magic started to happen.


A new concept design of street light has been introduced that will be powered by wind and solar energy. These new hybrid street lights placed at the height of 10 meters and equipped with an array of LED lighting. The prototype also sports photovoltaic panels, a battery pack, a wind turbine and an electronic control system that is responsible for the flow of energy that takes place between these components.
The turbine has composite-blades and it springs into action when wind speed reaches 1.7 meters per second. It executes 10-200 revolutions per minute and cranks up a power output of 400 watts. There are plans of incorporating a 2nd gen turbine that will work with an rpm of 10-60 while creating 100 watts in the process.
As per plans, the commercialized version will feature two solar panels with a power rating of 100 watts along with an array of Phillips LEDs that can generate 3500-4000 lumens based upon the model of the streetlight. The product will also be containing a battery pack which will reportedly be able to store enough power to keep the light running for almost 3.5 nights per single charge.
99 of these lights will be able to relay status updates over UHF to the central station while working off the grid once every 30 minutes. This will enable the station staff to take care of any technical problem when and if it arises.
Solar power is most useful in producing power at less cost.


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Among Chicago's Most Extraordinary Women
This post juxtaposes brief notes with reproductions of five women-focused works at Chicago's Art Institute. Readers are invited to make whatever connections they will and draw whatever conclusions they might between the art works, which seem to me unified only in their focus on women, in the genius of their making (by men, by the way), and by their co-existence in one Chicago institution.
I would also note that these works are not unified even in their reproducibility. Three of these works are sculptures, and in two of these cases the photographs of the works are quite evocative and representative. But the two paintings lose a good deal of their power and depth in photographic reproduction, and the Baga headdress seems a fish out of water.
Figure of a Woman in Ceremonial Dress: c. 9th century; from near modernday Veracruz, Mexico
At a lecture at the Pratt Institute in Brooklyn, I recently heard the film theorist Laura Mulvey say that "a photograph always shows more than the photographer can realize." We might say that with our acts of pointing—of calling attention, of proposing priorities, things to look at, directions in which to head—we are always asserting and revealing more than we can realize. It is certainly also the case that, as contexts shift, as works of art are transported, say, across a span of more than a thousand years, from the shores of the Gulf of Mexico to the shores of Lake Michigan, they become, inevitably, more polyphonic than they were in their original time and place.
Music is rarely didactic, and it would be nice if from time to time non-narrative texts slipped away from preaching, teaching, explaining, and advocating. This post is one in what is becoming a quite extensive series of Zeteo is Reading and Zeteo is Looking and Listening posts. In the initial conception, these moments in cyberspace were to bear a relation to strolling in a park (or in a museum or among the many texts of our daily lives). The primary, or even sole, task of the writer was to notice and call attention. Walking in a park with a friend, something—a bird—catches your eye or ear, and likely you are pointing it out before you have begun to even wonder why you find it of interest.
Balthus, Solitaire: 1943; Europe
Roland Barthes once proposed that philosophy was becoming, or was most properly, an autobiography of the thoughts of the thinker. This statement can be put in contexts, too. Insofar as we embrace relativism and skepticism, and insofar as our minds do not turn off (as many minds these days do?)—what are we going to assert? In what directions are we going to urge people to follow their thoughts, and with what hopes, what justification? For example, we might seek simply to record as accurately as possible our own thought processes. But paradox is everywhere; to assert that seeking to create such a record is a legitimate endeavor, and to introduce a concept such as "accurately"—this is to erect bulwarks, however incidental, against relativism and skepticism. To pluck a phrase from Sartre: « mes actes font lever des valeurs comme des perdrix ». My acts make values spring up like partridges.
Entering the Art Institute on March 15, 2015, I thought to go first to the African art gallery, but it was all the way down a long side corridor, and I got lost or distracted by a room of sculptures from India. Many of these were made of a rose-hued sandstone, and there was a sense that this material alone expressed an idea about femininity or maternality. I confess that I was also struck by how several of the sculptures featured stylized (or artificial), large, upheld breasts. It was hard (impossible) not to make connections to the contemporary United States—to a rampant obsession with stylized (or artificial), large, upheld breasts. As this is not one of my particular obsessions, I wonder where it comes from. Certainly the Yogini Hayagriva (below) is full of love, and there is love (or different kinds of love) in her breasts, face, and crotch. But a capacity for love does not seem to a feature of our pin-up models, cleavage-ballooning entertainers, and so forth. Far from the Yogini, we seem imprisoned in a cocktail of irresistible palpability, religious prohibitions, and sexual harassment.
Yogini Hayagriva Seated Holding a Child: 11th century; Uttar Pradesh or Madhya Pradesh, India
Dichotomizers have manifold opportunities to call attention to the world's divisions. Another that I have in mind is between the horizontal and the vertical. There are, for example, databases—e.g. Google Images—that allow us to see whole clusters of data ("Art Institute of Chicago") all at once, and other databases, the vertical, that lead us through a series of steps (Art Institute . . . Indian art . . . sculpture . . . women . . . with animal heads) before we get to that one long-sought piece of data (or image). Similarly we may say that for some people the world is a fabric (which, as Quine said, "impinges on experience only along the edges"). And there are other people for whom the world is a well—only by digging deep do you ever find water.
At the Art Institute I found myself in a kind of dialogue, going back and forth between non-European galleries (Indian, Indonesian, pre-Columbian, and African art) and the Art Institute's plentiful collection of European art from the first half of the twentieth century. Certainly the dialogue began as a horizontal activity, and it never dug that deep, but increasingly I was drawn, by some kind of thirst, to just a very few works. (I.e. to those displayed in this post.)
Baga Headdress: mid-19th/early 20th century; Nimba, D'mba, or Yamban
Most museums encourage horizontally, insofar as their layouts move us from work to work and encourage us to glimpse dozens of masterpieces in a single day. I have heard of exhibits for the blind that allow visitors to feel the works or reproductions of them, and I would love to come across a museum exhibit that put individual works alone in quiet rooms where viewers might spend time with them, instead of the usual quick glance, reading of the label, moving on. I don't know that these quiet rooms would encourage verticality, but we would get to know a few art works in a different way.
In the case of Balthus's great Solitaire, you might say that the work demands extra time, even if we refuse or are unable to give it. And in the cases of the pre-Columbian, African, and Indian sculptures, we might be happy to be spending more time with them. But in this regard Miró's woman stands out as an exception. Again, I note that, in being photographically reproduced, the work loses some of its weight. In the low lighting of the small, windowless museum corridor where the painting is hung, our attention may be grabbed, and we may quickly "get" what Miró is up to. Our appreciation for Surrealism may increase. And yet we may be happy, too, not to have to look too long or think too much?
Joan Mirό: Mujer (Woman): 1934; Europe
— Wm. Eaton, Zeteo Executive Editor
Afterword & Links
It has been called to my attention that the Metropolitan Museum in New York has temporarily given Tullio Lombardo's fifteenth-century sculpture Adam its own room. In 2002, the sculpture's base gave way and the piece was shattered into pieces. Restored, it may now be observed in the round in its own private, dimly lit room on the first floor of the museum. Unfortunately, the room has no seating, and thus encourages moving on rather than spending time with the piece, and electronic screens set in the walls distract from the viewing experience in the name of giving information.
Willard Van Orman Quine's phrase appears in his well-known essay, "Empiricism Without the Dogmas" (published in the Philosophical Review, January 1951). I spent more time with Quine's idea in Moscow to the End of the Line, Agni, 2004.
Jean-Paul Sartre's phrase appears in L'Être et le néant (Being and Nothingness). For more, see Sartre's Partridges, Zeteo is Reading, 2014.
More on Balthus at Balthus at the MET in New York, Montaigbakhtinian, 2014.
More on Dichotomizing from Montaigbakhtinian, 2012.
by William Eaton on March 19, 2015
Categories: William Eaton, ZiLL • Tags: art, Art Institute of Chicago, art museums, Balthus, Jean-Paul Sartre, Laura Mulvey, male gaze, Metropolitan Museum of Art, Mirό, Roland Barthes, Willard Van Orman Quine, women
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text:
Tower TV – Episode 2, Oct. 12, 2020 Watch episode 2 here! (12 min. 42 sec.)
Food pantry news
a feature on the Native American Student Association, and information on Indigenous People's Day
Profile on new guidance counselor, Ms. Monique Billings
Joke of the Month
Tower TV is a production of the East High School Advanced Video Production class.
Music is licensed through MMSD with Omni Music in Media, with the opening theme song used under Fair Use as a parody.
The Mission of Tower TV is to unite our viewers by finding and producing entertaining and informative stories relating to the East High community, while mastering the craft of film/ video production.
]]> https://ehstowermedia.com/977/uncategorized/tower-tv-episode-2-oct-12-2020/feed/ 0 Tower TV – Episode 1, Oct. 1, 2020 https://ehstowermedia.com/973/news/tower-tv-episode-1-oct-1-2020/ https://ehstowermedia.com/973/news/tower-tv-episode-1-oct-1-2020/#respond Thu, 01 Oct 2020 19:59:24 +0000 https://ehstowermedia.com/?p=973
Tower TV – Episode 1, Oct. 1, 2020 Watch episode 1 here! (12 min. 42 sec.)
Zoom class, a comedy sketch
East Sports update
Feature: Adjusting to virtual learning
Pet of the Month
]]> https://ehstowermedia.com/973/news/tower-tv-episode-1-oct-1-2020/feed/ 0 Tower TV – Episode 7, May 11, 2020 https://ehstowermedia.com/967/uncategorized/tower-tv-episode-7-may-11-2020/ https://ehstowermedia.com/967/uncategorized/tower-tv-episode-7-may-11-2020/#respond Fri, 08 May 2020 01:51:05 +0000 https://ehstowermedia.com/?p=967
Tower TV – Episode 7, May 2020 Watch episode 7 here!
In the episode, we have a shortened version of an interview with Principal Kearney. Watch the full 11 min. interview without any edits here: https://www.youtube.com/watch?v=_gblJeKs6Gs
]]> https://ehstowermedia.com/967/uncategorized/tower-tv-episode-7-may-11-2020/feed/ 0 Announcement Tribute https://ehstowermedia.com/956/uncategorized/announcement-tribute/ https://ehstowermedia.com/956/uncategorized/announcement-tribute/#comments Fri, 17 Apr 2020 14:19:32 +0000 https://ehstowermedia.com/?p=956
In December, Tower Times reporter Evelyn Stephens brought you this inside scoop on security guard David McCullough, who delivers the announcements to East students almost every school day. Although East, and schools across the nation, are currently closed to traditional, in-person classes, school continues via online lessons, and McCullough also continues delivering his daily announcements for East staff and students.
You can catch his daily announcements – on East's Facebook page.
And, in honor of both McCullough and the fact that April is National Poetry Month, East Spanish teacher Barbara Davis wrote this poem, entitled "Announcement Tribute," to celebrate the essential worker and unofficial spirit of East:
David brings us daily news
Quotes, and weather, advice and views
He even does it on the bus,
Say the pledge, inspires us
I look forward every day
To seeing David and hearing him say
what makes us feel not quite so stranger
despite Corona and the danger
of going out, not getting ill
of missing friends and staying still
Thank you for your inspiration
optimism and invitation
to greet each day and do our best
to put our efforts to the test
Thank you for all that you do,
What makes East great is folks like you.
]]> https://ehstowermedia.com/956/uncategorized/announcement-tribute/feed/ 1 Tower TV – Episode 6, March 9, 2020 https://ehstowermedia.com/954/uncategorized/tower-tv-episode-6-march-9-2020/ https://ehstowermedia.com/954/uncategorized/tower-tv-episode-6-march-9-2020/#respond Wed, 11 Mar 2020 21:56:49 +0000 https://ehstowermedia.com/?p=954
Tower TV – Episode 6, March 9, 2020 Watch episode 6 here!
]]> https://ehstowermedia.com/954/uncategorized/tower-tv-episode-6-march-9-2020/feed/ 0 People of Eastside, March 4 edition https://ehstowermedia.com/944/photos/people-of-eastside-march-4-edition/ https://ehstowermedia.com/944/photos/people-of-eastside-march-4-edition/#comments Wed, 04 Mar 2020 18:38:51 +0000 https://ehstowermedia.com/?p=944
Photographer Alison Cykana took these candid portraits of East freshmen and interviewed them for our latest "People of Eastside" post. Enjoy!
photo by Alison Cykana
What are your fears? "Well, this is actually like really stupid, but like, one of my fears is actually breaking bones. I don't know, cause it's just, so bad," Dombrowski said.
]]> https://ehstowermedia.com/944/photos/people-of-eastside-march-4-edition/feed/ 2 Newest edition of Expressions Literary Magazine is available https://ehstowermedia.com/935/opinion/newest-edition-of-expressions-literary-magazine-is-available/ https://ehstowermedia.com/935/opinion/newest-edition-of-expressions-literary-magazine-is-available/#respond Tue, 25 Feb 2020 18:29:52 +0000 https://ehstowermedia.com/?p=935
Check out the latest issue of the school's literary magazine, Expressions, for student artwork, poetry and more. You can get a beautiful, full color copy from the stands outside the LMC or from librarian Ms. Jen Milne-Carroll today, or view it online here.
]]> https://ehstowermedia.com/935/opinion/newest-edition-of-expressions-literary-magazine-is-available/feed/ 0 Behind-the-Scenes with EHS Athletic Trainer Mandy Louderback https://ehstowermedia.com/928/uncategorized/behind-the-scenes-with-ehs-athletic-trainer-many-louderback/ https://ehstowermedia.com/928/uncategorized/behind-the-scenes-with-ehs-athletic-trainer-many-louderback/#comments Tue, 25 Feb 2020 01:50:10 +0000 https://ehstowermedia.com/?p=928
Many student athletes come to the athletic trainer's office expecting to be sent off with just an ice pack and instructions to stop practicing and playing. Mandy Louderback has been working as an athletic trainer at East for more than eight years, and she wants student athletes to know she has a lot more to offer.
Louderback says she does, "anything from injury prevention to evaluation of injuries, doing taping and rehab. If there's anything that we don't know what to do, making referrals to different specialties or physicians, just sort of anything that has to do with injuries and illness around sports and helping kids get back to what they want to be doing."
While it may seem like seeing the athletic trainer is something athletes should only do when they're so injured they can't play, the athletic trainer's office is actually well equipped for all athletes.
"Anybody that's in a sport at least can come in for anything. If they think they have a problem, or they think they have an injury, they can come in and we'll talk about it," Louderback said.
In high school, Louderback played basketball and did track and field, and she continues to spend time with athletes because of the connections she has made and the people she gets to spend time with.
"I like the relationships you make with the students and just sort of the athletics community in general and just getting to know people, kids and their families and being around them. It's pretty cool," Louderback said.
Louderback enjoys her job here not only because of the athletic aspect, but also because of the school where she gets to work.
"The Eastside community is so much closer than a lot of other schools, in my experience, so just being a part of that, I think, is pretty cool," Louderback said. "…I grew up in an area that was not very diverse and went to college in a town that wasn't very diverse, so coming here and just learning about people and different cultures, I learned a lot."
Above all, Louderback wants to let all athletes know that her office is not a scary place to be.
"A lot of people avoid coming to see me because they think I'm just going to sit them out. But there's a lot of things that we can do to work with you on your injuries to keep you going in your sport or to get you back into it sooner than maybe you would have just trying to work through things on your own," Louderback said. "I think the biggest thing is just realizing I'm not just here to sit you out. I want you to be in your sport, and I want to get you back in as soon as I can. Just realizing that I'm on your side."
photo by Tahji Jackson
"I love getting to be a behind the scenes part of every team. I love getting to know the athletes and becoming someone they trust. I get to experience the ups and downs of their sport and their injuries with them, so when they succeed, so do I," said Mandy Louderback, East High athletic trainer.
]]> https://ehstowermedia.com/928/uncategorized/behind-the-scenes-with-ehs-athletic-trainer-many-louderback/feed/ 2 Varsity Boys Basketball Slam Middleton Feb. 11 https://ehstowermedia.com/919/photos/varsity-boys-basketball-slam-middleton-feb-11/ https://ehstowermedia.com/919/photos/varsity-boys-basketball-slam-middleton-feb-11/#respond Fri, 14 Feb 2020 18:09:24 +0000 https://ehstowermedia.com/?p=919
Photos by Ava Davenport & Sofia Losada
]]> https://ehstowermedia.com/919/photos/varsity-boys-basketball-slam-middleton-feb-11/feed/ 0 Vote for a Purgolder! https://ehstowermedia.com/912/opinion/vote-for-a-purgolder/ https://ehstowermedia.com/912/opinion/vote-for-a-purgolder/#respond Wed, 12 Feb 2020 22:48:28 +0000 https://ehstowermedia.com/?p=912
Summit Credit Union's annual "Project Teen Money" contest is live! In November, Summit chose two finalists from each of the four MMSD high schools out of many applicants. East's finalists are senior Reece Walters and junior Ike Lavitschke.
There will be three rounds of voting – one for each of the contestant's three videos. Voting is:
now through Sunday, Feb. 16 for Round 1: Save
Monday, Feb. 17- Sunday, March 1 for Round 2: Spend
Monday, March 2- Sunday, March 15 for Round 3: Give
The contestant with the most votes will win a $2,500 scholarship and bragging rights for their school. East has only been a part of this contest for a few years, and we have never had a winner from the school.
To vote, go to https://www.summitcreditunion.com/project-teen-money/vote – you can check out the finalists videos on web or mobile. Vote for your favorite, then share the link with others.
]]> https://ehstowermedia.com/912/opinion/vote-for-a-purgolder/feed/ 0


before, when you rollover each blog entry the title would come out and the square would haze out. Now, It doesnt do that anymore. AND, the thumbnail image would be the first picture you would see in the blog post, but it doesnt do that anymore. Any suggestions?
Try opening /wp-content/themes/autofocuspro/js/afscripts.js and replace all instances of ".#content" with "#content" (lines 56 and 112), to start. Let me know if that doesn't resolve everything.
Just as an aside, you have way too many keywords listed in the meta data for that site.
OH...is that a bad thing?
But don't get lost down the SEO rabbit hole. Having good, useful, relevant content is the most important thing.
Sorry I can't help with your real problem. There is code that enables those features and it's not being activated. I would try disabling plugins one by one and see if it starts working again. Then figure out which plugin is running in conflict - if that's the case. Otherwise try reinstalling the theme.
Also, this might not be a $4 problem.
And you might want to wait for a second opinion/more qualified answer.


Organoid and three-dimensional (3-D) cell culture are emerging as pivotal systems for understanding human organ development, modeling disease, screening for drug efficacy or toxicity, and investigating personalized medicine. The reagents and protocols needed to culture these advanced multi-cellular in vitro tissues vary by organ, species, and whether they are being generated from tissue or pluripotent stem cells. This page serves as a reagent and technical resource to help researchers build robust and consistent organoid cultures designed to provide you with a central location to access protocols, view webinars, stay up to date on organoid recipes and blogs, and discover new products relevant to your work in organoid research. Navigate below to find information for culturing organoids from all tissue types.
Read more about the development and future of organoids for research.
Koehler K.R. and E. Hashino (2014) Nat. Protocols. 9:1229.
Cancer organoids should be cultured in similar conditions as to those for which the parent organoid can be grown. In some instances mutations occur in cancer stem cells that allow them to grow in the absence of normal growth factors, such as EGF or FGF. Depending on the cancer organoid it may be possible to grow them in a medium where one or more factors are removed from the normal organoids growth medium.
An organoid is a miniaturized version of an organ produced in vitro that shows realistic micro-anatomy, is capable of self-renewal and self-organization, and exhibits similar functionality as the tissue of origin. While their size is small (typically < 3 mm in diameter), organoids are stable model systems of organs and tissues that are amenable to long-term cultivation and manipulation. In conjunction with advances in cell reprogramming technology and gene editing methods, organoids allow unprecedented insight into human development, act as disease models, and can be utilized for drug screening platforms or even cell transplantation.
Organoids can be classified into those that are tissue-derived and those that are stem cell-derived. Tissue-derived organoids typically originate from adult tissues while stem cell-derived organoids are established from pluripotent stem cells. Researchers have devised methods to generate physiologically relevant organoid models for organs such as the brain, liver, thymus, thyroid, lung, pancreas, and heart that can be used for drug discovery and toxicology. However, the utility of organoids may be impacted by their degree of in vitro maturation. Stem cell-derived organoids may only recapitulate the first few months of development, but not the stages beyond, therefore they potentially lack some cell types of interest for researchers. In this case, tissue organoids generated from isolated adult stem/progenitor cells or resected fragments of organ tissues (i.e. intestinal crypts, liver, or pancreatic ducts) may be more suitable.
The formation of organoids is facilitated by the presence of biological or synthetic scaffolds. The most common are biological scaffolds derived from Engelbreth-Holm-Swarm (EHS) mouse sarcoma cells (i.e. Cultrex® Basement Membrane Extracts). These protein-rich extracellular matrices not only provide a scaffold for the cells to attach and organize into 3-D structures, but they can provide additional microenvironmental cues, such as growth factors and hormones, that help define the growth and organization of the 3-D tissue. More defined scaffolds of polymeric or synthetic origin have also been used, but they lack endogenous factors that help promote cell development. The scaffold of choice is ultimately driven by the research application. Currently, EHS-derived matrices are the most robust method for generating viable and sustainable organoids used in drug screening and toxicological studies.
The promise of organoid technology is widely recognized in the biomedical field, but it is still in its infancy. There are practical challenges to overcome before it can be widely implemented in disease modeling, drug discovery, and toxicological applications. Of course, data generated using these methods needs to be validated against established assays to confirm the accuracy of in vivo responses. At present, protocols for organoid generation result in heterogeneous cultures (size and shape), which can produce unwanted experimental variability. Tissue access within an organoid is another hurdle to be addressed. For intestinal organoids, the apical (luminal) surface of the epithelium, which faces the interior of the structure, is important for testing compounds for drug toxicity, permeability, and absorption. However, the spheroidal architecture of the organoid restricts access to the lumen, presenting challenges that could require time-consuming and labor-intensive procedures, such as microinjection of compounds. Additionally, there is a push in the field to generate organoids of increased size and complexity because larger organoids are thought to be more biologically relevant and predictive of native tissues, but the current maximum size is constrained by the gas and nutrient diffusion rates.
Larger organoids may be possible in the future as the methods for nutrient supply improve (i.e. spinning bioreactors to facilitate higher extents of diffusion or coculture with endothelial cells). Another consideration is that current 3-D culture methods limit the use of organoids in established drug discovery pipelines that have been designed and optimized for cells grown as 2-D monolayers. Organoid cultures are not yet easily scalable for high-throughput screening protocols or amenable to automation in the same way as traditional 2-D cultures. Despite these challenges, it is evident that organoids have great potential to revolutionize the way we approach disease modeling, drug discovery, and toxicology. Their limitations are rapidly being overcome as emerging technologies (such as organ-on-a-chip, microfluidics, or bioprinting) open new avenues for more accurate in vitro testing.
Fang, Y. et al. (2017) SLAS Discov. 22:456.
Kelm, J.M. et al. (2003) Biotechnol. Bioeng. 83:173.
Fatehullah, A. et al. (2016) Nat. Cell Biol. 18:246.
Shamir, E.R. et al. (2014) Nat. Rev. Mol. Cell Biol. 15:647.
Takasato, M. et al. (2015) Nature 526:564.
Zhu, R. et al. (2014) Stem Cell Res. Ther. 5:117.
Li, Y. et al. (2014) Organogenesis 10:159.
Birgersdotter, A. et al. (2005) Semin. Cancer Biol. 15:405.
Wilson, S.S. et al. (2015) Mucosal Immunol. 8:352.
Lancaster, M. et al. (2013) Nature 501:373.


One of my favorite posts in the past month came from Chris Dixon. It is short and sweet, just the way I like a blog post. In the post Chris lays out three constituencies to the startup economy; business people, engineers, and hobbyists. And he makes the point that hobbyists are a great lens through which to see the future.
I love Paul Bucheit's edict to "live in the future". I totally agree that is the best way to find the things that will turn out to be the next big thing. Being a hobbyist is a great way to live in the future. And so I try to play around with all of this stuff in order to wrap my mind around it. You should too.
I am very pleased to say that we have investments in most of those hobbies and are working to make more.
But I also think that they may be the hobbies of the moment or even possibly the hobbies of the past few years. What are the hobbies that we should take on next? That is what I woke up thinking about this morning.


There are many noticeable physical and mental differences between early childhood (2-6 years old) and middle childhood (6-10 years old). In early childhood their language and communication skills start to develop quickly. The child will begin to learn new vocabulary, the correct use of language in social settings and their grammar has noticeable changes. Even with all these advancements that are taking pace, it is still noticeable that these children are just in the beginning stages of learning as compared to children in middle childhood.
In middle childhood the child will no longer have any of the baby appearance as where the child is just starting to lose the look in early childhood. In this stage the child will be able to perform a larger variety of gross and fine motor skills activities. They will also show a vast improvement in balance, strength and coordination. The child will also have developed more control over themselves as where in early childhood children are going at full steam constantly.
With the emotional development in early childhood, children are often endearing, trusting and they show affection. Children can be very possessive and have trouble sharing at this stage. Children start to become more skilled at adapting and expressing their emotions to fit different social situations. At this stage a child also doesn't feel the need to hold back in expressing their feelings. Although sharing isn't a strong point, children will become more interested in others and want to spend time with playmates, but concern for others revolves around their own self-centered impulses.
In middle childhood the differences show in social and emotional development as compared to early childhood. Friendships become more important and children develop stronger more complex friendships. They earn more by watching and talking to other children their own age. They also begin to see things from another person's point of view besides their own. Children also have the urge to do more things on their own as compared to early childhood where children are content to receive help from others. Children will start to base friendships on mutual regard for another person's personality and not just as a playtime companion as it is in early childhood.
In early childhood children start to develop abilities in mental reasoning, cause and effect and other intellectual processes. For children (ages 2-3) will start to realize things such as when they are dropped off at daycare their parents will return to pick them up. They will learn to understand simple games such as hide and go seek. By the age of 4 years old children are able to make more independent decisions and have increased focusing skills. By the age of 6 years old children will start to refine their cognitive skills and think in a more abstract manner and engage in complex pretend play and create imaginative solutions to tasks.


pagkabata animado pelikula pangunahing tauhan babae Anastasia vs The sisne Princess! Which human guy mga kaibigan do you like more?
Anastasia vs The Swan Princess! Which queen do you like more?
Anastasia vs The Swan Princess! Which evil minion do you like more?
Do you think all the villains from The Swan Princess movies pretty much have the same face?


Randy is unique as a financial planning firm co-founder, as financial services has been the only career he has ever held. And after 40 years in the industry, he still finds it gratifying to have founded a firm that provides fiduciary, fee-only financial planning that helps clients achieve their goals.
With designations as a CERTIFIED FINANCIAL PLANNER™ and Chartered Life Underwriter® professional, Randy actually majored in psychology in college. As he puts it, it was a course of study that had nothing—yet everything—to do with providing financial advice. His first jobs were in selling financial products, which he disliked, so he turned to offering what he knew he could excel at—compassionate, objective financial advice.
He and his wife, Debra, raised a family while building the firm, with Debra focused on the investment management side and Randy on the financial planning side. Today, Randy spends much of his time mentoring younger members of the financial planning team and managing the firm's more complex cases. Randy and Debra are working to revitalize Downtown Topeka. They have built a pocket park, rehabilitated a historic building, and built a new three-story building after a fire destroyed a building close to the office. He also enjoys traveling, and like his wife, his favorite memories are the ones spent on African safaris.


text:
SUMEIDA'S SONG
Composition by MOHAMMED FAIROUZ
Based on the play "The Song of Death" by TAWFIQ EL-HAKIM
Directed by DAVID HERSKOVITZ | Music Directed by STEVEN OSGOOD
Scenic Design by PIHLSTROM | Costume Design by ALIXANDRA ENGLUND
Lighting Design by LENORE DOXSEE
World-premiere co-produced by BMP and HERE for PROTOTYPE Festival, 2013
The World Premiere of Mohammed Fairouz's opera Sumeida's Song on the HERE Main Stage for PROTOTYPE was the first Arab-American opera to be fully produced on an American stage. Based on the classic Tawfiq El-Hakim play, Song of Death, the opera follows the return of a young man, Alwan, from Cairo to his Upper Egyptian peasant village. He defies his family's expectations to fulfill an age-old blood feud, instead revealing the true purpose of his return: to end the cycle of violence. For his attempts to bring light and modernity to his village, and for challenging the structure of his society, he pays the ultimate price. Tawfiq El-Hakim's story is well known in the Arab World, and Fairouz's operatic adaptation captures the underlying aspirations of young people, like Alwan, who stand up for their ideals and for aspirations of a better life. Alwan's resonant proclamation — "I won't kill" — embodies the noble mission of justice and progress in this timeless, timely, and universal story.
This world-premiere production featured a chamber orchestration with Arabic and western instruments, with singers mezzo-soprano Rachel Calloway, Dan Kempson, Edwin Vega, and Amelia Watkins.
Sumeida's Song_0733_
"One of the most talented composers of his generation"
-BBC World News
"Sumeida's Song is an intensely dramatic 60-minute four-character opera with a searing score that deftly draws from Arabic and Western contemporary musical sources."
-New York Times
.."the Arabic elements of his style — microtonal modes, spiraling dance rhythms, plaintive melodic writing — give fresh, distinctive jolts to the Western elements." - -New York Times
"The Production… could not be more effective."


text:
#ifndef ScriptSourceCode_h
#define ScriptSourceCode_h

#include "CachedResourceHandle.h"
#include "CachedScript.h"
#include "CachedScriptSourceProvider.h"
#include "URL.h"
#include <parser/SourceProvider.h>
#include <wtf/text/TextPosition.h>
#include <wtf/RefPtr.h>

namespace WebCore {

class ScriptSourceCode {
public:
    ScriptSourceCode(const String& source, const URL& url = URL(), const TextPosition& startPosition = TextPosition::minimumPosition())
        : m_provider(JSC::StringSourceProvider::create(source, url.isNull() ? String() : url.string(), startPosition))
        , m_code(m_provider, startPosition.m_line.oneBasedInt(), startPosition.m_column.oneBasedInt())
        , m_url(url)
    {
    }

    explicit ScriptSourceCode(CachedScript* cachedScript)
        : m_provider(CachedScriptSourceProvider::create(cachedScript))
        , m_code(m_provider)
        , m_cachedScript(cachedScript)
    {
    }

    bool isEmpty() const { return m_code.length() == 0; }

    const JSC::SourceCode& jsSourceCode() const { return m_code; }

    StringView source() const { return m_provider->source(); }

    int startLine() const { return m_code.firstLine(); }

    CachedScript* cachedScript() const { return m_cachedScript.get(); }

    const URL& url() const { return m_url; }

private:
    RefPtr<JSC::SourceProvider> m_provider;

    JSC::SourceCode m_code;

    CachedResourceHandle<CachedScript> m_cachedScript;

    URL m_url;

};

} // namespace WebCore

#endif // ScriptSourceCode_h

redpajama_set_name: RedPajamaGithub


If you could name one prayer warrior to lift you up, who would it be?
I choose Jesus. Hebrews 4:14-16 and 10:21-22 are pretty clear that He intercedes for us when we come boldly and sincerely looking for mercy and grace.
Jesus prays for YOU! Every prayer you utter has Jesus supporting you, interested in you, seeking God's very best for you!
So now imagine that you are in the throne room of heaven. Jesus is there praying to the Father on our behalf.
Church culture has fashioned an addiction to safety and security. If we cannot plot a future path with visible certainty, then we cannot imagine God would call us or lead us down it. But the way of the cross is one of trust, and it is trust that leads us to obedience in following the Master wherever he leads. The path may be uncertain. But for those who trust, the One we follow will never steer us wrong. Our guardian angels are bored.
Thank you for your prayers and financial support to send me and eight other members to Haiti to work with our church partner in Mayette. It was a physically and spiritually challenging trip.
It was physically challenging because the heat was oppressive. At one point I was drinking 20 oz. of water an hour and still not maintaining proper hydration. One of our team members was forced to travel back to the mission for an IV and several of us had "bad days" trying to keep or get strength.
It was spiritually challenging because Mayette, a community we've loved and seen grown since our partnership began in 2011, had been devastated by drought and illness. Over one-third of the people had moved or died in the last year. Half of the couples we married two years ago had at least one partner die since the wedding.
The church and Pastor Daniel were still prevailing through the strength of the Holy Spirit. There had been ten new confessions/baptisms in the last year. They were not wavering but asked us to pray for rain. About an hour after worshiping with them the skies opened up with an inch of rain. But it's not enough…not nearly.
Please pray for the people of Mayette, specifically for rain and health. Join me every Thursday where ever you are and pray at noon for them. Ask God to bless Pastor Daniel and the church leadership. Ask God to help the children in the school they run thanks to our benevolence.
We are exploring a few different options to help them with their water situation. Pray that one or more options are feasible and affordable.
We also hope to provide them with Bibles. Very few of them have Creole Bibles and the Word of God is the Bread of life.
There will be a future trip but it is undetermined when but won't be for another year or two.


Drive up Highway 101 North, the Sunshine Coast Highway, for approximately 64 km ( This will take you around one hour depending on your average speed ).
Following the twisty section of the Highway ( about four minutes from the Pender Harbour sign board ) you will see a sign for Frances Peninsula Road, a Curtis Lumber, and a small strip mall to your right, and a left turn lane.
Turn left onto Frances Peninsula Road and proceed for about 1 km until you cross the little bridge over Canoe Pass ( past the Lowes Resorts sign on Lagoon Road and past the Lougheed Mansion ).
Gilden Road is the first road to the right shortly after the bridge. It's a one-block country lane style road with a keyhole stand of trees in the middle. We are at the end of the street past the trees. Look for the red roof!
The Langdale Ferry departs from the Horseshoe Bay terminal in West Vancouver and arrives just north of Gibsons on the Sunshine Coast. This 40-minute ferry ride accommodates both cars and walk-on passengers.


In celebration of the annual National Public Lands Day celebration, September 28, 2019 has been designed as a Free Entrance Day for most National Parks, Monuments, Recreation Areas and other participating federal sites. This hub serves as a repository for volunteers to find and participate in various NPLD events happening throughout the country.
The content of this link is provided for information purposes only. NEEF does not accept any liabilities for any loss, damage, cost, or expense you or others might incur as a result of the information, advice, or volunteering opportunities provided on this website.
Mark your calendar for NPLD this year: Saturday, September 28, 2019!


text:
package com.all.client.view;

import javax.swing.BoxLayout;
import javax.swing.JButton;
import javax.swing.JPanel;

import com.all.appControl.control.ViewEngine;
import com.all.i18n.Internationalizable;
import com.all.i18n.Messages;

public class HeaderPanel extends JPanel implements Internationalizable, View {

	private static final long serialVersionUID = 1L;
	private final MediaPanel mediaPanel;
	private final TitleHeaderPanel titleHeaderPanel;

	public HeaderPanel(MediaPanel mediaPanel, TitleHeaderPanel titleHeaderPanel) {
		this.mediaPanel = mediaPanel;
		this.titleHeaderPanel = titleHeaderPanel;

		initialize();
	}

	private void initialize() {
		this.setLayout(new BoxLayout(this, BoxLayout.Y_AXIS));
		this.add(titleHeaderPanel);
		if (mediaPanel != null) {
			this.add(mediaPanel);
			mediaPanel.initialize();
		}
	}

	@Override
	public void initialize(ViewEngine viewEngine) {
		titleHeaderPanel.initialize(viewEngine);
		if (mediaPanel != null) {
			mediaPanel.initialize(viewEngine);
		}
	}

	@Override
	public void destroy(ViewEngine viewEngine) {
		titleHeaderPanel.destroy(viewEngine);
		if (mediaPanel != null) {
			mediaPanel.destroy(viewEngine);
		}
	}

	@Override
	public void internationalize(Messages messages) {
		getCollapseButton().setToolTipText(messages.getMessage("tooltip.button.collapse"));
		getCloseButton().setToolTipText(messages.getMessage("tooltip.button.close"));
	}

	@Override
	public void removeMessages(Messages messages) {
		messages.remove(this);
		titleHeaderPanel.removeMessages(messages);
		if (mediaPanel != null) {
			mediaPanel.removeMessages(messages);
		}
	}

	@Override
	public void setMessages(Messages messages) {
		messages.add(this);
		titleHeaderPanel.setMessages(messages);
		if (mediaPanel != null) {
			mediaPanel.setMessages(messages);
		}
	}

	public JButton getCollapseButton() {
		return titleHeaderPanel.getCollapseButton();
	}

	public JButton getCloseButton() {
		return titleHeaderPanel.getCloseButton();
	}

}


text:
Home » Inside This Place, Not of It: Narratives from...
Inside This Place, Not of It: Narratives from Women's Prisons (Voice of Witness) (Library Binding)
By Ayelet Waldman (Editor), Robin Levi (Editor), Michelle Alexander (Foreword by)
Inside This Place, Not of It reveals some of the most egregious human rights violations within women's prisons in the United States. Here, in their own words, thirteen narrators recount their lives leading up to incarceration and their harrowing struggle for survival once inside.
Among the narrators:
Theresa, who spent years believing her health and life were in danger, being aggressively treated with a variety of medications for a disease she never had. Only on her release did she discover that an incompetent prison medical bureaucracy had misdiagnosed her with HIV.
Anna, who repeatedly warned apathetic prison guards about a suicidal cellmate. When the woman killed herself, the guards punished Anna in an attempt to silence her and hide their own negligence.
Teri, who was sentenced to up to fifty years for aiding and abetting a robbery when she was only seventeen. A prison guard raped Teri, who was still a teenager, and the assaults continued for years with the complicity of other staff.
Robin Levi is a consultant working in the field of human rights, and she is the former human rights director at Justice Now. While a staff attorney at the Women's Rights Division of Human Rights Watch, she documented sexual abuse of women in US state prisons.
Ayelet Waldman is the bestselling author of Love and Other Impossible Pursuits, Daughter's Keeper, Red Hook Road, Bad Mother, and, most recently Love and Treasure. She has also written for the New York Times, Vogue, the Washington Post, and the Wall Street Journal.
Michelle Alexander is a longtime civil rights advocate and litigator, and holds a joint appointment at the Kirwan Institute for the Study of Race and Ethnicity and the Mortiz College of Law at Ohio State University. Alexander served for several years as director of the Racial Justice Project at the ACLU of Northern California, and went on to direct the Civil Rights Clinic at Stanford Law School, where she was an associate professor. She is the author of The New Jim Crow: Mass Incarceration in the Age of Colorblindness.
"Essential reading. These women's stories compel us to recognize their humanity, tenacity, and value as people, and reveal a hidden and heart-wrenching reality."
—Piper Kerman, author of Orange Is the New Black
"This is an incredibly important, urgently readable book. I stayed up all night with these forgotten women, who have encountered, in present-day America, levels of cruelty and humiliation that have somehow not undercut their ability to express themselves with verve and grace and dignity."
—Rachel Kushner, author of The Flamethrowers
"Inside This Place, Not of It is precisely the kind of book we need now. In reading these narratives—so skillfully assembled, and with the accompanying statistics and data which let readers see how America and its states are complicit in taking away lives and dignity from so many women—what stands out is the poignant sense of abandonment and sadness that changed their lives from childhood, and the astonishing strength and perseverance that let them survive in prison. I will never forget these women, or this book."
—Susan Straight, author of Take One Candle Light A Room
"I am passionately, ardently grateful for the existence of this book. How else would I have ever heard the voices of these women? Where would I gain insight or understanding of the lives they describe: harrowing, riveting, rife with misogyny, and utterly unacceptable in a country that values human rights."
—Peggy Orenstein, author of Cinderella Ate My Daughter: Dispatches from the Front Lines of the New Girlie-Girl Culture
Publisher: Verso
Publication Date: August 29th, 2017
Series: Voice of Witness
Social Science / Women's Studies
Social Science / Penology
Political Science / Civil Rights
Paperback (July 25th, 2017): $19.95
Paperback (August 18th, 2016): $19.95
Paperback (November 8th, 2011): $16.00


Candidates are tested in Maths, English, Verbal and Non-Verbal Reasoning. These written tests last for 4 hours with refreshment and rest breaks allowed during this time.
Candidates are tested in Maths and English. These written tests last for 4 hours with refreshment and rest breaks allowed during this time.
Testing in Upper 4 involves sitting written tests in the subjects the candidate would like to study. They may be tested in up to 8 subjects. We recommend that the candidates sit these tests over a few days as we want the candidates to do the best they can.
The testing process for senior years is dependent on the predicted grades of a candidate. If a candidate has previously studied National 5s or GCSEs, these predicted grades will be used as a preliminary basis for entrance. If a candidate has previously studied at a school with a different education system then we will test the candidate in all 5 subjects they desire to study. Both types of candidates will then have an informal interview with the Headmaster.
Parents are reminded that examination fees are charged by the Examination Boards for every examination taken by pupils. Charges will be billed at the appropriate time.
Charges are also applicable for materials used in certificate courses for Art & Design.
Examination Board charges for short module courses will also be billed where pupils have registered to undertake a course or courses.
Reductions of 5% on the fees for a second child in the family will apply for pupils attending school on a full time basis from Pre-School Nursery onwards.
Reductions of 50% on the fees for a third, or any subsequent, child in the family will apply for pupils attending school on a full time basis from Pre-School Nursery onwards.
We would ask parents to note that charges for Before and After School Care, and other "Extras", are due within 14 days of the Fee Bill date.
An administration fee of £25 will be made for each cheque or direct debit application which is returned unpaid by your bank.
Parents are reminded that a full term's written notice is required for notice on withdrawal of a pupil. Should this not be received then a terms fee in lieu of notice will be payable.


text:
Palestinian policemen break into parliament building
About two dozen Palestinian policemen broke into the Palestinian parliament building on Monday, firing in the air to protest what they said was the humiliation police are facing because of attacks by Hamas militants.
In clashes between police and Hamas in Gaza City and the nearby Shati refugee camp on Sunday, Hamas gunmen attacked the local police station with assault rifles and rocket-propelled grenades. The camp's deputy police chief, Ali Makawi, was killed in the fighting.
The clashes raged for about six hours, and subsided only around midnight Sunday, after Egyptian mediators stepped in. It was the fiercest internal fighting since 1996, the AP reports.
"Yesterday, we did not have enough bullets," said one of the protesting policemen on Monday. "We had nothing to protect ourselves.
"Give us as least bullets to protect people and to protect our stations."


This is in a nutshell the Lugera team in Romania.
A bunch of dedicated, happy people ready to face in a natural, positive and friendly fashion all your challenges... a bunch of people at the service of people, unconditionally!
We started with hope in our souls and a smile on our faces when many others were there, way ahead of us.
And you know what? We continue this way! And Lugera Republic is whatever republic should be: smiles on every face, glamour on every "street", laughter and success in every "building"!
Everyone who applies for a Lugera job is officially a citizen of our republic!
Periodically performing Purchase Order maintenance.


This SkillsCast was filmed at Everything as Code: Creating an application stack from scratch!
After that, we will proceed with creating the EKS Kubernetes cluster and CodePipeline. All with "Everything as a code" principle to create all components. Lastly, we will deploy a sample app using CodePipeline on EKS cluster!


Response to this request is long overdue. By law, under all circumstances, The Crown Estate should have responded by now (details). You can complain by requesting an internal review.
What measures does the Crown take to find the settlors or their representatives that the Crown has claimed property of as bona vacantia ?
Thank you for your request for information about bona vacantia. You asked: "What measures does the Crown take to find the settlors or their representatives that the Crown has claimed property of as bona vacantia ?"
Furthermore, the escheat guidance identified in my reply to your last request might also be helpful to provide some background.
Please think - do you need to print this email?


College Ave Student Loans, the leading next-generation student loan marketplace lender, announced today it has secured $30 million in funding. Fourth-round investors include new and existing participants, such as Comcast Ventures and Leading Edge Ventures. This round of funding was oversubscribed, with the initial target of $25 million.
The capital raised will fuel College Ave's growth and enable expansion to meet the education financing needs of new market segments. As the first and only fintech lender to launch with a focus on the in-school student loan market, College Ave delivers personalized funding options through a best-in-class experience to students at more than 2,500 campuses nationwide. The approach is resonating with customers, who give College Ave a 5-star rating.
Moelis & Company served as financial advisor and Milbank, Tweed, Hadley & McCloy LLP provided legal counsel for the transaction.


text:
Patricia Ann Jacobs (* 8. Oktober 1934) ist eine britische Genetikerin am Salisbury District Hospital der University of Southampton.

Leben
Jacobs erwarb am Mount Holyoke College in South Hadley, Massachusetts, einen Master. Ab 1957/1958 arbeitete Jacobs bei Michael Court Brown in der Arbeitsgruppe für klinische Strahlenwirkung am britischen Medical Research Council in Edinburgh, Schottland. 1970 ging sie in die Vereinigten Staaten und hatte ab 1972 eine Professur für Anatomie und Reproduktionsbiologie an der University of Hawaii School of Medicine. Von 1985 bis 1987 leitete sie die Abteilung für Humangenetik in der Kinderheilkunde der Cornell University in der City of Ithaca, New York. 1988 kehrte sie als Leiterin des Wessex Genetics Laboratory Service in Salisbury zurück nach Großbritannien und hat seitdem auch eine Professur für Humangenetik an der University of Southampton inne.

Wirken
Jacobs beschrieb 1959 als erste eine Chromosomenaberration der Geschlechtschromosomen: das Klinefelter-Syndrom mit dem Karyotyp 47, XXY, das heißt einem zusätzlichen X-Chromosom. Seit dieser Entdeckung gilt das Y-Chromosom als bestimmend für das männliche Geschlecht beim Menschen. In der Folgezeit befasste sich Jacobs mit vielfältigen Fragestellungen der Zytogenetik des Menschen: mit der Häufigkeit, den Ursachen und der Epidemiologie von numerischen Chromosomenaberrationen (zu große oder zu kleine Zahl von Chromosomen); mit dem Phänotyp bei strukturellen Chromosomenaberrationen (insbesondere der Deletion); mit zytogenetischen Ursachen von Fehlgeburten und mit dem Fragilen-X-Syndrom als "Prototyp" der Trinukleotiderkrankungen.

Auszeichnungen (Auswahl)
 1977 Fellow der Royal Society of Edinburgh
 1981 William Allan Award der American Society of Human Genetics
 1993 Fellow der Royal Society
 1998 Mitglied der Academy of Medical Sciences
 1999 Officer of the Order of the British Empire
 2002 Ehrendoktorat der University of St Andrews
 2009 Ausländisches Mitglied der National Academy of Sciences
 2011 March of Dimes Prize in Developmental Biology

Weblinks
 Patricia Jacobs bei der University of Southampton (southampton.ac.uk)
 Jacobs, Patricia Ann: Archives and Manuscripts bei wellcomelibrary.org
 Prof. Patricia Jacobs, OBE, FRS's Biography bei debretts.com

Einzelnachweise

Genetiker
Hochschullehrer (Honolulu)
Hochschullehrer (Cornell University)
Hochschullehrer (Southampton)
Mitglied der Royal Society of Edinburgh
Mitglied der Royal Society
Mitglied der National Academy of Sciences
Ehrendoktor der University of St Andrews
Officer des Order of the British Empire
Brite
Geboren 1934
Frau


text:
El municipio de Perry (en inglés: Perry Township) es un municipio ubicado en el condado de Tippecanoe en el estado estadounidense de Indiana. En el año 2010 tenía una población de 7161 habitantes y una densidad poblacional de 76,3 personas por km².

Geografía
El municipio de Perry se encuentra ubicado en las coordenadas . Según la Oficina del Censo de los Estados Unidos, el municipio tiene una superficie total de 93.85 km², de la cual 93,45 km² corresponden a tierra firme y (0,42 %) 0,4 km² es agua.

Demografía
Según el censo de 2010, había 7161 personas residiendo en el municipio de Perry. La densidad de población era de 76,3 hab./km². De los 7161 habitantes, el municipio de Perry estaba compuesto por el 91,96 % blancos, el 1,21 % eran afroamericanos, el 0,28 % eran amerindios, el 2,16 % eran asiáticos, el 2,49 % eran de otras razas y el 1,9 % eran de una mezcla de razas. Del total de la población el 5,33 % eran hispanos o latinos de cualquier raza.

Referencias

Enlaces externos

Municipios de Indiana
Localidades del condado de Tippecanoe (Indiana)


text:
"HONG KONG FEELS like the future to me," says American artist Daniel Arsham in Galerie Perrotin, gazing at the city below. "Things like elevated walkways are what people dreamed of in New York at the turn of the last century and it never happened. Here it's real." An impish figure dressed head to toe in black with thin Harry Potter-like glasses, a baseball hat and spiky sneakers, the 35-year old sculptor has just landed in the city for the opening of his solo show Fictional Archeology.
Surrounding us are haunting figures and body parts inspired by classical sculptures and the poignant casts of ancient Pompeian victims buried by the eruption of Vesuvius. Arsham, however, presents the bodies in contemporary dress. In one corner stands a fragmented hipster-like figure in torn skinny jeans, a shirt and boots. Disturbingly, her torso has a gaping hole from which jagged selenite crystals emerge. Similarly, an eroded grey arm made from volcanic ash emerges from the wall clutching a basketball.
"A lot of these works appear like they're in a state between construction and destruction – you can't tell whether they are growing or falling apart," says Arsham. "I took objects from contemporary life and remade them with materials that had an idea about time or geology." On a marble pedestal lies a pile of debris: Polaroid cameras, a Nike Air sneaker and dismembered hands made in chalk, which viewers can use to draw on a large black wall, eventually reducing the items to dust. The works evoke ruins that have been excavated after years of being buried underground. Walking through the gallery feels like being transported to an imaginary future and gazing back into a distant past that is in fact ourpresent society.
While Arsham is fast gaining recognition for his sculpture – exhibiting in museums ranging from New York's New Museum to Miami's Museum of Contemporary Art – he has a following that reaches far beyond the art world. A favourite among celebrities, he's made a name for himself as a filmmaker and for his experimental architecture practice, Snarkitecture, whose projects have ranged from designing a runway for Public School to a window installation for Calvin Klein.
He counts the likes of designer Hedi Slimane, artist JR and actress Juliette Lewis as his fans, among other big names. Stylised black-and-white photographs of him with his friends James Franco, Usher and Pharrell Williams regularly crop up on his Instagram page, which has 200,000 followers. They often collaborate too – he's made a keyboard from volcanic ash with Pharrell and cast the rapper's body in shattered glass, while Franco and Lewis star in his films.
"In the art universe, I've never quite been …" he pauses. "I don't know if I'm accepted or defined as an artist. It's sort of like by doing all these [different] things I become nothing, but I don't do them to be something. I'm doing them because I'm curious."
Since early in his career, Arsham has forged an independent path. After graduating from Cooper Union in New York City, he moved to Miami, where he set up his own DIY exhibition space in a 1930s bungalow-style house with friends, called The House. "I won a grant with $15,000 and I put all that money into that space." The risk paid off. It was a time when Miami's art scene was exploding; with the arrival of Art Basel in the city came dealers, including Emmanuel Perrotin, whom he first met there.
The first big break came around mid-2000 when he got a phone call from the legendary dancer and choreographer Merce Cunningham. He had seen the young graduate's painting in a museum and asked if he would like to work on a set design for an upcoming production in Miami. Arsham said yes.
"The way that Merce worked was very unique and bizarre – it was based on John Cage's idea of chance, so he would create his choreography, the musician would create the score and an artist would make a stage design, but none of them knew what the other one was doing." Arsham worked with him until Cunningham's death in 2009. "When I first met him he was 84 and I was 24, so there was a 60-year gap, and looking back on it now he certainly put a lot of trust in a 24-year-old who had zero experience," he muses.
Over the years he also became known for sculptures that toy with architecture and the perception of space. He began acting as his own model, covering himself in plaster for hours to make a cast of his body. He then went on to create ghostlike sculptures of figures shrouded in cloth bursting forth from a wall or striding forward in space. Throughout his oeuvre the works are largely monochrome, as Arsham is severely colour blind. "Colour supposedly is not true for me. When I'm viewing it it's not consistent," he explains.
In the summer of 2011, he travelled to Easter Island, where he spent time with archaeologists and created paintings and drawings for a Louis Vuitton travel book. After the trip, he became fascinated by the idea of the mystery and storytelling that surrounds archaeology. He began turning contemporary items into relic-like objects, making eroded mobile phones and cameras in a similar vein to the works on view at Perrotin.
After a series of exhibitions across Asia in 2013, many people began to ask: what kind of world did he imagine these objects exist in? "A lot of people felt it was postapocalyptic and negative, which really wasn't my intention, my feeling," he says. "Time will go on and these objects [around us] will age. It doesn't mean that the world will be consumed by this ash cloud."
Yet these apocalyptic conversations lingered in his mind. "So I wrote a treatment of an idea," he says. "I happen to know a producer, Jane Rosenthal, who is the head of Tribeca films. I showed it to her and she said, 'You should really make this into something.'" The seed was planted for a nine-part science-fiction film series titled Future Relic that depicts a future civilisation and explores the reverberations of a major ecological transformation of the Earth. "I started out by making a short to see how it felt and the response to that was amazing," says Arsham.
Beginning with just one lone character in desolate landscapes, his films grew more elaborate over time. The second chapter of the series starred James Franco, who spends his days cooped up indexing and examining contemporary paraphernalia from a past civilisation. Arsham used his petrified eroded sculptures as props. For the third chapter, he cast Juliette Lewis, who plays the role of a woman searching for her scientist father. They shot in the eerie interiors of an abandoned laboratory. "It was the original Bell Lab, which was this amazing massive research facility designed by Eero Saarinen in the '60s," he says. "It looks like the '60s version of the future, so it still feels very contemporary now."
While Arsham began working with actors who are friends or acquaintances, he is now broadening his reach. "Now that the film has gotten some legs to it, I'm able to actually reach out to people," he explains. "We have a new actor in a section we shot last week, Mahershala Ali, he plays Remy Danton in House of Cards – he's amazing." His next film, Future Relic 04, is going to premier in Miami during Art Basel, where he will also be exhibiting one of his film sets. Alongside making films, Arsham has continued to engage with the world of dance. Collaborating with choreographer and former Merce Cunningham Dance Company dancer Jonah Bokaer, he has disrupted the austere environment of the white-cube gallery by introducing dynamic dance performances that activate his sculptural work. "It's often been me trying to push art audiences to see dance," he explains, "I hate normally being forced to pay attention to things in galleries, especially performance art, so the dances are really short … I think it allows audiences who are not familiar with that kind of world to engage with it without it being oppressive."
Recently, his experimental architecture practice, Snarkitecture, poured 750,000 recyclable white plastic balls into the Great Hall of the National Building Museum in Washington, DC for an installation titled The Beach, transforming the space into a giant playpen for adults. "The response to that was unbelievable," he says. "It's about play; it's a familiar thing to jump into that." But Arsham adds that the scenario was transformed by sucking out the colours you normally see in a children's ball pit and using the balls to represent water, adding mirrors and creating a pier that people could jump off. In many senses, Arsham's practice is similar. Refusing to be boxed into a single discipline, he continues to play with new ideas in multiple fields, unafraid to leap into the unknown.
Daniel Arsham Snarkitecture Mahershala Ali James Franco Galerie Perrotin
'Spare' and Six Other Notable Books Written by Royals
By Eric E. Surbano
The Most Matured Zodiac Signs and Their Maturity Levels
Evan Chow Talks Hong Kong Art Scene
By Natasha Li


text:
#ifndef __M3G_ARRAY_H__
#define __M3G_ARRAY_H__

/*!
 * \internal
 * \file
 * \brief Dynamic pointer array
 */

/*!
 * \internal
 * \brief Dynamic array structure
 *
 * Prior to using an array, the structure must be initialized by
 * either calling \c m3gInitArray or explicitly clearing the structure
 * to all zeros.
 */
typedef struct
{
    M3Gsizei size, capacity;
    void **items;
} PointerArray;

/*----------------------------------------------------------------------
 * Internal functions
 *--------------------------------------------------------------------*/

static M3Gint   m3gArrayAppend  (PointerArray *array,
                                 void *item,
                                 Interface *m3g);
static void     m3gArrayDelete  (PointerArray *array, M3Gint idx);
static M3Gint   m3gArrayInsert  (PointerArray *array,
                                 M3Gint idx,
                                 void *item,
                                 Interface *m3g);
static M3Gint   m3gArrayFind    (const PointerArray *array, void *item);
#if 0 /* currently disabled, but available if needed */
static M3Gbool  m3gArrayRemove  (PointerArray *array, void *item);
#endif
static M3Gsizei m3gArraySize    (const PointerArray *array);
static void     m3gClearArray   (PointerArray *array);
static void     m3gDestroyArray (PointerArray *array, Interface *m3g);
static M3Gbool  m3gEnsureArrayCapacity(PointerArray *array,
                                       M3Gsizei capacity,
                                       Interface *m3g);
static void*    m3gGetArrayElement(const PointerArray *array, M3Gint idx);
static void     m3gInitArray    (PointerArray *array);
#if defined(M3G_NATIVE_LOADER) /* currently only used in loader */
static void     m3gSetArrayElement(PointerArray *array,
                                   M3Gint idx,
                                   void *item);
#endif
#if 0 /* currently unused, but available here */
static M3Gbool  m3gTrimArray    (PointerArray *array, Interface *m3g);
#endif

/*----------------------------------------------------------------------
 * Inline functions
 *--------------------------------------------------------------------*/

/*!
 * \internal
 * \brief Returns the number of elements in the array
 */
static M3G_INLINE M3Gsizei m3gArraySize(const PointerArray *array)
{
    M3G_ASSERT_PTR(array);
    M3G_ASSERT(array->size <= array->capacity);
    return array->size;
}

/*!
 * \internal
 * \brief Returns the array element at \c index
 */
static M3G_INLINE void *m3gGetArrayElement(const PointerArray *array,
                                           M3Gint idx)
{
    M3G_ASSERT_PTR(array);
    M3G_ASSERT(idx >= 0 && idx < array->size);
    return array->items[idx];
}

#if defined(M3G_NATIVE_LOADER) /* currently only used in loader */
/*!
 * \internal
 * \brief Sets the value of the array element at \c index
 */
static M3G_INLINE void m3gSetArrayElement(PointerArray *array,
                                          M3Gint idx,
                                          void *item)
{
    M3G_ASSERT_PTR(array);
    M3G_ASSERT(idx >= 0 && idx < array->size);
    array->items[idx] = item;
}
#endif

#endif /*__M3G_ARRAY_H__*/