text:
"""Module that allows custom Sphinx parameters to be set on the notebook and
on the 'other' object passed into Jinja.  Called prior to Jinja conversion
process.
"""
#-----------------------------------------------------------------------------
# Copyright (c) 2013, the IPython Development Team.
#
# Distributed under the terms of the Modified BSD License.
#
# The full license is in the file COPYING.txt, distributed with this software.
#-----------------------------------------------------------------------------

#-----------------------------------------------------------------------------
# Imports
#-----------------------------------------------------------------------------

from __future__ import print_function, absolute_import

# Stdlib imports
import os.path

# Used to set the default date to today's date
from datetime import date

# Third-party imports
# Needed for Pygments latex definitions.
from pygments.formatters import LatexFormatter

# Our own imports
# Configurable traitlets
from IPython.utils.traitlets import Unicode, Bool
from IPython.utils import text

# Needed to override transformer
from .base import (Transformer)

from IPython.nbconvert.utils import console

#-----------------------------------------------------------------------------
# Classes and functions
#-----------------------------------------------------------------------------

class SphinxTransformer(Transformer):
    """
    Sphinx utility transformer.

    This transformer is used to set variables needed by the latex to build
    Sphinx stylized templates.
    """

    interactive = Bool(False, config=True, help="""
        Allows you to define whether or not the Sphinx exporter will prompt
        you for input during the conversion process.  If this is set to false,
        the author, version, release, date, and chapter_style traits should
        be set.
        """)

    author = Unicode("Unknown Author", config=True, help="Author name")

    version = Unicode("", config=True, help="""
        Version number
        You can leave this blank if you do not want to render a version number.
        Example: "1.0.0"
        """)

    release = Unicode("", config=True, help="""
        Release name
        You can leave this blank if you do not want to render a release name.
        Example: "Rough Draft"
        """)

    publish_date = Unicode("", config=True, help="""
        Publish date
        This is the date to render on the document as the publish date.
        Leave this blank to default to todays date.
        Example: "June 12, 1990"
        """)

    chapter_style = Unicode("Bjarne", config=True, help="""
        Sphinx chapter style
        This is the style to use for the chapter headers in the document.
        You may choose one of the following:
            "Bjarne"    (default)
            "Lenny"
            "Glenn"
            "Conny"
            "Rejne"
            "Sonny"    (used for international documents)
        """)

    output_style = Unicode("notebook", config=True, help="""
        Nbconvert Ipython
        notebook input/output formatting style.
        You may choose one of the following:
            "simple     (recommended for long code segments)"
            "notebook"  (default)
        """)

    center_output = Bool(False, config=True, help="""
        Optional attempt to center all output.  If this is false, no additional
        formatting is applied.
        """)

    use_headers = Bool(True, config=True, help="""
        Whether not a header should be added to the document.
        """)

    #Allow the user to override the title of the notebook (useful for
    #fancy document titles that the file system doesn't support.)
    overridetitle = Unicode("", config=True, help="")

    def call(self, nb, resources):
        """
        Sphinx transformation to apply on each notebook.

        Parameters
        ----------
        nb : NotebookNode
            Notebook being converted
        resources : dictionary
            Additional resources used in the conversion process.  Allows
            transformers to pass variables into the Jinja engine.
        """
        # import sphinx here, so that sphinx is not a dependency when it's not used
        import sphinx

        # TODO: Add versatile method of additional notebook metadata.  Include
        #       handling of multiple files.  For now use a temporay namespace,
        #       '_draft' to signify that this needs to change.
        if not "sphinx" in resources:
            resources["sphinx"] = {}

        if self.interactive:

            # Prompt the user for additional meta data that doesn't exist currently
            # but would be usefull for Sphinx.
            resources["sphinx"]["author"] = self._prompt_author()
            resources["sphinx"]["version"] = self._prompt_version()
            resources["sphinx"]["release"] = self._prompt_release()
            resources["sphinx"]["date"] = self._prompt_date()

            # Prompt the user for the document style.
            resources["sphinx"]["chapterstyle"] = self._prompt_chapter_title_style()
            resources["sphinx"]["outputstyle"] = self._prompt_output_style()

            # Small options
            resources["sphinx"]["centeroutput"] = console.prompt_boolean("Do you want to center the output? (false)", False)
            resources["sphinx"]["header"] = console.prompt_boolean("Should a Sphinx document header be used? (true)", True)
        else:

            # Try to use the traitlets.
            resources["sphinx"]["author"] = self.author
            resources["sphinx"]["version"] = self.version
            resources["sphinx"]["release"] = self.release

            # Use todays date if none is provided.
            if self.publish_date:
                resources["sphinx"]["date"] = self.publish_date
            elif len(resources['metadata']['modified_date'].strip()) == 0:
                resources["sphinx"]["date"] = date.today().strftime(text.date_format)
            else:
                resources["sphinx"]["date"] = resources['metadata']['modified_date']

            # Sphinx traitlets.
            resources["sphinx"]["chapterstyle"] = self.chapter_style
            resources["sphinx"]["outputstyle"] = self.output_style
            resources["sphinx"]["centeroutput"] = self.center_output
            resources["sphinx"]["header"] = self.use_headers

        # Find and pass in the path to the Sphinx dependencies.
        resources["sphinx"]["texinputs"] = os.path.realpath(os.path.join(sphinx.package_dir, "texinputs"))

        # Generate Pygments definitions for Latex
        resources["sphinx"]["pygment_definitions"] = self._generate_pygments_latex_def()

        if not (self.overridetitle == None or len(self.overridetitle.strip()) == 0):
            resources['metadata']['name'] = self.overridetitle

        # End
        return nb, resources

    def _generate_pygments_latex_def(self):
        """
        Generate the pygments latex definitions that allows pygments
        to work in latex.
        """

        return LatexFormatter().get_style_defs()

    def _prompt_author(self):
        """
        Prompt the user to input an Author name
        """
        return  console.input("Author name: ")

    def _prompt_version(self):
        """
        prompt the user to enter a version number
        """
        return  console.input("Version (ie ""1.0.0""): ")

    def _prompt_release(self):
        """
        Prompt the user to input a release name
        """

        return  console.input("Release Name (ie ""Rough draft""): ")

    def _prompt_date(self, resources):
        """
        Prompt the user to enter a date
        """

        if resources['metadata']['modified_date']:
            default_date = resources['metadata']['modified_date']
        else:
            default_date = date.today().strftime(text.date_format)

        user_date = console.input("Date (deafults to \"" + default_date + "\"): ")
        if len(user_date.strip()) == 0:
            user_date = default_date
        return user_date

    def _prompt_output_style(self):
        """
        Prompts the user to pick an IPython output style.
        """

        # Dictionary of available output styles
        styles = {1: "simple",
                  2: "notebook"}

        #Append comments to the menu when displaying it to the user.
        comments = {1: "(recommended for long code segments)",
                    2: "(default)"}

        return console.prompt_dictionary(styles, default_style=2, menu_comments=comments)

    def _prompt_chapter_title_style(self):
        """
        Prompts the user to pick a Sphinx chapter style
        """

        # Dictionary of available Sphinx styles
        styles = {1: "Bjarne",
                  2: "Lenny",
                  3: "Glenn",
                  4: "Conny",
                  5: "Rejne",
                  6: "Sonny"}

        #Append comments to the menu when displaying it to the user.
        comments = {1: "(default)",
                    6: "(for international documents)"}

        return console.prompt_dictionary(styles, menu_comments=comments)


text:
Hall's Echo for ZOOM G3 or G3X
Hall's Echo for ZOOM G5
EFTP
Vintage echoes and sounds at a realistic price for everyone...
Hall's Echo
Ross Hall's Echo against the rest...
Let's think in terms of a value proposition for a minute....
TVS3 - the high end.
The unit last used by Hank Marvin on a Shadows tour was the TVS3; produced, primarily, by Professor Paul Rossiter of Western Australia.This was the unit used on the 2009 - 2010 tour as claimed on the TVS Specialty Products home page. Prior to this, it's my understanding that Mr. Marvin used an EFTP (acronym of Echoes From The Past) loaded Alesis Q2 (1996 - 1999) succeeded by an EFTP loaded Alesis Q20 from 1999 until the final Shadow's tour in 2005 (the TVS SP site states that the Q20 with EFTP was used until 2008).
Also, proudly (and rightly so), on the TVS Specialty Products website Home page there appears an endorsement of the TVS3 unit by Hank Marvin; this was apparently published in the Guitarist Magazine August 2012 issue (I say apparently as I've not verified this and have no cause to). Incidentally, TVS stands for Tape Voicing Systems. From what I can gather in the 'PROSPECTUS' page of the TVS SP website, The TVS1 and TVS2 are/were, (the TVS2 has been discontinued) essentially, valve/tube based processors or preamps that made an EFTP loaded (or other), solid state, contemporary echo unit (e.g. Q2/Q20 with EFTP) sound 'warmer' by enhancing the dry signal. The TVS2 appears to do the same as the TVS1 but also affects the wet signal (echo). Clever stuff but you still need an echo system like EFTP or alike for the Hank sound...
I digress. As I was saying... Hank Marvin used a TVS3 on the 2009 - 2010 tour and was quoted (on the TVS SP Home page), in the August 2012 edition of Guitarist Magazine, as saying:
"...And even the (TVS) preamp linked to the Echoes From The Past sounded better, because it captured some of the sound that the Meazzi had.
He (Rossiter) developed it further into a full-blown echo system, the TVS3 and when we were recording the stuff for Cliff and the Shads reunion album I decided to try one out.
- It sounded really good.
I thought it sounded very authentic and, thanks to the preamp, slightly better than the Echoes From The Past system..."
N.B. I've been made aware by TVS that there is a more recent quote that is worth inclusion.
My focus on the above quote, taken from the TVS SP website, is that it's only "slightly" better than EFTP according to Mr. Marvin's quotation. Now, I have no doubt that the time, care, expertise and research that has gone into the TVS3 (not to mention the fact that I believe they're hand built) accounts for its price but given that Charlie Hall, founder and moral rights owner of EFTP, positions the Hall's Echo patches between the Alesis Quadraverb Q2 and the Alesis Q20 (both with EFTP). If Hank Marvin thought the TVS3 unit was "slightly" better than an Alesis Q20 with EFTP, my value proposition for my Hall's Echo system on a ZOOM G3 (brand new and with excellent amp simulations by comparison to the Alesis units) is as follows:
TVS3 AUD$3980
TVS3 (optional) Foot Pedal/controller AUD$395
Plus shipping, Insurance, import duty and VAT ( VAT alone is 20% in the UK)
For the sake of a very conservative estimate/comparison, let's take the price of the TVS3, not include the foot pedal/controller or any of the shipping, customs (if purchasing from outside of Australia) or sales tax costs so AUD$3980 (plus GST which, in Austalia is 10% - not included in this research comparison). On 6th January 2015 I visited a website (which claimed to be Australia's #1 online music store) and they had for sale, including the 10% GST and AUD$12 shipping, a ZOOM G3 for AUD$267.20. The Hall's Echo patches are GBP £80; at today's exchange rate (AUD $1.87 to GBP £1.00), at time of writing (06 Jan 2015), that's equivalent to AUD$149.54.
That makes the Hall's Echo system on the ZOOM G3 host unit, with all taxes and delivery to your door, a total of AUD$416.74 if you live and purchase in Australia. Approximately GBP £175.00 if you live in the UK. To be clear, that's the G3, the Hall's Echo patches, shipping and all taxes; it's the price you pay to play (minus guitar, lead and headphones).
This means that in value terms you get a brand new ZOOM G3 with Hall's Echo patches delivered to your door for a maximum of 10.5% of the cost of a TVS3 (that's a TVS3 without any GST/VAT or shipping, insurance or customs costs included).
Further, the Hall's Echo patches utilise the excellent amp simulations of the ZOOM G3/G5 meaning that you don't have to generate your own tone with expensive amplifiers and guitars. You simply need an electric guitar, the Hall's Echo system on the G3 or G5 and a set of headphones to get started. If you do have a guitar and decent tone (amp) already you'll also have the choice of selection of the same Hall's Echo patches with the ZOOM Amp simulations switched off with a different EQ applied to the echo only patches.
You'll have to excuse 'Ross' logic' but that does seem to be a solid value proposition given that the unit that costs (at least) ten times the amount of a ZOOM G3 with Hall's Echo included is only, according to Hank, "slightly better".
It would be very interesting to hear what the outcome would be with a TVS1 used with the ZOOM G3 loaded with the Hall's Echo package... Food for thought.
I do want to make clear that I have the greatest respect for the TVS products, their production, creators and achievements. It must be remembered that this was the last unit that Hank used on a tour (as things stand). A great achievement and endorsement to be applauded on merit.
Hall & Collins collaboration.
Continuing the value proposition theme...
I don't know much about the Hall & Collins unit as it's yet to be released (at time of writing). However, in my time with EFTP, I was copied into an email from Charlie Hall to a customer in 2012... It's worth noting that the Q20 EFTP parameters have been used to develop the Hall & Collins pedal. Customer name removed for obvious identity reasons.
Ross asked me to write to you about the Hall & Collins echo unit in case it might help you to make up your mind about what to do with the Q20.
Work on the Hall & Collins unit is still ongoing and we are nearly at the stage where a small number of test production prototypes are going to be made.
Because I have been unwell, the programming has been slow, but is starting up again around now.
The things that will set this unit apart from other third party units that I have programmed are the analogue preamp that is designed to sound exactly like the original valve Meazzi preamp (but without using valves), and the analogue drive circuit to simulate tape saturation. Smaller details are more exact feedback parameters, overall echo frequency responses (sometimes differing even from one simulated tape head to another) that more closely match the real thing, and wow and flutter characteristics for each type of echo unit being modelled.
I think in your case it will all be down to whether you want a floor pedal unit or a rackmount unit. I do not know at this stage whether the Hall & Collins will be doing a rackmount unit as it will have to depend on how the pedal is received first of all.
I have been using either my prototype pedal or my Q20 for echo sounds over several gigs during the last year or so ( I play in a rock and roll band, not a shadows type band), and I think the pedal has the better sound, but I also have to say that the difference is probably subtle enough that not many in the audience would hear the difference. What I can say though is that the 50 people who heard the prototype pedal at an event last year thought it sounded tonally identical with the modified tape Meazzi that was also present. The echo patterns differed (probably only to my ears at that time) because the tape Meazzi mechanism runs at a different speed than the drum Meazzi units that Hank used (and we have modelled). The prototype pedal also sounded noticeably better than a Magicstomp that was also present.
Charlie"
So, reading that admission, the Hall & Collins unit is better than a Magicstomp with EFTP according to its co-creator and expert echo chap. That's a plus for the Hall's Echo patches as he (Charlie Hall) also positioned the Hall's Echo patches above the Magicstomp with EFTP (in quality terms) and between the Alesis Q2 and Q20 with EFTP (which sound almost identical). Charlie then states, above, that the choice for this customer was only relative to the format (rackmount or stomp) rather than stating that the Hall & Collins is markedly better than the Q20 with EFTP. In fact, he states that the difference between the Q20 and Hall & Collins is not great enough to be heard by many in the audience.
Hmmm. The Hall & Collins unit does not have amp model simulation so you will, like the TVS3, have to generate your own tone (amp or amp model/sim).
It appears, to me, that the value in purchasing a unit that will cost more than three times the amount of the Hall's echo patches and host unit combined, is, according to the above review/opinion of Charlie, not at all apparent. It could well be that the Hall & Collins unit will be better than suggested above (this was a prototype); which remains to be seen.
Still, if the Hall & Collins is comparable to the Q20 with EFTP and Hank Marvin thinks that the TVS3 has the edge over the Q20 with EFTP, then logic would suggest that the TVS3 will maintain its unparallelled position but perhaps with the finest of margins? It will be interesting to note if Charlie has, indeed, developed a solid state equivalent to valves in the preamp, though. If the Hall's echo patches are also there or thereabouts then, for me, the value proposition is clear.
I'd like to mention John Collins as I've often read that the Hall & Collins unit is "Charlie's new unit...". A massive amount of dedication, expertise and professionalism have been brought quietly to the project (from what I've seen) and his skill in coding is a massive contributor to any success this project realises. John's patience, approach and input have made up the bulk of this development.
I'd like to add an important 'update' relating to a comment from Hank Marvin concerning the TVS3 (September 2014 but only added to TVS site late January 2015):
"...it sounds as close to the original echo box as I think is possible to get and to me it's a very authentic sound and that's the one I used on the Cliff and the Shads album and in fact on this album too, the Hank Album..."
That's an excellent endorsement and really stokes the competition fires in anticipation of the Hall & Collins unit release... Awesome!!!
Echotapper on various platforms...
I honestly don't know enough about these patches to comment but can say that they represent good value (some are free of charge, I believe), they're open source and have many contributors, (as I understand it) and I can't say much more than that. I would suggest finding them online and researching if they're right for you, or not.
My personal opinion...
For what it's worth, under the title of this page (competition), I think that, despite the echo and sound solution that you, the player - the most important part of this equation, choose to use, the community is fortunate that so many have dedicated their time, expertise and knowledge to bring this level of choice. Despite any commercial or intrinsic rewards that may or may not materialise for developers of patches or dedicated units, the pursuit of 'that sound' is and will remain a community goal.
Copyright © Ross Heber-Hall 2015. All Rights Reserved.

redpajama_set_name: RedPajamaCommonCrawl


text:
Stardust Coyote
collage + mixed media + prints
Art Education Autobiography
Curriculum Unit: Art for Social Change
Curriculum Unit: Art of Everyday Life
Curriculum Unit: Art from Within
Curriculum Unit: Art-itecture
Education Philosophies
Artistic Considerations
Warm-Ups and Exercises
Student Art Projects
Miscellaneous Strategies
Navigation Portfolio RESUME Teaching Art Education Autobiography Curriculum Unit: Art for Social Change Curriculum Unit: Art of Everyday Life Curriculum Unit: Art from Within Curriculum Unit: Art-itecture Education Philosophies Technology Integration Artistic Considerations Classroom Management Strategies Warm-Ups and Exercises Student Art Projects Miscellaneous Strategies Journal Shop About contact
Frida: Tautology, collage and mixed media on wood, 24" x 24", 2019
Behind the Canvas: Frida: Tautology
July 10, 2019 by Sierra Mathews in Art
When I was asked to participate in the annual Friducha art show and La Bodega Gallery, I was very excited by the concept of making a piece centered around Frida Kahlo. I've had a fascination with Frida Kahlo from a very young age. I remember renting Frida, the biopic starring Salma Hayek, at Hollywood Video when I was around 12-13. I had learned about Frida Kahlo in school, albeit they taught a very sanitized version of her life. Kahlo is credited as being one of the first female Surrealist artists and is definitely one of, if not the most famous, and instantly recognizable Mexican artists. She paints self portraits saying, "I paint self-portraits because I am so often alone, because I am the person I know best." Her work often deals with themes of heritage, pain, suffering, sex, death, femininity and the woman's role in society, as well as her tumultuous marriage to Diego Rivera. Kahlo was a staunch Communist and much of her work comments on this ideology. Kahlo's work is rooted in symbolism and she creates a complex system of meanings in her work through her use of repetitive imagery. Even her iconic unibrow becomes a symbol in her work. Kahlo's work is complex, reflecting her complex life. She was a controversial figure in life and has become overly sanitized in death.
I began my piece for the show by doing research on Frida Kahlo, reading several biographies about her life and art. I tried to find biographies that would discuss her ideology, political activism, artist's mind, health struggles, and her relationships with both men and women. While Kahlo is today portrayed as a storybook princess who's paintings contain cute animals and flower crowns, there is such a true depth to her work and to her life that I feel gets left out of the accepted narrative. The art is powerful, disturbing, deep, and haunting. The work seems fresh even after decades. While Kahlo painted her image and her inner world, she tapped into something universal, a dark underbelly of emotions, torments, and anxieties all people face. However, a line becomes muddied when we seek to identify with Frida Kahlo herself rather than her artwork. It is interesting that many refer to her as Frida, like a close friend. Could you imagine referring to Van Gogh as Vincent? I also wanted to explore the ways in which Frida's image has been commodified to sell products. There are thousands of cheaply made t-shirts and totes that bear her likeness. How would Kahlo react to this? How would the Communist react to the Capitalist coopting of her image? I thought these were good places to start for my piece for the show.
A theme permeating through my work is commodification and consumption. In Frida: Tautology, I wanted to comment on the fact that Kahlo exists now as nothing more than a symbol of herself, a symbol that is a simultaneously a victim of abuse and one who fights back, a signifier of minority, a signifier of women's liberation. Mind you, it is not her art that is the symbol for these things, but rather her likeness, and at times a sort of photoshopped version of that likeness to boot.
I brainstormed about what I would want to represent in the work. I thought about appropriating symbols from Kahlo's work to create some sort of mandala or image, but I settled on creating a portrait instead. This would stay in the vein of her work. I created her image using collage, pieces cut from the ads in magazines. All of the color in the piece comes from ads used to sell products aimed at allowing the purchaser to send a certain message. Much the same way those that purchase items with the likeness of Frida Kahlo want to send a message about the way they embody her ideals or spirit.
Frida Kahlo, Diego y Yo, 1949
I was inspired by Kahlo's painting Diego y Yo for this work. I liked the way that this was a different depiction of her likeness, more wild and emotional than the images of her with flowers in her hair and lipstick on, staring down triumphant. This painting is more raw as her hair seems to enclose on her neck and strangle her and the weight of her omnipotent husband weighing heavily on her brow. Tears are springing from her eyes as she looks directly at the viewer. We can feel her pain and the immense weight she carries in connection to her relationship with Rivera, a fellow artist and intellectual but also an abuser and oppressor. This is the mood I sought to evoke in my piece as I now questioned the burden of Kahlo's status as a diety-like icon divorced of human suffering or emotion. Also as an icon whose likeness has been stripped down to its' lowest common denominators.
I grappled with what to represent on the forehead. I thought about putting dollar bills and money there. Maybe an advertisement. Maybe an image of Jeff Bezos. However, I settled on a fragmentation of facial features that represents a fragmenting sense of identity as consumerism under Neo-Liberalism pulls us in ever contradictory directions. The gaping mouth representing simultaneously the greedy unsatiety of the masses seeking to consume and a calling out to a higher ideal and purpose. I like to think of this splintering in the way that our identity is increasingly intertwined with what we consume. The person buying this Frida Kahlo t-shirt most likely wants to send a message of affinity with Kahlo as a feminist icon but fails to see the irony of such a shirt existing at all. In my piece I wanted to call into questions our motives for catapulting an artist like Kahlo into icon status while we lose sight of the complexities of her life, ideology, and artwork. I will continue to explore these themes in my work as I work to educate myself about the balance of expression, consumption, and cognitive dissonance in our Neo-Liberal world.
I chose the title Frida: Tautology to engage the viewer from the onset. A tautology refers to the saying of the same thing twice in different words, generally considered to be a fault of style. As we restate Kahlo's legacy, we reiterate her importance as an icon while undermining her importance as an artist and thinker. The tautology, in this case, is an infinite restatement of her likeness, on any imaginable consumable, without attribution to her complex inner ideology and network of symbols that are integral to her work.
Thank you for reading some of my thoughts! Let me know if you have questions about what I've said here. I do not like to take staunch positions on the facets of these arguments but rather hold a light to the facets themselves. Examination and questioning are always key themes of my work. - Stardust Coyote
July 10, 2019 /Sierra Mathews
art, artist, art show, Frida Kahlo, la bodega gallery, artist statement, female artists, art history, inspiration, words, journal
Monday Muse - Cy Twombly
June 12, 2017 by Sierra Mathews in Art History
Another abstract artist that I love is Cy Twombly. His works have a frenetic energy about them that makes them so delightful to look at. Some of the paintings can be described as minimal. The color palette and strokes and marks are quite restrained in terms of variety. That doesn't mean to say his works are boring. Other paintings have a lot of variety and there is a strength to the painting as a whole, as well as lots of little interesting moments happening within the canvas. The canvas has so much movement and rhythm expressed on it. There is also a childlike quality to Twombly's art. It feels as though he approached the canvas and experimented with different colors and strokes and let the composition flow freely. My favorite paintings by him are ones that have a lot of little brushstrokes and colors that make your eyes dance across the canvas. I see a lot of elements that I would like to incorporate into my work in the future.
I hope you enjoy these works by Cy Twombly!
June 12, 2017 /Sierra Mathews
art, artist, abstract, abstract painting, Abstract Expressionism, Cy Twombly, 1960s, Monday Muse, muse, inspiration, creative, art history
The Sketchbook Project - April 2017
April 12, 2017 by Sierra Mathews in Art
Over the last several months, I have been filling up a blank sketchbook to be included in The Sketchbook Project. The Sketchbook Project is a sketchbook library housed in the Brooklyn Art Library based in Williamsburg, Brooklyn, New York that houses sketchbooks from thousands of artists and amateurs alike. You can search different topics that pique your interest and find artists who have tagged their book with that subject. Artists from all around the world submit their sketchbooks to the library. The Sketchbook Project also digitizes their sketchbooks, for a fee of $35, so that people can experience the sketchbook library on the web.
My sketchbook, Indigo Visions, was submitted to the Sketchbook Project in April of 2017. I have digitized it here for you to see and experience.
April 12, 2017 /Sierra Mathews
art, art history, sketchbook, The Sketchbook Project, challenge, Brooklyn, New York, artists, female artists, project, Indigo Visions
Up Close and Personal - Cindy Sherman at the Broad Museum, Los Angeles
November 25, 2016 by Sierra Mathews in Art
This summer, I took a day trip up to Los Angeles to see the Cindy Sherman exhibit at the Broad museum. Cindy Sherman is an American photographic artist best known for her conceptual self-portraits. Sherman is the subject of almost all her work and uses setting, costume, makeup and even prosthetics to morph into her characters. I had been intrigued by the art of CIndy Sherman for a while, and was excited to get to experience her pieces in person. I was not disappointed by the selection the museum had on display. I took about three hours walking through the exhibit, reading everything, and going back to specific pieces that caught my eye. The gallery was split up into different rooms separating her different photographic series. There was a room dedicated to her early work and then others dedicated to selections from Centerfolds, Movie Stills, Untitled Horrors, Sex Pictures, Historical Pictures, and Clowns. There was a daunting amount of art to see, so I dove in without hesitation.
The first thing I was surprised by was the size of most of the work. I have seen one other Cindy Sherman piece on display at the Museum of Contemporary Art San Diego, but that one is quite small. The photographs here, mostly chromogenic color prints, measured mostly between four and eight feet in height. I felt dwarfed by some of the images, but it immersed me into the fantasy world of Sherman's creation. The details were all highly visible as well such as the texture of the artists' skin in the images as well as her use of makeup and prosthetic to tell a story. The galleries at the Broad are huge, so you are able to view the work up close and from a distance. I took advantage of this when exploring the images that appealed to me best. You can see that there are no accidents in a Sherman photograph and that everything has been placed carefully to tell a narrative.
I spent a great deal of time in the Untitled Horrors gallery, because it greatly appealed to my love of the macabre. There was a lot going on in each of the pieces in this room. This one was my favorite since it was so different from all of her other works. Sherman transformed herself into a grotesque monster, reminiscent of a pile of vomit, or the innards of a stomach come to life. Upon close inspection, you could see candy or walnuts, and what appeared to be chocolate or caramel sauce poured on top. It's interesting that she used sweet and tasty food for this particularly stomach turning photo. This piece also reminded me of Arcimboldo's 16th century portraits, where food, animals, or plants are amalgamated to create a face.
Another photoset that I particularly enjoyed were a series of collages depicting a robbery where Sherman cast herself as both the victim and robber. I did not know that Sherman worked in collage before seeing this piece. The stark white background of the paper makes the action seem play-like and distorts the reality of what is happening in the image. It effectively makes the work a vignette and adds to the story. The collages together tell the story of a robbery, but each picture can also stand alone as a story in itself.
I found Sherman's History Portraits to be fascinating because of the use of costume and prosthetic to really tell a story. The use of prosthetics is quite obvious in each piece, they look clumsily applied or disproportionate. They seem to examine the ways in which art has been used throughout history to promulgate certain images and ideals of our ruling classes. Rulers used their court painters to tell a particular narrative about them to the people they governed. Queen Elizabeth II is a great example of a ruler using art to ensure the loyalty of her subjects. I believe that Sherman uses prosthetics and obvious makeup in the History Portraits, to show that things are not always what they seem and that throughout history art has been used like a mask.
The above image was a really interesting take on the traditional "portrait". Only a small part of the artist is visible here, and the more you look, you see more body parts emerging from the soil, hands and a face on the bottom side. A face is visible in the compact mirror. Is that the face of the victim's "ghost" or the face of the perpetrator of the crime. It seems like you are looking over a crime scene and your role becomes active in it as well. Are you the police? Someone who just stumbled across this grizzly scene? Or perhaps you are the criminal. I love the way that Sherman's work envelops you in the story and you take on an active roll in it. Again, this is an thought provoking work that shows Sherman's breadth as an artist and her ability to continually expand upon the theme of portraiture.
The exhibit was huge, and took me more than 3 hours to get through. I felt overwhelmed at times with the vastness of art and subject matter that I was seeing. There was more than enough to dazzle, delight, and disgust me as I walked through the rooms of the exhibition. I wish I had taken some better photos, because many of mine are blurry. I was especially interested in the showing of Sherman's film Office Killer, which was being shown in it's entirety. It stars Carol Kane and Molly Ringwald and is a fantastic horror film, with decidedly Sherman-esque features, particularly the quality of light used throughout.
Each room had a theme and much to say about Sherman as an artist. She has a vast body of work that is grotesque, endearing, contemplative, violent, feminine, narrative, and above all, thought-provoking. There are many details in each piece that are not always effectively communicated through reproductions. Again, many of these pieces are large, allowing you to fully appreciate the minute storytelling details of each piece. Everything down to how the hair and makeup are laid on the character is a deliberate choice of Sherman's. I knew a bit about Sherman before I went and knew I liked her work but I was surprised by the amount there was too see and was delighted that there was such a variety. Up until this point, I had really only seen her portraits where she dresses as various female stereotypes. These are great all on their own, but I was very much excited to see the variety of inspiration she uses for her work. I felt as though I was being transported to a new world, each time I stepped into a new room. In the Untititled Film Stills room, I resonated with Sherman as a female artist and the ways she approaches and portrays femininity in her work. It runs the gamut from demure to totally in-your-face. The way women are portrayed in media and entertainment is also a frequent theme of her work. Women are often portrayed as weak, damsels in distress. Sherman has a fair amount of this going on in her work, but also turns it on its head and makes the woman something to be feared, something powerful and at times, sinister.
I had a great time checking out this exhibit and the Broad Museum. The Broad has a vast permanent collection on all its' own. I am sad to say I was a bit too visually fatigued from spending so much time in the Sherman exhibit to really appreciate and take everything in, but I'll be back for another fun day in LA sometime soon!.
November 25, 2016 /Sierra Mathews
art, artist, Los Angeles, Broad Museum, museum, trips, day trip, travel, Cindy Sherman, portraits, personal, art history, art talk, feminist art, female artist
Art History - The Garden of Earthly Delights, Hieronymus Bosch
November 19, 2016 by Sierra Mathews in Art History
I want to start a new series incorporating some art education on my blog. I am studying to receive my BFA in Art Education, and I am making this space into a place for art history, art experience, and learning about art theory and art making. I want my curriculum to be heavily based in art history and observation. Each week, I will talk about a piece of art from prehistory to the modern era and talk about some elements that can influence your art process.
The Garden of Earthly Delights, painted by Hieronymus Bosch between 1503 and 1515. This painting can teach many things about the elements and principles of art as well as encouraging the focus on narrative. Here are my three takeaways from The Garden of Earthly Delights:
Use of color - Bosch uses a complimentary analogous color scheme effectively in this piece which creates a sense of balance throughout. The background of the piece is predominantly blues and greens which contrast beautifully with the muted, warm tints of the human figures as well as the pops of red that give the piece of sense of rhythm, which helps to lead the viewers eye around the piece.
Repetition and rhythm - The repetitive forms of the bodies gives the piece a rhythm that the eye can follow around the work. The use of implied line and perspective also helps guide the eye through the work. There is a lot to take in in this painting, but the use of repetition to create movement as well as resting places for the eye, helps the viewer to "read" the visual story.
Narrative - Many art historians believe that the triptych of The Garden of Earthly Delights is meant to be read from left to right, telling the story of the creation of Eve, humanities' fall from grace, and their eventual punishment. Art historians have conflicting interpretations of the center panel, some feel it depicts a sinful explosion while others feel it is the representation of the innocence of humanity before the Fall. Either way, Bosch is giving his viewer a message and something to contemplate. The visual language is rich with storytelling vignettes that portray a message to the viewer. Each part of the triptych can be seen as its' own story, broken down into many smaller stories, or viewed as a whole.
What other elements do you see at work here? I would love to know what artistic takeaways or inspiration you glean from Bosch's Garden. I am excited to kick off this series with my favorite artist and painting and am looking forward to bringing you more.
art history, art talk, art, Hier, The Garden of Earthly Delights, art curriculum, art teacher, teaching, education, elements, color, repetition, rhythm, narrative


It is strangely ironic watching this current elections unfold. Harper is campaigning on nothing but the economy, insisting that the only way for the Canadian economy to remain stable is to re-elect his government. Surprisingly, none of the opposition parties are hitting him on that issue, basically enforcing the notion that he is better for the economy. Instead they chose to attack certain spending policies without addressing the main point, if conservatives are good for the economy in the first place. So lets analyze what happened in the last 6 years to the Canadian economy. Before the conservatives took power, Canada was the only G8 country with a surplus, all the other nations were running deficits and this is not new, the situation has been the same for years. Add to that a major trade surplus, Canada exports were higher than the imports for many years.
The conservatives also inherited the strongest financial system in most developed countries, with strict rules on lending and guards against mixing insurance, lending and consumer products. On top of everything, the world has been going through a resource based economical cycle, with oil hitting over $100/barrel, gold at record highs and many other resources (e.g potash) being in high demand. Then comes the economic crisis of 2008.
Any credible economist would tell you that despite being tied to the global economy, Canada economy would not have been affected in any major way by the collapse. With a great banking system, an endless supply of natural resources and a booming economy. Instead of using Canada's solid position to move Canada forward, the Canadian government chose to hide, focus on projects that have absolutely nothing with Canada's economical future. But rather with projects that have very localized effect! Construction projects handouts to US corporations and endless list of rural projects. There was also a reduction in GST, which has very little effect on the economy since the GST mostly affects the local economy. Harper keeps talking about the global economy but almost as if Canada is minor dependent on that economy, not a leader. In this global crisis you can probably count on your hands the number of times Harper went on a trade mission, even worse I can count on one hand the times Canada was successful in scoring major deals that Canada would benefit more than the other parties. Lets not mention the whole lumber deal when Canada agreed to a much lesser deal than what the WTO imposed on the trade! Fast forward to today, most countries have recovered from this global economical crises, and Canada returned to exactly where it was, not better not worse. Most people who have no ambition would say that the current government did a good job, I totally disagree, this was Canada's moment to shine. With a great banking system, a local economy that would not be affected by the mortgage meltdown, and immense natural resources we should be heading to the top. Think of any major crises in human history, there was always countries that took advantage and surged ahead to go to the top (Japan post WW2). This time around Canada just stood by and watched. So if we want to talk about the economy, lets talk about the missed opportunities not how well we coped with a crises that would have a negligible affect on us! We lost our moment, and sadly all we have is an economy that is no better than what we already had in 2007.


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Doing everything right, having a nice belly will be a matter of time.
What we are going to teach is a special recipe.
It is a meal suggestion that, in addition to nurturing, will quench your hunger.
And because it contains powerful thermogenics, it will boost your metabolism.
Put all the ingredients in the blender and stir.
After that, pour the drink into a glass and drink immediately.
Take early, fasting, instead of breakfast.
Do this for 30 days.
If you want to take it for another 30, give it a 7-day break.
Hypertension people should talk to their doctor before consuming this recipe.
This is because of cinnamon, which is causing to raise blood pressure.


Susan: This fall's presidential race is shaping up as one of the most negative, least substantive in decades. Neither your guy – Willard Mitt; nor mine – President Obama, is talking about vision or priorities for the next 4 years. I want to vote FOR someone. Not against the other guy.
John: Obama tried the vision thing before. Look where that got us – stuck in the ditch economically. Desperate now to change the subject, his priority is divisiveness and fear. Romney's priority is sound economic policy to put Americans back to work and decisive leadership to restore confidence in the presidency. He will win.
Susan: Romney – the guy who thinks Russia is the biggest threat to America's security; young people should simply borrow money from their parents to pay for college and believes government power should be limited to the bedroom? Yes, he's not Obama. That's not enough.
John: The June economic slowdown is grim news for America's hard-working families, and for our ill-qualified president, Mr. Obama. Even the liberal media is pleading with him to engage on the economy, but he hasn't a clue of what to do. Ridicule and personal slurs won't keep voters from flocking to businessman Romney this fall.
Susan: Colorado may see Congressional upsets this November. Historically Republican CD-6 may go to Dem Joe Miklosi. Demographic shifts and missteps by incumbent Mike Coffman could be fatal. CD-3 Incumbent Repub Scott Tipton better get his foot out of his mouth or lose to challenger Sal Pace.
John: What a brilliant idea – electing the entire House every two years. It forces congressmen to pay attention to we the people. As does the two-party system. Even as a Republican, I say thank goodness for Democrats. If Obama carries Colorado, Coffman and Tipton may lose. If Romney does, Perlmutter may lose.
Susan: Dream on! CD 7 is a competitive district and a younger, moderate R might be able to beat incumbent Ed Perlmutter. But Joe 'I am not a beer' Coors, ain't it. Blinded by greed, this experienced businessman lost millions in an investment fund, promising a 75% weekly return. Get real!
John: You're such fun to spar with, Susan. But I thought the D after your name stood for Democrat, not "derogatory. Pick on the Coors and they'll never sell you another glass of suds. I repeat: if Obama carries Colorado, Dems knock off Tipton. If Romney wins here, Republicans defeat Perlmutter. Stay tuned!
John: What a fiasco. Gaylord Entertainment has walked away from the Aurora convention complex that had local and state officials shoveling out hundreds of millions in taxpayer subsidies. But Gaylord is not to blame. The whole scam of corporate welfare is rotten to the core. It's just a Colorado hometown version of Solyndra.
Susan: The massive Gaylord subsidy is a pathetic game of blind man's bluff. Aurora electeds and state officials chose not to examine public information about Gaylord's weak financial position, shareholder unrest and poor performance. The bluff was great for a few Gateway property owners – awful for Coloradans.
John: Government has no business picking winners and losers this way. Not in cities, or states, or DC. It is always a net subtraction from wealth creation and higher living standards – always. My Republican friends erred with their bill for a bigger tourism slush fund. Hickenlooper did well in vetoing it.
Susan: If the guv and the legislature turn their hearing aids on, they'll realize a majority of voters despise this type of special interest giveaway. It's a zero sum game – pitting local communities against one another at the expense of the whole state. Kill the Gaylord deal and the RTA.
4. US MILITARY INTERVENTION IN SYRIA?
John: Suddenly candidate Obama is playing the tough guy. First it's drone strikes against Al Qaeda, then it's a killer virus in Iran. But his amateurish handling of the so-called Arab Spring actually empowered the Islamic radicals. He missed a chance for regime change in Tehran. Should we now attack Syria? No.
Susan: You're half-right: we shouldn't attack Syria. Dependence on Mid-East oil has skewed our foreign policy for 50 years. Investment in renewables and an increased focus on resources in Brazil, Canada and the US suggest our marriage of convenience with the mid east may be heading for divorce court.
John: Obama the drone warrior, personally executing suspected terrorists to avoid interrogating them, is a showboat not a statesman. In Libya he boasted of leading from behind. In Egypt he gave billions to the Muslim Brotherhood. US interests are worse off as a result. This bumbler must go. Meanwhile, no war on Syria.
Susan: So you think putting American troops in grave danger on the ground, in brutal combat with insurgents and suicide bombers makes more sense than strategic – and highly successful – targeted drones? That's a joke. Right? Why don't we simply go back to cannons and swords?
5. TAXMAGEDDON & DEBT CEILING LOOM Susan: Once again, our ridiculous excuse for a governing body – the United States House of Representatives – is engaged in the phony charade over the debt ceiling and tax increases. Set against the fragile world economy – most of these ideologues should go home and find REAL work!
John: Speaker John Boehner and the Republican House are absolutely correct in getting started this summer to head off a killer tax hike and more unwise borrowing that will occur this winter unless Congress acts. It's good policy to help that fragile economy, and good politics to frame the choice for voters.
Susan: Partisan Russian roulette is no way to calm anxious investors and business people, uneasy about what's happening in Europe and fed up with the shenanigans of politicians. Both parties should embrace Simpson / Bowles and come up with a balanced long-term approach to investment and debt reduction.
John: According to Obamanomics, an Armageddon array of tax increases on Jan. 1 and another Greek-style trip to the Chinese debt window is just what business needs. Except business doesn't think so. Hence the awful economic numbers in May. Employers are already hunkering down. Make the Democrats sweat this one out, Mr. Speaker.


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These Women Will Inspire You to Use Less Plastic
How one cosmetic brand makes its mark by reducing plastic waste.
by Hannah Lazatin for TownandCountry.ph | Dec 25, 2018
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IMAGE COURTESY OF STORES SPECIALISTS INC.
In 2015, an estimated 6.3 billion tons of plastic waste was generated, according to Science Magazine and BBC. Only nine percent of that plastic was recycled. A whopping 79 percent of that total amount went to landfills or the natural environment.
In 2016, a record 480 billion plastic bottles were sold. One million bottles were purchased every minute and less than half of those bottles were collected for recycling.
Today, about 10 million tons of plastic ends up in the ocean.
Another study entitled "Plastic Waste Inputs From Land into Ocean" showed that in 2015, the Philippines produced 6,875 tons of plastic per day, of which 81 percent was not properly disposed of. The country is one of five Asian countries that produces half of the world's ocean waste. The other countries on the list include China, Indonesia, Thailand, and Vietnam.
IMAGE iStock
More From FemaleNetwork.com
Coastal Clean-up Mission
Recently, a coastal clean-up was held on the shores of the Las Piñas-Paranaque Critical Habitat and Ecotourism Area (LPPCHEA) by Haribon Foundation and Lush. Pink-haired Lush co-founder Rowena Bird was dressed in an all-white getup, making it easy for her to be the point of command for the clean-up. She and her colleagues were up early on a Wednesday morning, picking up all kinds of plastic waste washed up at the shore.
Lush Cosmetics employees hard at work picking up washed up garbage at the Las Piñas-Paranaque Critical Habitat and Ecotourism Area (LPPCHEA).
After gathering the sacks of collected waste, Rowena picked out all the bottles and packaging from cosmetic brands and positioned them up for a photo. She looked like a cop lining up the suspects for the day.
Next year, Rowena will be embarking on a series of talks, educating businesses on reducing their plastic packaging. It was just another day in the life of the changemaker and the brand she's passionate about.
Rowena Bird at the local launch of Lush's holiday collection
Lush currently has two naked-only shops in Milan and Berlin. These are shops where the products have no containers or bottles. Even the store's furniture is made from reclaimed wood and recycled plastic.
In the Philippines, Rowena and her team want to do something about the staggering amount of waste found in our waters as well. This year, many of the brand's holiday offers are available sans the plastic bottles and wrappers.
Rowena is among those behind the push for package-free makeup. The brand is in the midst of developing an alternative for its eyeshadow containers using nut shells from Ecuador.
"[The biggest challenge] is getting people to change their habits. Everything is done in the same way," says Rowena. "The challenge is to get people to think differently about the makeup they're wearing. It'll do the same job but it'll be a little different."
The eyeshadow containers look like ivory, and once you've used up the eyeshadow, the containers can be buried into the garden so they can decompose naturally.
Rowena says she also plans to introduce lipstick wrapped in wax that you can peel and pop into your old lipstick cases.
Lush wraps its products in fabric instead of wrapping paper to reduce paper that gets thrown out.
"Very few people are doing naked products and that is the only way," she says of conventional cosmetics and packaging. "You can call yourself as eco as you like but as long as you're sticking it in a container, you're not really doing anything different."
Also present at the Lush clean-up was Nikki Huang, daughter of SSI President Anton Huang. The 18-year-old is an active member of the WWF-Philippines National Youth Council and an advocate for conservation.
"My family has been going to El Nido since 2003 when I was just three years old. Being around that much biodiversity really made me want to invest in looking after our environment so it exists for future generations," she shared with T&C. Huang says she aims to marry her love for conservation with the family's retail business in the future.
Rowena Bird, Lush Philippines brand manager Ida Nones, and Nikki Huang
Karen Huxley, Lush's global PR manager, says that there is something even better than working for sustainability.
"We're moving beyond sustainability and toward a more regenerative way of business because sustainability, by definition, is keeping something the same. But if that system is degraded, why would you want to maintain that?" she says. "We really need to regenerate and put more back into the land as we take away."
This story originally appeared on Townandcountry.ph.
* Minor edits have been made by the Femalenetwork.com editors.
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Civil procedure — special representative
Posted January 13, 2022 11:23 AM
Where a plaintiff files suit against a deceased defendant with no open estate, he may file suit beyond the applicable statute of limitations period and seek the appointment of a special representative for defendant so long as it is still within six months of defendant's death.The 2nd District Appellate Court answered two certified questions and remanded a case to Boone County Associate Judge Ronald A. Barch.On May 11, 2018, Alyce L. Richards and Joshua T. Wilson were involved in an automobile accident. Richards was injured …
Real estate — foreclosure
Where a borrower on a HUD mortgage sends a lender a letter directing all further communication to go through counsel, that letter is not de facto a cease-and-desist and does not necessarily remove from the lender the requirement to make a reasonable effort to conduct a face-to-face meeting prior to initiating foreclosure.
Habeas corpus — relevant conduct at sentencing
Where no constitutional violation occurred when relevant evidence about the defendant's conduct was introduced at sentencing, even though conduct, possession of a firearm, was constitutionally protected.
Fair Credit Reporting Act — ownership of debt
Where plaintiffs sued consumer reporting agencies alleging agencies failed to properly investigate ownership of debts listed on credit reports, status of ownership was a legal question not within the competency of the agencies to investigate.
Sentencing — restitution
Where district court failed to address whether defendant was jointly and severally liable for restitution with co-defendants, court committed procedural error and restitution order was vacated.
Criminal sentencing — de facto life sentence
Where a defendant who committed the crime while under 21 receives an unconstitutional de facto life sentence and is later resentenced, the new sentence may be longer than 40 years so long as a meaningful opportunity to obtain release based on the defendant's behavior, maturity, and reformation, is available within the 40-year period.
Criminal procedure — request for new attorney
Where judge did not abuse discretion in denying request for third attorney when there was no total breakdown of communication between attorney and client.
Appellate procedure — collateral order doctrine
Where many disputes on issues of material fact led to the denial of qualified immunity at summary judgment stage, that denial could not be contested under collateral order doctrine.
Title VII — attorneys' fees
Where district court appropriately scrutinized attorney's fee petition and high nature of award was due in part to defendant's litigation conduct, court did not err in awarding substantial attorneys' fees.


Sophia Webster shoes for me is like a Ferrari in the world of cars, or a Ducati motorcycle concerned. Although I could also compare them with Jason Statham, the handsome and attractive London actor in the action film The Transporter, which makes me hopelessly insane. More or less, like when I see a Sophia Webster and eyes make me sparks.
This footwear company is such that nothing more display any of his creations you see that have soul, essence, something different, something which makes them different from the rest, and that nothing else see them makes you recognize them and say: "are Sophia Webster." In the same way that you smell a perfume to anyone who passes by your side and recognize it, or that you remember a person.
And you may ask you because I like both. The equation is simple: bright colors, original designs, a style, and the magic word, high heels. And another detail, how this British footwear designer integrate nature with such naturalness in their women's shoes, whether they are flowers, flamingos, butterflies, fruit, or any other element of the animal and vegetable world.
No, they are not cheap. But it is that he has forgotten me tell you in the first paragraph. Sophia Webster shoes come being like a Miró as the maximum representative of surrealism, or a Monet in the ultimate expression of Impressionist painting.
It's luxury and high quality shoes that look like real works of art, which would be able to spend hours looking, as that is gaping for a picture in a museum. So what happens. Pass woman! Open your eyes and enjoy. Today touches visit cultural in this photographic exhibition. So then someone says that only stores under our feet and not appreciate art!


The Demo section of the 19th FRUCT conference will be combined with the conference social event. The conference and seminar participants are warmly welcome to take part in the event.
We ask all authors to send titles and 2-3 paragraph descriptions of your demo proposals to info<at>fruct.org by November 1, 2016. Please also make sure that the demo will be prepared in line with the below provided recommendations.


The following report has been updated July 2018 by the school SENDCO and has been verified by Headteacher and the SEND link governor.It is both current and relevant for academic year 2018/2019.
The Special Educational Needs and Disability Regulations 2014 require Helsby Hillside Primary School to publish certain information regarding our provision for pupils with special educational needs and disabilities (SEND). At Helsby Hillside Primary School, we hope parents/carers of current and prospective pupils find the following information helpful. We encourage all interested parties to contact the school for more information.
The CWAC framework gives the local offer to provide parents/ carers with the information about how to access services in their local area, and what they can expect from those services. With regard to Education, it will let parents/ carers of young people know how schools and colleges will support them and what they can expect across the local setting. Please click on the link at the end of this report to access the CWAC Local Offer.
At Helsby Hillside Primary School we strive to support all children to enable them to achieve their academic potential. In order to do this many steps are taken to support them through their learning journey. Quality teaching is vital; however for some children there are occasions when further positive support may be needed to help them to achieve their targets.
1. How does the school know if children/young people need extra help and what should I do if I think my child may have special educational needs?
All children's progress, academic, social and emotional, is constantly monitored by teachers and the Senior Leadership Team within the school. Any concerns a teacher may have about a child would be discussed with parents at the earliest opportunity. Parents are able to discuss the progress of their child or any other concerns with the class teacher, SENDCO (Mrs Thomas) or Mr Richardson, the headteacher.
Children with special needs have Individual Education Plans (IEPs) put in place, outlining targets and strategies to support your child.
IEP's are reviewed regularly with the child and shared with parents.
The school SENDCO is in regular contact with the Educational Psychologist, the Behaviour Support Team and the local authority inclusion officer. Any child needing specialist support will be identified to the relevant professionals and given any subsequent recommended support necessary.
If a child requires Speech and Language support, school will act upon advice given by therapists and support will be given by specially trained teaching assistants.
Children identified as needing extra support will have interventions put in place.
Some children may require further support and interventions as advised by outside agencies.
Helsby Hillside follows the accepted 'Graduated Response' approach to SEND and follows the CWAC Graduated Response approach to accessing support and also uses the current CWAC Graduated response paperwork.
All children are provided with 'Quality First Teaching'.
All lessons offer the challenge and support necessary for each child to learn and where necessary, differentiation occurs through the work set, questions asked and support given.
Specific resources and intervention strategies will be used to support your child individually and in groups.
4. What SEND types do we currently provide for ?
5. What specialist equipment/facilities do we use/have at Hillside to provide SEND support?
Children's progress is shared with parents throughout the year during parents' evenings.
We have an open door policy at Helsby Hillside and welcome parents to come in and discuss their child if they have any concerns, with the class teacher or the SENDCO.
If teachers have concerns they will contact parents to discuss them and listen to any concerns that you may have too.
Hillside has an antibullying policy and deals with any incidents seriously and effectively.
The class teacher or SENDCO will speak to you regarding any referrals to outside agencies to support your child's learning.
Education plans (IEP, IBP) are discussed and reviewed with parents.
All children are tracked using the school's data tracking.
Annual reports are written for every child.
The voices and views of children at Hillside are valued. Children have class representatives on the school council. Pupils also are active participants in the planning stages of Creative Curriculum topics.
Hillside holds regular curriculum evenings to advise parents on how they can best support their child's learning.
We ensure that all children are supported socially and pastorally by teaching staff and teaching assistants who know the children well.
We offer a wide range of activities within school to support their social and emotional development such as school visits, educational trips, and links with the community and residential trips in Years 2,4 and 6.
SEAL (Social, emotional aspects of learning) is delivered as part of the curriculum across the whole school. SEAL contributes to personal development by promoting social and emotional aspects of learning. It provides a framework and some ideas for teaching social and emotional skills within discrete lessons, across subjects and outside the classroom.
School has a medicine policy which supports parents/carers with the management of their child's medication within school and staff regularly undergo training in key areas such as asthma, diabetes and the use of Epipens.
If a child comes into school with a specific need, the school nurse will provide the relevant staff with training. The school also has trained first aiders within school.
School has a behaviour policy which is known, used and adhered to by all staff across the school.
Children who need specific support with their behaviour will be identified and support offered. This support will range from extra support in the classroom, to interventions and support from the Behavioural Support Team if required.
We promote and celebrate excellent attendance with class certificates and end of year awards.
Parents are supported and school will send texts or ring home to query a child's non-attendance at school.
School has its own EWO (Educational Welfare Officer) who will support school and parents with ensuring children attend school regularly and on time.
School can make referrals to CAMHS.
http://www.mymind.org.uk is an NHS website run by Cheshire and Wirral Partnership CAMHS. This site has been developed for everyone interested in the mental health and well being of children and young people across Cheshire and Wirral.
The SENDCO has undergone emergency mental health first- aid training and has led both assemblies for pupils as well as INSET for staff members about mental health and mental well-being.
School employs staff trained to educate and care for children throughout their primary years.
Staff are trained regularly in key areas of the curriculum and also in identifying and supporting children with specific difficulties around learning, child development and social and emotional problems children may experience.
School has direct access to a wide range of services all of which can support both parents/carers and children. These agencies include: speech and language, CAMHS, Educational Psychologist, Behaviour Support, Autism team support, Early Intervention, Social Services, Paediatricians and the School Nurse.
9. What training are the staff supporting children and young people with SEND had or are having?
All staff receive regular training if required from the health service around key medical issues which could arise for children.
Individual staff are trained in First Aid and are strategically placed around school.
The SENDCO attends L.A. training and attends key regional training which is then shared with all staff.
The SENDCO provides in-house training on developing IEPs and around specific requests from staff, or as necessary to support a particular child or group of children.
Where necessary, specialist training is brought into the school. For example the Behaviour Support Team can provide school with training around a range of social and emotional needs, ADHD training, and also support staff with Team-Teach training.
Teaching assisstants are qualified in emotional coaching, Elklan Speech for ASD pupils.
SENDCO has also recently attended training to support non- attendance of pupils due to Emotional behavioural issues.
We are fully-inclusive and all children attend all events and trips and are encouraged to take part in all activities both within and outside of school.
Where necessary, extra support will be provided to ensure full participation by all children and parents are fully-informed as to the trips and activities open to every child.
Risk assessments are carried out and procedures are put into place to enable all children to participate.
There are facilities for disabled changing and toilets which can accommodate wheelchairs and support individuals with a disability.
A computer suite is accessible across school and the use of computers and ipads enable children to have access to new technologies to support their learning.
12. How will the school prepare and support my child to join the school or to transfer to a new school or the next stage of education and life?
We encourage parents and children to visit the school and meet their new teacher prior to joining the school.
Information will be passed on to the new class teacher in advance.
Your child will have transition visits to meet the class teacher and become familiar with their new classroom.
The teacher and SENDCO will discuss the specific needs of your child with the SENDCO of their secondary school. For those children who will be attending Helsby High please see the link to Helsby High on our home page. The Helsby High SENDCO, Emily Tobin, will also be keen to discuss any concerns re the transition process to Helsby High with you.
13. How are the school's resources allocated and matched to children's special educational needs?
All classes have additional support staff, who are well trained to support children with SEND and who work on intervention programmes alongside a class teacher.
These decisions are made in consultation with class teacher and Senior Leadership Team.
Hillside does have a complaints procedure in place. Details of this can be obtained from Mr Richardson, the headteacher, or from the school website.
15. How do we evaluate the effectiveness of our provision?
The most recent OFSTED inspection in academic year 16/17 judged that children with SEND 'make good progress'.
Throughout the school the progress of all children, including those with SEND is monitored termly, with intervention programmes put into place to support specific groups/individuals identified as requiring additional support.
Individual Education/Behaviour Programmes are also evaluated regularly.
The 'Evidence of Impact of SEND provision' for each academic year is also published in an annual report and can be accessed on this school website.
If you wish to discuss your child's educational needs or are unhappy about something regarding your child's schooling please contact the school office to arrange a meeting with the class teacher, SENCO (Mrs Thomas) or Mr Richardson.
If you are considering sending your child to Helsby Hillside Primary School, you can ring the school on 01928 722991 to make an appointment with the Headteacher, Mr Richardson to arrange a visit to the school. During the visit you will be given a tour of the school. At that point you will be given opportunities to discuss your child's specific needs and ask any questions relating to your child's education.
To see what support is offered by CWAC for children with special needs and disabilities in the local area please click on the link below.
This SEND Report has been verified and approved by Mr Craig Richardson (Headteacher) and Mrs N Skarnes (Link Governor) July 2018.


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Q: Objective-C Preprocessor Expression for Debug Log I have some code like this:
#define FORCE_DEBUG_MODE [[[NSUserDefaults standardUserDefaults] valueForKey:@"forceDebugMode"] isEqualToString:@"1"]

#if defined DEBUG_MODE || defined FORCE_DEBUG_MODE
#define DLog( s, ... ) NSLog( @"<%p %@:(%d)> %@", self, [[NSString stringWithUTF8String:__FILE__] lastPathComponent], __LINE__, [NSString stringWithFormat:(s),  ##__VA_ARGS__] )
#else
#define DLog( s, ... )
#endif

I read from some article outside to use the preprocess marcos to define the DEBUG_MODE, however I would like to override the mode if I set a NSUserDefaults value to something.
These code got no errors. But seems that no matter what the FORCE_DEBUG_MODE is, defined FORCE_DEBUG_MODE equal to true. What I want is something like FORCE_DEBUG_MODE == 1
Please tell me if I can do this, and How?

A: you defined FORCE_DEBUG_MODE right above your check to see if it is defined. To check if it is true then you must just do || FORCE_DEBUG_MODE however that will as well be always true as It is only seeing if there is some value under the macro - this is all done in the preprocessor meaning none of this code will be ran or reran at runtime - these defines will define what code is actually compiled, not what code is ran

A: #if defined just checks whether the value has been defined, not what value it is.
You can just use #if to check if a value is defined to a value other than zero.
This will still not work in your case though.  The preprocessor runs before the compiler, so you cannot use it to switch in code at runtime.  You need to perform the check for the defaults value at runtime.

redpajama_set_name: RedPajamaStackExchange


I tell it in my upcoming book BOLD (Feb 3rd, 2015), but wanted to share it with you now.
It originally came in the form of a children's book.
When they enter the village, they start knocking on doors, asking for something to eat.
The first villager told them that his cupboards were bare. At the next, the second villager tells them the same. The next door doesn't even open.
The villager, thinking there's no risk, says, "Soup from stones? This I've got to see. Sure, I'll help." So she gives them a cauldron and some firewood while another soldier gets some water.
They bring the water to a boil and place three large stones in the pot.
News spreads around the town and the villagers begin to gather. "Soup from stones," they say. "This we have to see. I had no idea you can make soup from stones," says one villager.
"Sure can," reply the soldiers.
"Well, a dozen carrots would sure make the soup even better." The villager fetches some carrots. Soon others are adding poultry, barley, garlic, and leeks.
The human BS detector is great at spotting the inauthentic player: the used car salesman, the carnival barker, and the disingenuous politician always rub us the wrong way.
So what kind of passion works well? John Hagel, co-founder of Deloitte's Center for the Edge, calls it the passion of the true believer.
Stay tuned for more insights from BOLD.
In the meantime, we will be discussing the ideas behind "stone soup" such as passion, creating your MTP (Massively Transformative Purpose) and choosing your Moonshot in my executive mastermind group Abundance 360 – 250 CEOs, executives, investors, and entrepreneurs who care about solving grand challenges.
A360 takes place on January 25th through the 27th in Beverly Hills. Exactly 15 slots are left. If you're interested, apply here.
P.S. Every weekend I send out a "Tech Blog" like this one. If you want to sign up, go to PeterDiamandis.com and sign up for this and my Abundance blogs.
P.P.S. Please forward this to your best clients, colleagues and friends — especially those who could use some encouragement as they pursue big, bold dreams.


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DiGi LIVE Presents SASI THE DON: "DON'T PANIC, IT'S JUST MUSIC" TOUR
Kuala Lumpur, 17 JULY 2011: DiGi Telecommunications Sdn Bhd ("DiGi") collaborates with Universal Music Malaysia and Island Talk Asia Sdn Bhd to bring yet another exciting musical experience for its customers via DiGi Live in conjunction with the launch of local Reggae artist, Sasi the Don's latest album "Don't Panic, It's Just Music".
DiGi Live Sasi The Don "Don't Panic, It's Just Music" tour will be held at Fame in Penang (23 July) and Jazz & Blues in Johor Bharu (30 July).
According to Albern Murty, DiGi's Head of Marketing, "The concept behind DiGi Live is to bring unique musical experiences that appeal to our customers who may have different music preferences. For us in DiGi, it is crucial to continuously engage and live up to our promise of being different. It is also an opportunity to enhance our reward programmes by bringing exciting activities that are relevant to our customers."
To attend the tour, Sasi the Don's fans will need to purchase an exclusive CallerTunes in remix version for the song "Devathai" (Angel) by sending SASI to 2016. They will then receive an invitation for two (2) to attend either the Penang or Johor Bharu concert. DiGi customers will only need to flash the "Thank You" message received from DiGi to gain entry to the show.
DiGi customers also have the opportunity to get up close and personal with Sasi by winning a pair special VIP passes to dine with the singer and his friends. 15 customers each, from both states, with the highest usage during the contest period and who successfully answer a simple question on Sasi will be deemed the winner/s. The contest ran from 27 June to 15 July 2011.Â
 Issued by:
Corporate Communications Department.


text:
Gemometrics
Gemometrics develops technical tools that revolutionise the way the precious stone market assesses precious stones. The company's vision is to make global trade in precious stones more secure. To do so, it's critical to stay updated with respect to industry developments around the world. If new processing methods are launched, Gemometrics needs the information immediately so they can act right away. Meltwater's tool helps Gemometrics continuously stay updated, thereby assisting them with becoming more proactive in their strategic planning efforts.
Meltwater Enables Gemometrics to:
Optimise real-time monitoring, press release distribution and press room management.
Enhance decision making.
Become more effecient.
Real-time monitoring, press releases and press rooms
One of the challenges Gemometrics faced before they started using Meltwater was knowing where to find accurate and reliable information. With Meltwater's media intelligence tool, Gemometrics now receives a report with relevant global information each morning so they can start the day feeling confident that they're always in the know.
"Meltwater employees are extremely dedicated and always there to offer support and assistance".
Johanna Svensson, Sales & Marketing Coordinator
A committed partner - fast and digital
Johanna Svensson, Sales & Marketing Coordinator for Gemometrics, makes a routine of reading through the morning media report and making sure that the right information gets to the right employees.
Gemometrics also uses Meltwater's press tool. This makes it possible to get their press releases out in a smooth and flexible way relevant media contacts. In addition to this, they can also measure the results of their PR work through insights supplied by the tool. Gemometrics then uses the integrated platform to publish their press releases to the press room on their website.
"Using Meltwater's service makes it easy to get our press releases out there. One major advantage is that we can easily see who has picked up our press releases and where", says Johanna. "It would have been extremely time-consuming and difficult for us to keep tabs on whether a little newspaper in Spain, for instance, has picked up our press release. With Meltwater, we can be sure that we will find out who is being reached and who is engaging with our press releases."
"I always feel secure when using Meltwater, even when I published our first press release through Meltwater's tool. Our Account Manager was readily available to walk us through the entire process and make sure that everything was done right".
The global journey has only just begun for Gemometrics, and for Johanna and the team, it's important to have a single business partner with global reach so they don't have to rely on disparate local partners. "Meltwater is a dedicated partner that acts quickly and digitally", says Johanna.
All-in-one press solution
With Meltwater, Gemometrics plans and sends out press releases while gaining a complete overview of organisational news in their press room.
Meltwater's media monitoring solution enables Gemometrics with real-time insights, helping them to always stay up-to-date with changes in the market.


Powder-coated planters are the ultimate finish for a modern garden. With their striking sharp lines and vibrant colours our elegant designs are an eye catching addition with an extensive range of colours to match any situation. These durable metal planters are constructed from high grade UK Sourced zintec steel sheets which are then powder-coated with either a gloss or matt paint for a long lasting finish. Alternatively we offer a number of Special Finishes options for a truly unique look to your bespoke planter..
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If you are ordering a number of planters for a special garden or landscaping project please contact us for competitive prices. We can also provide information regarding suitable planting and source plants on your behalf from our Nursery or reliable suppliers. We are happy to work with private residential and commercial clients.


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Home // Training
The Most Overrated Piece of Equipment in the Gym
Learn why you should never use this piece of equipment in your training program.
The Smith machine is a polarizing piece of exercise equipment. Some people absolutely love it—it's one of the most popular pieces of equipment in most gyms.
But walk into a strength and conditioning facility, and there's little-to-no chance you'll find a Smith machine. The general consensus among strength coaches is that it's a waste of money and space.
Ben Boudro, a strength coach who owns Xcleration Sports (Auburn Hills, Michigan) falls into this category. "The Smith machine is such a waste of space. It takes up room in my gym and offers very little bang for the buck," he says.
The Smith machine is a polarizing piece of exercise equipment. Some people absolutely love it—it's one of the most popular pieces of equipment in most gyms.
We have to agree. When it comes down to it, there's no reason to do exercises on a Smith machine if there are free-weight alternatives. Here's why.
RELATED: Fix the 3 Key Exercises You're Doing Wrong
It Changes Your Exercise Technique
Free weights like dumbbells and barbells allow you to move freely—hence the name. Nothing restricts your natural movement when you perform an exercise.
Smith machines are designed to restrict your movement. The bar can only move vertically on the slides since it's locked in place horizontally. So you can only perform exercises that require a pure vertical push.
If you're accustomed to free weight exercises, doing the same move on the Smith Machine will likely feel awkward, because it forces you to conform to a perfectly vertical bar path. And this can cause some problems.
When you do the Bench Press correctly, the bar actually moves in a slight J-curve path. This maximizes the amount of weight you can press and protects your shoulders. On the Smith Machine, you can only press the bar straight up from the starting position, which is typically just below the line of your nipples.This limits the amount of weight you can press, because the bar is further away from your shoulders.
The difference in the Squat is even more drastic. To properly execute a Smith machine Squat, you must step forward so you're almost leaning back against the bar. Ideally, this is done on a Smith machine with a slightly angled bar path. The resulting squat position looks almost like you're sitting in a chair.
Some view this as safer because there's little stress on the back—although this shouldn't be an issue if you squat correctly. Problem is, the Smith machine Squat takes your glutes and hamstrings out of the movement, which leads to the next problem.
It Can Cause Joint Problems
Turning off your glutes and hamstrings during a Squat puts a ton of stress on your knees. They should not be primarily responsible for handling the weight. Your hips should be doing the majority of the work.
But the problems don't stop there. If your anatomy doesn't perfectly match up with the fixed bar width, it might pull your joints out of their optimal range of motion. Freedom of movement is always preferable to forcing your joints into a set position on any exercise.
You might not hurt yourself in a single workout, but you need to consider the long-term ramifications. As an athlete, you should be primarily concerned with staying healthy and injury-free. Your sport probably beats up your body, so you should limit unnecessary stress in the weight room as much as possible.
"When you use a Smith machine, you do the same movement pattern over and over again, and it's often in a poor position," says Boudro. "That's not always good for your joints, and you may eventually overuse them, causing serious damage to your joints."
That's not to say people don't experience joint issues on free weight exercises, especially if their technique is poor. But the Smith machine is problematic, because it forces you into what we view as mistakes that add stress to your body.
RELATED: Everything You Need to Know About 5 Barbell Squat Variations
It Turns Off Important Core and Stabilizer Muscles
The purpose of the Smith machine is to make exercises easier. That's why a whole plane of motion is eliminated. You don't need to focus on controlling the bar, which makes for a more stable movement.
However, on the Smith machine, you don't engage critical core muscles and stabilizer muscles, which are meant to protect your joints and spine, and keep your body in control. A 2005 study found that core and trunk muscle activity was superior in the free weight Squat compared to the Smith machine Squat.
"It allows you to turn off your stabilizing muscles, which is good for nothing. In sports and in everyday life, there are very few instances where we lift a fixed amount of weight in one plane of motion," says Boudro. "Whether it's lifting a box down from the garage or defending a block in football, we always have to be able to fire our stabilizers and move our bodies in multiple planes of motion. The Smith machine can't help you with that."
Bodybuilders might argue that the Smith machine helps them increase the challenge to specific muscle groups for this reason, because stabilizers are out of the picture. And that's fine for them. But athletes need those stabilizers. It's non-negotiable.
It's Not as Effective
Put simply, Smith machine exercises are not as effective as their barbell counterparts. A 2009 study found that average muscle activation was 43 percent greater on the barbell Squat.
So not only do Smith machine exercises put you in a poor position, you're missing out on serious strength benefits if this is your preferred piece of equipment.
It's Not as Safe as It Looks
The Smith machine is supposed to be a safe alternative to free weights. But don't let it fool you. You can still fail a rep, just like with a barbell, and it's impossible to dump the weight. Yes, you can hook it on the pins, but of course it's possible to miss.
But most important, the form alterations and stress on your joints simply aren't worth it. The No. 1 goal of training when you're an athlete is to never get hurt in the weight room. Smith machines don't fit with this priority.
The Smith machine can be used for Inverted Rows, Inclined Push-Ups and some butt-building exercises—but that makes it a very expensive towel rack. Some of you probably love the Smith Machine for your main lifts, but we encourage you to change your loyalties. Stick to classic barbell exercises and other free weight moves for better results and safer workouts.
Topics: WEIGHTLIFTING | EXERCISES | GEAR | PRESS | BARBELL | LIFTS | STABILIZE | STRESS | FREE WEIGHTS
Andy Haley - Andy Haley is the Performance Director at STACK.
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Holiday gift guides are here! I have one coming for you every day this week to be sure I've got your whole list covered.
Last year, I decided I wanted to have all of my shopping done in November so that I could spend December really enjoying the season; focusing on making memories, loving our traditions, wrapping pretty presents, and just having fun. I think initially Chris thought it was a little early and somewhat ambitious, but we were both so happy we did it that way. It's definitely my new way of holiday shopping.
I hope you enjoy all the pieces I've found this year and that these guides make your holiday shopping a little bit easier. Between all six guides, there should be something for everyone on your list with options at different price points.
First up-- gifts for the hostesses. In addition to proper holidays there are so many gatherings and parties this time of year. I think it's great to have a few nice hostess gifts on hand so that you're always prepared. A cozy throw would be such a great addition to anyone's home, and I love the idea of a beautiful book for their coffee table. Chic cheese knives, a set of festive candles, or the most delicious smelling soap and lotion are sure to be hits with your gracious hosts.