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Madeline Hollander's ARENA at Beach Sessions Traces and Erases
By Candice Thompson
In Dd Exclusive, Uncategorized
Madeline Hollander's ARENA at Beach Sessions Traces and Erases2017-08-232017-08-23/mag/wp-content/uploads/2017/01/ddlogo-e1488589698488.png{ DIYdancer } Magazinehttps://diydancer.com/mag/wp-content/uploads/2017/08/unnamed-1.png200px200px
This Saturday, Madeline Hollander's Arena—a series of duets for six dancers and a sand zamboni—will begin tracing and erasing a journey through the sand in Far Rockaway, Queens as part of the Beach Sessions Dance Series. Candice Thompson spoke with Hollander by phone about the the process and inspirations underpinning this enigmatic performance.
en·tro·py
ˈentrəpē/
1. a thermodynamic quantity representing the unavailability of a system's thermal energy for conversion into mechanical work, often interpreted as the degree of disorder or randomness in the system.
2. lack of order or predictability; gradual decline into disorder.
"I should now like to prove the irreversibility of eternity by using the jejune experiment for proving entropy. Picture in your mind's eye the sand box divided in half with black sand on one side and white sand on the other. We take a child and have him run hundreds of times clockwise in the box until the sand gets mixed and begins to turn grey; after that we have him run anti-clockwise, but the result will not be the restoration of the original division but a greater degree of greyness and an increase in entropy.
Of course, if we filmed such and experiment we could prove the reversibility of eternity by showing the film backwards, but then sooner or later the film itself would crumble or get lost and enter a state of irreversibility."
—Robert Smithson, from the essay "A Tour of the Monuments of Passaic, New Jersey" (1967)
{ DIYdancer }, Candice Thompson: When I first read about Arena, I immediately thought of the land artists of the 1970's. Do you take inspiration from them?
Madeline Hollander: There is some land art inspiration in my work. I was definitely re-reading the Smithson essay where he describes the sandbox and uses it to show entropy and order. But the piece really began two years ago at a residency in Miami. I found myself watching sand zambonis and I began to think of them as endangered creatures. I started waking up early and chasing after them at sunrise as they picked up trash. I also started talking to the drivers and began to hear their stories of this job as a mediation where everyday held a surprise. There was also this before sunrise culture, people on a treasure hunt, using metal detectors and often blocking the path of the zambonis. As I collected these anecdotes, I knew I wanted to make a duet between a zamboni and dancers, understanding their bodies as one being. On a stage you wouldn't be able to see tracks like in the sand, but it wasn't possible to make this piece of art in Miami. However, after many meetings in Queens, we were able to make it happen for Beach Sessions.
CT: Why did you see them as endangered creatures?
MH: Sand is a limited resource because of the mass production of Chinese cinder blocks. There are sand mining dredges in the oceans pumping sand to rebuild shorelines but also because the local resources have gone to produce cement and concrete. What does it mean to have this resource that we think of as infinite, just like water, become limited? Sand is also important to our daily life and culture—glass is made from sand and silicon too, the chips in our phones…so the zamboni creates a stage or track for dancers and their footprints are a drawing, a document temporarily recorded in sand. But over time the roles reverse, in the second cycle the zamboni loops around to catch up with them and erases the tracks.
CT: This performance will be for six dancers and a sand zamboni, yet you speak of it as duets…
MH: I am interested in the differences between a duet, a duel and a pas de deux: a duet has the same choreography for two dancers, a duel is when both parties have the same rules/language and same choreography but are in conflict, and a pas to me is a dance between two people where the choreography is different and enabling and themes of drama and gender often underscore it. Right now, utilizing the dancers as one creature, it feels more like a duet. Arena is one of three pieces, that for me, fit under the same umbrella conceptually, using these three dynamics to explore my interest in concrete, sand and water, with notions of change in our society and how we build.
CT: What was your process like with the dancers?
MH: We rehearsed in a studio and then on the beach too, mostly just to look at patterns in the sand and adjust impossible movements where we were getting stuck. There is lots of friction with tennis shoes, so we needed to see what is doable. My plan was basically wiped away when we implemented the choreography because it has its own pace, so sometimes the zamboni has to lap us which is a bit of a change.
CT: Who is driving the zamboni?
MH: A beach sifter, as they are officially called, named Steve. He works for the Queens Department of Parks and Recreation. He was very enthusiastic about the piece and has very generously given us time after his shift to rehearse. We plan to do a beach cleanup together after the performance.
Saturday 8/26 at 6 p.m.
Beach 110 in Far Rockaway, Queens as part of the Beach Sessions Dance Series
Photography by Samantha Casolori; Film stills by Sam Fleischner.
Arena, beach dance, Beach Sessions Dance Series, creative process, dance interview, Dance preview, entropy, Far Rockaway, free performance, land art, Madeline Hollander, sand zamboni
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Міні-футбольний клуб «Енергія» або просто «Енергія»  — український футзальний клуб з міста Херсон. У сезоні 1993/94 років виступав у Вищій лізі України з футзалу, де посів 12-е місце..

Хронологія назв
 1992: «Омета» (Херсон)
 1992: «Енергія» (Херсон)
 2002: Клуб розформовано

Історія
Футзальний клуб «Омета» заснований 1992 року в Херсоні. Клуб отримує право участі в кубку країни 1992/93 років починаючи з першого відбіркового турніру. Зональні змагання проходять в Херсоні, окрім місцевих «Омети» й «Супутника» в них беруть участь київський «Зварювальник» і запорізька «Ліанда». У підсумку «Омета» стає переможцем першого зонального турніру й отримує право продовжити участь в кубку. Другий зональний турнір пройшов у Черкасах, де «Омета» не зуміла вийти з групи у фінальний турнір за участю восьми найкращих команд країни.

Наступного сезону «Омета» заявляється до вищої ліги чемпіонату України. За результатами першого кола «Омета» не потрапляє до вісімки найкращих команд, які продовжують боротьбу за медалі. У підсумковій таблиці херсонський клуб займає 12 місце з 16-и учасників.

У кубку країни 1993/94 «Омета» проводить одну гру, поступившись в грудні 1993 року одеському «Локомотиву» з рахунком 2:10. Потім клуб відмовився від подальших виступів у чемпіонатах України та довго не виступав у професіональних змаганнях. Лише в сезоні 2001/02 років під назвою «Енергія» (Херсон), стартував у Першій лізі, де посів 7-е місце, але потім відмовився від подальших виступів та був розформований.

Досягнення
  Чемпіонат України
 12-е місце (1): 1993/94

  Перша ліга України
 7-е місце (1): 2001/02

Домашня арена
Домашні матчі проводив в Спортивному манежі Херсона, який вміщує 1500 глядачів.

Спонсори
 Херсонобленерго

Примітки

Посилання
 Профіль клубу  на сайті footballfacts.ru
Футбольні клуби Херсонської області
Футзальні клуби, засновані 1992
Спортивні клуби Херсона

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Boring Boring Reading: The Tightrope Of Snobbery
Jaap Stam must create a siege mentality at Reading without allowing the players and fans to become obnoxious.
By Marc Mayo Dec 20, 2016, 9:00am GMT
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Photo by Dean Mouhtaropoulos/Getty Images
The recent history of Reading FC has been one of confused identity. In between Steve Coppell and Brian McDermott's hugely successful reigns was the Brendan Rodgers era, a short tenure that failed to move the team out of wing-based, pacey, and often direct play to one that was slower, more progressive, and possession-based. The big difference between those epochs was that Coppell and McDermott delivered fantastic results and entertaining play, and Rodgers did not.
Nigel Adkins, while entertaining for good parts, also aped Rodgers and ultimately failed to bring about success. Steve Clarke, hailed as a forthright, no holds barred kind of coach, was more of the same, with similar results. That led us back to McDermott, to no avail, and now Jaap Stam. Probably the most possession-obsessed of the lot.
Never can I recall 77 percent of the ball being held in Reading's domain, as was the case at Leeds last week when the Royals lost 2-0 (Rodgers' last game at home to Scunthorpe controlled just 53 percent). The result of which were calls of 'boring boring Reading' from the Elland Road crowd and a war of words breaking out afterwards.
Needless to say, Stam vehemently defended his side's style and took a pop at a club that is notoriously big-tackle-addicted. I saw this as his way of creating a siege mentality at Reading, another similarity to the 2011/12 campaign like those Jonny has recently pointed out on TTE, and this is a great approach for a club like Reading. Making it seem as if the whole world wants you to fail is brilliantly motivating, particularly for a club that's failed to motivate its players for a number of seasons. It's also worked very well at clubs like Chelsea for a while now.
However, there is a tightrope to be walked here because this mentality is born out of philosophy. The reason Stam's so adamant is that his style is the 'right way to play', the 'superior' tactic. For many fans who've lived through multiple formations and managers, we know the only right way to play is the one that gets results. Losing and being snobby about those who beat you is a pathetic past time.
But, Stam is getting results. In third place at Christmas, Reading and their rookie boss are exceeding expectations and sit above those that denounce them. This should be taken as a sign that the siege mentality is working, that we are good enough and that we can push on. It's not an excuse to start pretending that passes > points.
Reading fans should know more than any the folly of becoming obsessed with style over substance. Plenty of Madejski Stadium season ticket holders don't rate Stam's style of play, but it's a work in progress and needs to be treated as such, praised when it works and scolded when it doesn't, such as at Leeds. Come the end of the season we'll know far better how the team is progressing, and I'm confident we'll be an even better side by then.
Leeds come to Berkshire on April 1, and if Reading get things right between now and then, we can beat them with smart, technical play. There's nothing Royals supporters would love more than to beat them 3-0 with 'boring boring Reading' hurled back at the South Stand, and that can best be achieved with a siege mentality.
More From The Tilehurst End
Luton Fans Verdict: Fans React To Lifeless Performance
View From The Dolan: Dressed As Plastic Seats
Veljko Paunovic Slams Reading's 'Unacceptable' Performance In Luton Defeat
Reading 0-2 Luton Town: Emotionally Empty
Reading 0-2 Luton: Player Ratings
Até Logo Rafael! Remembering the Brazilian's Best Games

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Biography – FRANCKLIN, MICHAEL – Volume IV (1771-1800) – Dictionary of Canadian Biography
FRANCKLIN (Franklin), MICHAEL, merchant, office-holder, colonial administrator, and Indian agent; b. 6 Dec. 1733 at Poole, England, second son of Michael Francklin and Edith Nicholson; m. 7 Feb. 1762 Susannah Boutineau in Boston, Massachusetts, and they had at least four children; d. 8 Nov. 1782 at Halifax, Nova Scotia.
In the years prior to the American revolution Halifax was dominated by a merchant élite. Michael Francklin was a member of this group of merchant-politicians; involved in the major events of the period, he provides an excellent case study of how private and public goals were melded by these men.
Any influential figure, particularly one with a strong personality, is bound to be controversial, and Francklin was no exception. In his own time he attracted ardent supporters and no less committed enemies. A similar phenomenon has occurred among historians. He has been labelled "pompous and arrogant" and "incompetent" by those who have not approved of his role in provincial affairs, while one of his defenders has described him as "a man of great personal magnetism combined with courage, integrity, energy, and independence." Perhaps the most common view comes from the most respected chronicler of 18th-century Nova Scotia, John Bartlet Brebner*, who saw him as a "puppet" almost completely under the control of Joshua Mauger. Such a characterization is misleading, however, for although Francklin acted in concert with Mauger when his interests so compelled him, on other occasions he exasperated and infuriated Mauger and his followers.
As the fourth child and second son, Francklin had little prospect of advancement in early life through parental aid. His father was able to provide contacts with relatives in London, however, and Francklin made a brief but abortive attempt to establish himself in the business world there. Before reaching age 18, he had made two trips to the new world, visiting Jamaica and assessing its mercantile prospects. Evidently he did not find them bright, for in the summer of 1752 he booked passage for Halifax on the Norfolk.
At the time of Francklin's arrival the leading merchant in Halifax was probably Joshua Mauger. Early in his career Mauger had been associated with Francklin's relatives, perhaps even with his father. It is possible that Francklin emigrated at Mauger's suggestion, and it is certain that the older man sponsored Francklin's first Halifax enterprise, a dram-shop on George Street. Business was obviously successful, for Francklin soon opened a second establishment in partnership with Thomas Gray.
Although many merchants failed during the highly unstable times of the mid 1750s, Francklin's business concerns, now diversified to include trading and retailing in general merchandise, boomed. In 1755 he returned to England briefly to recruit promising young men for future mercantile ventures. The Seven Years' War proved to be a financial windfall for Francklin. He secured several lucrative contracts to provision the British forces at Halifax and later at Quebec. Problems of wartime supply led to scarcities which increased both prices and profits, particularly in rum and fish. Investments in privateering brought him additional income. It is difficult to estimate precisely how much money he made during the war, but he certainly became an exceedingly wealthy man. His connections with Manger, who had moved to London in 1760, gave him excellent access to the British market, while his marriage to the granddaughter of Peter Faneuil, one of the most important Boston merchants, cemented his business relations with New England. As a result, in 1766 a resident of Halifax described him as "the first Merchant in the Place."
Francklin, Jonathan Binney*, John Butler, Richard Codman, and John Anderson became the nucleus of a group which formed around Mauger in the 1750s. Building on their close personal and mercantile connections and financed chiefly by Mauger and Brook Watson* in London, they came to dominate Halifax trade almost totally by the mid 1760s. This mercantile élite recognized the potential of government connections to assist private enterprise. The advantages of a close relationship between men of business and the government were well known; politics in Britain was largely based on the principle that influential men should be attached to the government to increase its stability. There were, however, obvious disadvantages to this system. The interconnection of business and government meant that a potential source of political criticism was muted. Moreover, the merchant-politicians in Halifax tended to pass laws which benefited business but did little for other groups.
Francklin's involvement in politics began in 1759, when he was elected to the House of Assembly to fill one of the first two seats for Lunenburg Township; in 1761–62 he served as a member for Halifax County. A promising young man, he was appointed to important committees. Few were surprised, therefore, when in May 1762 he was appointed to the Council, becoming its youngest member. He soon became identified with a faction opposing Lieutenant Governor Jonathan Belcher whose members included Joseph Gerrish and Charles Morris in the Council and Benjamin Gerrish and Malachy Salter in the assembly.
On the surface, Francklin's motives for joining this faction seem clear. The mercantile leaders of Halifax opposed Belcher partly because of his efforts to control illegal trade, a profitable enterprise for many, including Francklin. In addition, the lieutenant governor showed no inclination to grant Francklin's almost constant petitions for land. Francklin was also peeved over Belcher's refusal to grant him the monopoly of the Indian trade. The Council had approved his application in 1761, but Belcher denied it after evidence was produced that the application was fraudulent in several respects. In London, meanwhile, Mauger had conceived a special dislike for Belcher and was actively lobbying with the Board of Trade for his removal. By linking Mauger's interests with his own, Francklin was consolidating his association with the Mauger group, an association which continued until the American revolution.
Through the influence of Mauger, Francklin secured the post of lieutenant governor in March 1766. Since his mandamus did not reach Nova Scotia until 22 August, however, the treasurer, Benjamin Green, became administrator on the death of Governor Montagu Wilmot* in May. Francklin served as acting governor for three months until the arrival of Lord William Campbell. Because of Campbell's frequent absences, he held the reins of government on three other occasions, from 1 Oct. 1767 to 10 Sept. 1768, from 4 Nov. to 4 Dec. 1768, and from 2 June to 10 July 1772.
During his periods in power Francklin aroused considerable controversy. In 1766 he revived a project to mine coal for export in Cape Breton, banned eight years earlier by the Board of Trade, by simply assuming that the ban no longer existed. When it was discovered that he had not only exceeded his authority but given the licence to mine and export coal to Benjamin Gerrish and other business associates, protests arose from unhappy competitors, forcing the board in February 1768 to order that the "highly irregular" contract not be renewed. Similarly, in 1768, on the basis of ambiguous instructions from London, Francklin expended the entire Nova Scotia contingency fund on the establishment of townships and of government offices on St John's (Prince Edward) Island and attempted to grant property to his land-hungry friends. Although his actions were probably not deliberate attempts to circumvent the will of the British government, they demonstrate again the tendency to equate private and public goals. Francklin found his proceedings "highly disapproved" by the king and was forced to travel to England to clear his name.
The uproar needs to be put in its proper perspective. Colonial governors frequently exceeded their authority; in fact, every governor of Nova Scotia before Francklin had at some point been chastised by the Board of Trade for so doing. The practice of combining politics with profit was also common, particularly in colonies as poor as Nova Scotia, where governmental largesse assumed great importance. More virtuous citizens, or those with insufficient connections to take advantage of the spoils of office, might decry such occurrences, but generally only minor note was taken of them in Britain and Nova Scotia.
The merchant community generally retained its confidence in Francklin, but by the early 1770s his political opponents were becoming increasingly shrill. In 1774 Richard Gibbons revived charges that Francklin "and others connected with him" had provided "an unreasonable credit" to the settlers at Lunenburg during the 1750s. When these debt-ridden settlers could not repay their loans, Francklin "consented to take their [bounty] certificates [awarded for local improvements] in Discharge of their Debts . . . at Sixty per Cent discount." Gibbons also charged that Francklin was "immediately dependant and other wise closely connected with" Mauger and that he had used his "Influence and that of his Party" to impoverish Nova Scotia. Although Francklin may have been guilty of usury, Gibbons missed the mark in intimating that he was Mauger's puppet. In the 1750s, eager to rise and greatly dependent on Mauger's patronage, Francklin seldom deviated from the lead set by the more powerful merchant. But after his appointment as lieutenant governor he pursued his own interests without Mauger's sanction. The attempts to exploit St John's Island, for example, were disapproved of by Mauger and embarrassed him when he was called upon to defend them before the Board of Trade. Also, in the early 1770s Francklin became involved in colonization schemes in which Mauger did not figure. By the time of Governor Francis Legge's administration Francklin and Mauger once again seemed to be pursuing similar goals. Their motives, however, were not identical. Francklin opposed Legge not only because of instructions from Mauger but also because the governor, by showing a preference for other advisers, notably James Monk*, was challenging the source of his power.
Despite charges that he was reaping fantastic monetary rewards, on the eve of the American revolution Francklin suffered acute shortages of cash. Part of the problem was the usual shortage of specie in America, but Francklin's difficulties also stemmed from his penchant for investing virtually every shilling in land. Although he had accumulated thousands of acres and was widely regarded as one of the richest men in the province, by 1774 he owed the crown "above five hundred pounds Sterling" in quitrents. In order to make his idle land productive, he seized upon a scheme to import settlers from overseas. Yorkshire quickly became his favourite source, and before the revolution impeded the flow, over 1,000 people had emigrated to become tenants on his lands. The cessation of immigration placed him in a precarious financial situation, and John Butler advised Mauger to write off Francklin's debts, observing "He owes a very considerable Sum here." According to Legge, Francklin was reduced "from being an opulant Merchant to distress."
Still, Francklin remained an influential man, and his position as a leader of the anti-Legge forces during the protracted controversy surrounding the governor's administration may have coloured Legge's view of his financial difficulties. Relations between the two men reached such an impasse that Legge recommended to Lord Dartmouth, secretary of state for the American Colonies, that Francklin be stripped of his office or transferred from the colony. Although the claim that Francklin was the first to plan the governor's demise is sheer speculation, his role in Legge's recall was undeniably crucial. He had both the political resources and the motive to challenge Legge, and in his exploitation of the incidents surrounding his old business partner Binney he effectively capitalized on Legge's ineptness. In the spring of 1776, however, after Legge's recall to England, Francklin was replaced as lieutenant governor by Mariot Arbuthnot. His removal, combined with the governor's recall, seems to have been an attempt by the Board of Trade to lessen controversy in Nova Scotia politics at a time of crisis.
During the American revolution Francklin remained loyal to the crown. Unlike most merchants, however, he was not passive in his loyalty. In 1777 he was appointed superintendent of Indian affairs for the province, a position for which he was uniquely qualified. In 1754 he had been captured by a band of Micmacs and taken to the Gaspé. During his three months of captivity he learned their language and developed a respect for the Indian culture. Although he had varying luck throughout the war ensuring the adherence of the Micmacs and Malecites to the British cause, he was ultimately successful. Through a series of meetings, the judicious distribution of gifts, and the provision of the services of a missionary [see Joseph-Mathurin Bourg], he countered the efforts of John Allan* and other supporters of the Americans [see Pierre Tomah; Gilfred Studholme]. Characteristically, Francklin had refused to serve as superintendent until he was granted a fixed salary and provisions were made for his expenses.
Francklin, who spoke French, was also influential among the Acadians. As lieutenant governor he had allowed those who had returned following the expulsion to settle around Minas Basin on terms far more generous than the Council had recommended. In addition, he permitted the unrestricted practice of the Roman Catholic religion and gave guarantees that there would not be a second deportation. Francklin was not specifically empowered to give these guarantees, but he managed to convince the Board of Trade that his policies were wise, and they were eventually ratified by that body. It is impossible to ascertain how many Acadians returned, but a 1771 census counted 1,249 persons in 274 families throughout the province.
Francklin survived the hostilities of the American revolution, but he did not live to see the peace. On 8 Nov. 1782 he died at his town home in Halifax. An age was drawing to a close. The old Nova Scotia, dominated by a Halifax-based mercantile élite, was being transformed by the influx of thousands of loyalists; the distinctive community that Francklin had done so much to shape was being dramatically altered.
If historians have been unable to reach a consensus about Michael Francklin, it is perhaps because they have failed to grasp the role that he played. He was in many ways a typical colonial merchant-politician, meshing private and public concerns in an age when such intermingling was widely accepted. It is therefore in terms of the success that he had in helping to build the foundations for Nova Scotia that he must be evaluated, not in terms of 20th-century morality superimposed on an earlier age. In these terms, Francklin must be considered one of the truly important founders of the province.
L. R. Fischer
PAC, MG 11, [CO 217], Nova Scotia A, 72; 77, p.59; 78, p.41; 81, pp.125, 129; 83, p.127; 88–93; [CO 220], Nova Scotia B, 14; MG 23, A1, ser.1, 2, no.1119; 13, nos.2494, 2496. PANS, RG 1, 136, p.114; 187, 16 March, 11 April 1754; 188, 26 March, 10 April, 15 May 1761, 3 May 1762, 25 July, 13 Nov. 1764; 189, 23 Aug. 1766. PRO, CO 217/19, f.130; 217/20, f.65; 217/45, f.7. Nova Scotia Chronicle and Weekly Advertiser (Halifax), 14 Nov. 1769. Nova-Scotia Gazette and the Weekly Chronicle (Halifax), 16 Nov. 1782. Directory of N.S. MLAs, 126–27. Brebner, Neutral Yankees. G. A. Rawlyk, Nova Scotia's Massachusetts: a study of Massachusetts – Nova Scotia relations, 1630 to 1784 (Montreal and London, 1973), 234. W. B. Kerr, "The rise of Michael Francklin," Dal. Rev., XIII (1933–34), 489–95. J. S. Macdonald, "Memoir, Lieut.-Governor Michael Francklin, 1752–1782," N.S. Hist. Soc., Coll., XVI (1912), 7–40.
Agriculture – Improvers and developers
Office Holders – Atlantic colonies
Business – British Régime – Atlantic colonies
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ALLAN, JOHN (Vol. 5)ARBUTHNOT, MARIOT (Vol. 4)BINNEY, JONATHAN (Vol. 5)BOURG, JOSEPH-MATHURIN (Vol. 4)BUTLER, JOHN, (d. 1791) (Vol. 4)GERRISH, BENJAMIN (Vol. 4)GREEN, BENJAMIN (Vol. 4)MAUGER, JOSHUA (Vol. 4)More
MORRIS, CHARLES (1711-81) (Vol. 4)SALTER, MALACHY (Vol. 4)STUDHOLME, GILFRED (Vol. 4)TOMAH, PIERRE (Vol. 4)WATSON, Sir BROOK (Vol. 5)BELCHER, JONATHAN (Vol. 4)CAMPBELL, Lord WILLIAM (Vol. 4)GERRISH, JOSEPH (Vol. 4)GIBBONS, RICHARD (Vol. 4)LEGGE, FRANCIS (Vol. 4)MONK, Sir JAMES (Vol. 6)WILMOT, MONTAGU (Vol. 3)AKOMÁPIS, NICHOLAS (Vol. 4)DAVIDSON, WILLIAM (Vol. 4)DELESDERNIER, MOSES (Vol. 5)DesBARRES, JOSEPH FREDERICK WALLET (Vol. 6)DESCHAMPS, ISAAC (Vol. 5)DIXON, CHARLES (Vol. 5)DUGAS, JOSEPH (d. 1823) (Vol. 6)EAGLESON, JOHN (Vol. 4)GLASIER, BEAMSLEY PERKINS (Vol. 4)GOREHAM, JOSEPH (Vol. 4)HALIBURTON, WILLIAM HERSEY OTIS (Vol. 6)HANINGTON, WILLIAM (Vol. 7)HARRIS, JOHN (1739-1802) (Vol. 5)HAZEN, WILLIAM (Vol. 5)HIGGINS, DAVID (Vol. 4)HUGHES, Sir RICHARD (Vol. 5)JULIEN, JOHN (Vol. 5)McLANE, DAVID (Vol. 4)McNUTT, ALEXANDER (Vol. 5)MORRIS, CHARLES (1731-1802) (Vol. 5)SAINT-AUBIN, JOSEPH-THOMAS (Vol. 6)SIMONDS, JAMES (Vol. 6)TOMAH, PIERRE, Governor Tomah (Vol. 6)UNIACKE, ROBERT FITZGERALD (Vol. 9)
MAUGER, JOSHUA
WATSON, Sir BROOK
BELCHER, JONATHAN
MORRIS, CHARLES (1711-81)
SALTER, MALACHY
MONK, Sir JAMES
ARBUTHNOT, MARIOT
DesBARRES, JOSEPH FREDERICK WALLET
SIMONDS, JAMES
L. R. Fischer, "FRANCKLIN, MICHAEL," in Dictionary of Canadian Biography, vol. 4, University of Toronto/Université Laval, 2003–, accessed January 27, 2020, http://www.biographi.ca/en/bio/francklin_michael_4E.html.
Permalink: http://www.biographi.ca/en/bio/francklin_michael_4E.html
Author of Article: L. R. Fischer
Title of Article: FRANCKLIN, MICHAEL


The J. Reuben Clark Law School  is located on the campus of Brigham Young University. It is owned and operated by The Church of Jesus Christ of Latter-day Saints, the Mormon Church. The school is named after J. Reuben Clark, once an apostle of the Church as well as a prominent American attorney at law and dedicated civil servant. He was a prominent attorney in the Department of State, and Under Secretary of State for U.S. president Calvin Coolidge. He also served as U.S. Ambassador to Mexico.
The Law School was founded in 1973. The "students learn in an intellectually and spiritually invigorating community where students look forward to using their legal skills in service throughout the world. The development of moral character and enlightened devotion to the rule of law are hallmarks of a BYU Law School education."  The Law School is accredited by the American Bar Association, Association of American Law Schools.
The Law Library contains 457,000+ volumes and volume equivalents, wireless Internet, individual study desks.
The Law School has a diverse Student Body: 79% of the student body has second lan-guage ability; 30 states and 6 foreign countries represented; 53 undergraduate institutions represented. 35% of the student body is female.
Supreme Court Clerkships: Thirteen United States Supreme Court Clerkships; five faculty members are past clerks.
Employment Statistics: 93.3% employment rate at graduation for class of 2009; $106,895 average starting salary ($120,874 in private practice); 49% of graduates took jobs outside of Utah.
Externships: Students are placed in externships in almost every type of legal office and in a wide range of practice areas. Externs are routinely placed in: law firms, corpora-tions, judge's chambers, public interest agencies, and government offices.
•Teach the fundamental principles of law, using a predominantly theoretical approach, with appropriate attention to the basic skills involved in lawyering.
•Promote loyalty to and understanding of the Constitution of the United States.
•Foster an enlightened devotion to the rule of law.
•Teach the law from a scholarly and objective point of view, with the largest latitude in the matters being considered.
•Incorporate religious, ethical, and moral values in the instruction.
•Produce influential and enduring legal scholarship.
•Be part of Brigham Young University in all respects, fully participating and contributing in the intellectual and spiritual life of the University.
The School also sponsors the J. Reuben Clark Law Society.
Read about J. Reuben Clark.
Click here to watch a video about the Law School.
Click here to view the types of awards distributed by the Law School.
This page was last edited on 16 November 2011, at 21:12.


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Bella Hadid Is the Most Beautiful Woman in the World According to Science
Katrina Nattress
Katrina Nattress Published: October 17, 2019
Andreas Rentz, Getty Images
According to science, Bella Hadid is the most beautiful woman in the world. Kinda hard to argue with that.
As the Daily Mail reports, Harley Street facial cosmetic surgeon Dr Julian De Silva used the the Golden Ratio of Beauty Phi — an equation used to measure physical perfection — to determine the world's 10 most beautiful women, and the 23-year-old supermodel was found to be 94.35% "accurate" to the Golden Ratio.
"Her eyes, eyebrows, nose, lips, chin, jaw and facial shape were measured and came closest to the ancient Greeks' idea of perfection," Daily Mail writes.
Beyoncé comes in at a close second with a score of 92.44% followed by actress Amber Heard with a score of 91.85%, Ariana Grande with a score of 91.81%, and Taylor Swift rounding out the top 5 with 91.64%.
The Golden Ratio was founded during the European Renaissance to aid artists and architects in creating their masterpieces and is used today by cosmetic surgeons.
Check out the full list of the world's most beautiful women below.
Top 10 Most Beautiful Women in the World, According to the Golden Ratio
1: Bella Hadid - 94.35%
2: Beyoncé - 92.44%
3: Amber Heard - 91.85%
4: Ariana Grande - 91.81%
5: Taylor Swift - 91.64%
6: Kate Moss - 91.05%
7: Scarlett Johansson - 90.91%
8: Natalie Portman - 90.51%
9: Katy Perry - 90.08%
10: Cara Delevingne - 89.99%
15 Most Followed Celebrities on Instagram (2018)
Source: Bella Hadid Is the Most Beautiful Woman in the World According to Science
Halloween costume ideas: 'Only in New Jersey' edition
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Another Jersey Shore Restaurant Announces They Will Be Closing
Mother Says Kids W/ Autism Should Trick-Or-Treat With Blue Bucket
NJ Surpasses Sports Betting Records; Is Gambling Out Of Control?
OC Legislators join Toms River in battle over Joey Harrison's Surf Club property
Please Give Him a Chance


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L'Enfance d'Ivan (en , Ivanovo detstvo) est un film soviétique, le premier long métrage d'Andreï Tarkovski, sorti en 1962, d'après Ivan, une nouvelle de Vladimir Bogomolov, avec Nikolaï Bourliaïev dans le rôle principal. Il raconte le destin tragique d'un des nombreux enfants soldats de l'armée soviétique.

Liminaire
Film de guerre soviétique, L'Enfance d'Ivan, qui aurait pu n'être qu'une œuvre de propagande, annonce tous les thèmes chers à Tarkovski et préfigure son cinéma futur : recherche du huis clos, onirisme des images, vision surréaliste de la réalité qui vient s'ajouter en surimpression à la trame narrative du récit, opposition entre l'idéal de l'enfance perdue et un univers froid et déshumanisé ici symbolisé par la guerre.

Historique du film
Le projet du film avait été initialement confié au réalisateur Edward Gaikovich Abalyan (Abalov selon les traductions et transcriptions) licencié sans ménagement. Le scénario a été réécrit avec Andreï Kontchalovski.

Contacté par les studios Mosfilm, Tarkovski ne voulut reprendre le projet qu'à la seule condition de réécrire entièrement le scénario et de changer toute l'équipe des techniciens et comédiens. Ses conditions furent acceptées, mais seulement s'il se contentait de la moitié restante du budget d'origine, ce que le réalisateur accepta à son tour. Quatre séquences de rêves furent ajoutées à l'aventure tragique d'Ivan, interprété par Nikolaï Bourliaïev. Les noms des deux premiers scénaristes furent conservés dans le générique pour faciliter l'acceptation du nouveau scénario. Le tournage du film put reprendre et se termina en janvier 1962.

Synopsis
Orphelin depuis l'assassinat de sa famille par les nazis, Ivan, douze ans, est devenu éclaireur au sein de l'armée soviétique. Contre l'aval de ses supérieurs, il accepte une dernière mission délicate.

Fiche technique
 Titre : L'Enfance d'Ivan
 Titre original : Иваново детство
 Réalisation : Andreï Tarkovski
 Scénario et dialogues : Vladimir Bogomolov et Mikhaïl Papava, d'après la nouvelle de Vladimir Bogomolov
 Production : Mosfilm (URSS)
 Photo : Vadim Ioussov
 Musique : Viatcheslav Ovtchinnikov, direction d'orchestre par Emin Khatchatourian
 extrait du Voile d'Orphée de Pierre Henry
 Montage : Ludmila Feyginova
 Assistant à la réalisation : Gueorgui Natanson
 Son : Inna Zelentsova
 Conseiller militaire : G. Gontcharov
 Format : noir et blanc
 Durée : 95 minutes
 Genre : film de guerre, drame
 Dates de sortie :
 URSS :  (première à Moscou)
 France :
 Présenté à la Mostra de Venise le

Distribution
 Valentin Zoubkov : le capitaine Kholine
 Nikolaï Bourliaïev : Ivan Bondarev
 Evgueni Jarikov : le lieutenant Galtsev
 Stepan Krylov : le caporal Katasonov
 Nikolaï Grinko : le colonel Griaznov
 Valentina Malyavina : Macha
 Irma Tarkovskaïa : la mère d'Ivan
 Andreï Kontchalovski : un soldat

Analyse
Barthélémy Amengual écrit :

À la différence de beaucoup d'autres visions soviétiques, Andreï Tarkovski  Comme La Ballade du soldat de Grigori Tchoukhraï, de trois ans antérieur,

Sur cette voie, Tarkovski est, sans doute, celui qui

Si Jean-Paul Sartre, en tant que penseur de l'existentialisme, dit, à propos de L'Enfance d'Ivan :  Il écrit, également, plus loin :

Ce qui crée donc un « trouble » que signale, à nouveau, Pierre Murat c'est précisément cette  contenue chez l'enfant Ivan et explorée par la caméra de Vadim Ioussov, opérateur de Tarkovski. Pour Antoine de Baecque,  Mais, précisément, il

Tarkovski détourne, ainsi, le cliché de l'adolescence héroïque, alors en vogue, dans le cinéma soviétique. Film soviétique, au sujet incontestablement conventionnel (la Seconde Guerre mondiale et ses conséquences sur l'enfance), L'Enfance d'Ivan n'est donc pas simplement  : l'enfant est élevé, ici, au rang de . L'œuvre est déjà, par tant d'aspects, celle de l'auteur Tarkovski, celui des réalisations futures : , conclut A. de Baecque.

Commentaires de Tarkovski

Sur le film

 La première scène de L'Enfance d'Ivan, premier film de Tarkovski, montre un enfant auprès d'un arbre; l'ultime scène du Sacrifice, dernier opus du réalisateur, est l'image d'un petit garçon  sous un arbre  Antoine de Baecque écrit plus haut :
 Selon Georges Sadoul, Andreï Tarkovski et son opérateur Vadim Ioussov ont une grande admiration pour
 Durant l'une des scènes, Ivan feuillette un ouvrage d'illustrations où l'on peut voir entre autres, une gravure de Dürer, le génie allemand, illustrant l'Apocalypse de Jean : Les Quatre Cavaliers de l'Apocalypse.

Récompenses
 Lion d'or à la Mostra de Venise 1962 et sept prix internationaux.

Voir aussi

Bibliographie
 Jeanine Marroncle, « Venise 1962 », Téléciné 107, Paris, Fédération des Loisirs et Culture Cinématographique (FLECC), ,
 Jean d'Yvoire, « L'Enfance d'Yvan », Téléciné , Fédération des Loisirs et Culture cinématographique (FLECC), Paris, -,

Références

Liens externes

Film soviétique sorti en 1962
Film dramatique soviétique
Film de guerre soviétique
Film réalisé par Andreï Tarkovski
Film scénarisé par Andreï Tarkovski
Adaptation d'une nouvelle russe au cinéma
Film sur les enfants soldats
Film tourné dans l'oblast de Moscou
Film se déroulant dans une forêt
Film sur le front est de la Seconde Guerre mondiale
Film soviétique en noir et blanc
Film de Mosfilm
Film en russe
Premier long métrage sorti en 1962


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Florida Guide > State Parks
Barron Collier was a rich business man who provided the funding for the Tamiami Trail which goes from Tampa to Miami. He provided one half of this Stae Parks name and the other half honours the Seminole Indians who along with the Miccosukkee Indians occupied this area from the 1800s.
In 1947 the land was acquired by the State of Florida and was turned into the park we know as Collier Seminole today.
The park extends from the Royal Palm Hammock to the Ten Thousand Islands and there are salt marshes and mangrove river estuaries that wading birds love.
There is tropical forest and most notably the Florida Royal Pine which is comparitively rare (except here!).
One of the most interesting things to see is the Bay City Walking Dredge which was created to build the afore mentioned Tamiami Trail.
The Historic Marco Rd provides a three and a half mile trail for walking or cycling or for the more ambitious there is a six and a half mile AND a nine and a half mile trail. These have viewing platforms and boardwalks, the better to view the wildlife and vegetation. Pick up a leaflet at the ranger station.
There are picnic areas with barbecues and a great playground with lots of play potential; that should cheer the little ones up!
If you hop into the visitor centre you can pick up a self guide tour and put all your questions to the ranger.
Look out for Alligators (of course) but also white ibis. raccoons and osprey. Take your binoculars and have a camera handy. We missed a great photo opportunity last year just because we did not have the camera at the ready.
You can rent a canoe here and it is worth while if you are experienced since there are thirteen and a half miles of winding water on the Black Water River that meanders through largely mangrove.
The entry fee for this park is $4 for up to 8 people and to hire a canoe will set you back $5. 30 for one hour or $26. 50 for a whole day.
The address for this park is
20200 East Tamiami Trail
Going south from Tampa on I-75, take Exit 101 (SR 951 & SR 84) and turn right. Follow 951 to US 41. Turn left on US 41 and the Collier-Seminole State Park will be 8 miles on the right just past CR 92. Going west from Fort Lauderdale, take Exit 80 (SR 29), go south to 41 and turn right. Follow 41 for about 15 miles, and the Collier-Seminole State Park will be on your left.
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The competition is aimed at junior reservists who serve with the New Zealand Defence Forces. Reservists will be competing against each other in a series of tasks, challenging their military skills, both physically and mentally, for the title of Reservist of the Year.
The winner will receive the Sir Barrowclough Trophy and an opportunity to attend the Anzac Day centenary celebrations at Gallipoli next year.
This page was last reviewed on 13 September 2015, and is current.


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Super Snack continuing but short-staffed
By Aura Carlson
Orient Staff
Serving students in-person or, temporarily, through take-out, Dining Services is readjusting to accomodating a full-capacity campus for the first time in a year and a half. But as the number of people lining up for meals every day has risen, the number of dining employees has lagged behind. Dining Services, like the rest of the food service industry, is in need of more staff.
One shift that Dining has had particularly a hard time staffing is Super Snack, which runs from 10 p.m. to 1 a.m. on Thursday, Friday and Saturday nights in Thorne. Interim Director of Dining Services Ken Cardone explained that in order for Super Snack to run as it would under pre-COVID-19 circumstances, the program would need to hire 10 new student employees.
"We're in the same boat as the rest of the industry," Cardone said. "If you look up and down Maine Street, every business has a sign in the window. Getting staff has been extremely difficult, and it'd be great if we could get a core of students."
Cardone encouraged students to apply, adding that student workers benefit from the friendly atmosphere of Super Snack.
"Super Snack is a fun shift to work," Cardone said. "The hours are a little different than usual, but the folks that work Super Snack usually stay for the year, and they always come back."
As long as potential conflicts regarding the Delta variant don't arise, if enough students fill the 10 available slots, Cardone said that Super Snack will be ready to operate as usual by September 9.
Super Snack is just one of many dining shifts that's currently understaffed. Most student dining employees work one or two shifts per week, and there are currently lots of student dining positions to fill.
Additionally, with four long-time staff members retiring from Jack Magee's in the past year, the Pub's operations will be limited, serving Fast Track lunch Monday through Friday and Fast Track dinner Sunday through Thursday without dine-in options.
"You know, like all things [with] COVID-19, we have to be ready to pivot," Cardone said. "We have some amazing staff here that are very committed to what they do, but everybody is doing double duty until we can get orientation completed and start the school year and get the facility staffed."
Read MoreDining ServiceStudent Employment
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Welcome to our private party section of the website here you can look at the various different menu options we have available for anyone looking to arrange an event. Here at Spitting Pig London we are bound by no limits and each of these menus can be for any number of guests as we are both equally equipped to cater for small discreet functions as we are extremely large corporate events. Each and every one of our hog roast meals is totally customisable so if you would like to alter some of the contents slightly please lets us know and we can tailor a menu perfect for your event, even if you think your request is a little out of the ordinary please let us know you'd be surprised what we can do.
Just remember we are here to make sure the hog roast catering is extra special at your event and we love going above and beyond what you'd normally expect to make sure the event is a day to remember. Each event is different and therefore there are a large amount of variables that determine the cost and so we don't provide general prices on this site, instead we ask you to get in touch with us either by phone or by clicking the 'contact us' button at the top of the screen. By giving a few details about your event we can create a personalised quote for you and also make any changes to the menus on your recommendations. We aim to answer all quotes requests within 24 hours and we are more than happy to quote for a number of menus so you can look at the various options available.
We have a wide variety of hog roast party menus from the simple and traditional begining option which celebrates the great British hog roast and is the perfect option to give your guest that classic favourite the pork, stuffing and apple sauce roll. Or maybe you would like to try some of our different meats available then the second option offers a wide variety of different meats if you would like something a little different. Option three is our most popular hog roast party menu and offers all the tastes of the earlier menus adding that little extra to make a filling menu for all your guests. Menus 4, 5 and 6 offer more extensive dining and will add a touch of quality to your event. We cater to all tastes, allergies and dietary needs so if you require something special for some of your guests just let us know and we can incorporate this into the menu for you. So whether you're looking for a caterer for a small barbeque at your home are you want a 3 course sit down lunch or spit roasted turkey for your company's hog roast Christmas party then Spitting Pig London are only a phone call away!


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Lighting a city of light sources
By Ian FailesPosted on October 29, 2020 October 30, 2020
How Imageworks tackled Lunaria in 'Over the Moon'.
At one point in Glen Keane's Over the Moon, the director's CG-animated feature from Pearl Studio and Netflix, the central characters visit the city of Lunaria on the moon. Its buildings and inhabitants exhibit a magical quality, including in relation to the way they emit light—essentially from within.
For Sony Pictures Imageworks, which produced the animation for the film, lighting the Lunaria environment required close collaboration with production designer Celine Desrumaux to produce that unique look. befores & afters asked Imageworks CG supervisor Clara Chan to break down how the lighting for the city was handled.
b&a: There's a particular look and feel to that world. Can you tell me a little about the brief that was given to Imageworks for Lunaria?
Clara Chan: The clients wanted it to feel magical, and something that no one had seen before. Also, the colors were very important. It basically is an explosion of color. The Lunaria city is a mixture between gas, liquid and solid, so there's the feeling of a material that is out of the world. We didn't want it to feel like something that's on Earth.
Lunaria visual development art by Glen Keane. NETFLIX © 2020.
Color key by Celine Desrumaux. NETFLIX © 2020.
A final shot in the film showing the approach to Lunaria. NETFLIX © 2020
All the buildings are light sources. When everything is a light source, you have to pick and choose which is the dominant one when it comes to lighting the characters. There's a lot of choices artists have to make, to make sure the image looks great. It doesn't matter whether it is a green building next to the character–because sometimes you have a green and a pink and an orange all surrounding you–when there are too many colours on the character, it does not look good. So we have to say, maybe the pink one looks the best.
b&a: What sort of concepts or color keys or key frames were done specifically for the city?
Clara Chan: We got a lot of concept and draw-overs. When we first built the city, we had a lot of concept art and we'd match to those colors in that art. And then in terms of each shot, usually we do a first pass of lighting with our default building colors and lighting, and then we would show it to the production designer, Celine.
Sometimes she would specifically change the color of particular buildings to make an aesthetically pleasing image. There was a lot of back and forth working with her on that.
Visual development art by Celine Desrumaux. NETFLIX © 2020
b&a: What were some of the very specific technical challenges of getting that specific kind of lighting?
Clara Chan: It's not necessarily groundbreaking technology; it's everything we have already developed, but we just had to modify slightly. So, for example, for all the buildings, we had to change them into mesh lights to make them a light source. But that's not the only thing we do. We also want the building to look like it's shaded, that it has some shading to it. Sometimes we have a very subtle amount of specularity and we don't obey physical rules of refraction. Because if there's actual gas or liquid, the refraction would be too distracting. So we keep it really simple.
So, light rays could just go straight through, and sometimes buildings have actual volumes of gas inside them. Not every building, because we don't want all of them to look the same. So when there's gas inside, we had to make sure the transparency looked nice. We want to see through it slightly, but not too much. And also sometimes we'd pick which part of the building to see through, maybe only around an edge.
Fei Fei meets up with the illuminated character Gobi. NETFLIX © 2020
Shading wise, we tweaked the shader a little bit so that it was not a hundred percent physical. We added layers to it so that it could scatter the lights, and refract the lights, and then also have control for dialling the specularity very specifically.
b&a: Is the workflow at Imageworks generally Katana and Arnold for lighting? Did the 'volume' lighting impact on that workflow?
Clara Chan: Yes, it's generally the same workflow, but we did improve our de-noising function. So, because of the volume and gas and light bouncing around, a lot of times we got a lot of noise. So our de-noising technique was improved so much that we didn't have to spend too much time on the actual render.
b&a: The shots on the moon surface, away from Lunaria, I also really liked because it felt like that harsh light you get on the moon from just have one point light, the sun. What kind of challenges did that pose?
Clara Chan: We had to really control ourselves not to add too much light because sometimes we tended to want to see more and lift all the dark areas, but we had really specific direction from Celine that the sun is your only source. And when there is a glowy Lunarian, for example, Gobi, then Gobi will be our source. We had to also, in animation, make sure Gobi was in a good location so that he can light up Fei Fei when they're together. We basically had to do the sequence lighting and look at the whole sequence when we placed the sunlight.
Gobi and Fei Fei on the moon. NETFLIX © 2020
The position of the sunlight was actually brought into the rough layout stage, just so when the rough layout artists are roughing out the camera they knew where the sunlight was going to be down the line in lighting, so they could compose it with that information.
b&a: Finally, one thing I wanted to ask you about is Fei Fei's puffy jacket, which is silver. I love the creases in it. I wondered when Imageworks received concepts and started modelling this thing and then dealing with it lighting, did you go, 'Oh my God, it's a reflective puffy jacket with creases.' Did that pose any particular problems?
Clara Chan: It has certain issues, yes. Because if we make it totally reflective, sometimes it would feel very contrasty, especially on the moon, there are really dark shadows. It's very dependent on what is surrounding it to make it look nice. So if the environment itself is too dark, then her jacket will not look nice because it's just reflecting darkness. So we just have to make the material of her jacket be flexible, so that we have the control when we need it, to change how the reflection looks.
Tag: Clara Chan Over the Moon Sony Pictures Imageworks
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When you test different Product Lifecycle Management Software - PLM apps you shouldn't just look at their features list and available pricing packages. Keep in mind the software should be meeting your standards and company so the more flexible their offer the better. Find our which OSes are supported by WFX PLM and ManageEngine AssetExplorer and be certain you will obtain mobile support for whichever devices you use in your company. You should also find out which languages and geographies are supported, because this could be a deal breaker for many firms.


The new NetEnt slot game, Creature of the Black Lagoon, is available at Betsafe since yesterday. And I am already in love with this game!
Creature from the Black Lagoon is the second movie themed slot game from Universal after Frankenstein. And it evolves around a classic scary movie. The game is totally in style with those old-fashioned movies and has some amazing features.
First there are sticky wild symbols. Any time a wild symbol lands on the reels it will stick and a free re-spin is given. If more wilds appear, more re-spins will occur, until no more new wilds appear. This feature happens pretty often and can sometimes pay out some nice wins.
And then there is the free spins feature. Get 3 or more scatter symbols to initiate this feature and get awarded 10, 15 or even 20 free spins. During free spins your goal is to harpoon the creature, every 3 times you do this will change the wild symbol into a better version. A bit like Jack and the Beanstalk. And those wilds are also sticky, so huge wins are possible.
I have to say, I did get the free spins feature quite often, but never really got far with the wild symbols. Maybe coincidental, or maybe they are just hard to collect.
But overall, an amazing ne slot game from NetEnt to end the year with. Creature of the Black Lagoon is the last NetEnt release for 2013 and is now available at Betsafe, which is currently running their seven deadly sins promotions. All other NetEnt casinos will add this game on December 5th!


text:
Tardy hunt for UK variant of virus
Jacob Koshy
NEW DELHI, January 13, 2021 04:37 IST
Updated: January 13, 2021 00:26 IST
Centre not actively looking for community spread of strain, says scientists
File photo of passengers arriving from the U.K. waiting to register themselves for COVID-19 testing. | Photo Credit: Velankanni Raj B
Though the Union Health Ministry has confirmed the presence of 96 instances of the 'UK variant' — a form of the Sars-Cov2 associated with high infections — in India, it is yet to significantly begin looking for the variant in those without such history. So far these variants have only been identified in those with international travel history after November.
The new strain, B.1.1.7, has been reported to have several mutations that likely make it more infectious and is said to be responsible for a spike of coronavirus infections in the UK.
Local spread
Scientists associated with the sequencing exercise, on condition of anonymity, told The Hindu that it was "highly unlikely" the variant wasn't locally present in India in those without travel history and that not enough was being done to actively look for it.
On December 22, the government announced it had set up a consortium of 10 labs across the country to sequence about 45,000 (or 5% of positive cases) from November 23 to December 22.
This is in addition to all of those who've come into India from overseas since November 23 and tested positive, as well as those with a travel history in September and October. So far, efforts have been focussed on sampling 3,000-odd genomes with such history.
Identifying such variants is important because in the event of a rapid spike in cases, it can be analysed if certain variants are responsible. It would also be necessary to grow these viruses in the lab so that scientists can then design appropriate tools to make diagnostic devices or even improve vaccine development efforts. Whole genome sequencing involves bigger machines, more expertise and is the only way to quickly and accurately detect emerging variants of the coronavirus.
'Just a handful'
"So far we've only processed only a handful samples in the general population (of the 5% lot). That's too little and given that the variant has been around since September and many have come in since, there's a good chance that the variant has spread locally in India," said a scientist closely associated with the exercise but is anonymous due to restrictions on discussing these with the media.
Another scientist in another lab involved with the sequencing activity said reagents that are necessary for whole genome sequencing were scarce and restrictions imposed by the government since July prohibited sourcing them.
"Some reagents are only available abroad. No Indian company makes them and yet, we've been asked to procure locally. This greatly hindered sequencing even though the machines were available."
Last week, however a notification from the government has eased this and has clarified a "process" to acquire them, the person — again who couldn't be identified for reasons cited earlier — added, saying, "It will take some time however to catch up on lost time."
According to a detailed proposal unveiled by the government on December 22, a consortium of 10 labs with the capacity to sequence about 30,000 genomes a month — called INSACOG (Indian Sars-cov2 Genomics Consortium) — was created particularly in the wake of reports of infectious variants in the United Kingdom and South Africa.
This plan, however, indicates that the government would prioritise sequencing genomes of those with travel history before moving on the general population.
Renu Swarup, Secretary, Department of Biotechnology,, which coordinates INSACOG, said problems with procurement had been sorted. "We are constantly on the watch for not only the UK variant but others of interest reported from other countries. The sequencing from the population has begun and so far there seems to be no evidence of a wider spread."
"We've cultured viruses from some of the samples at the National Institute of Virology. The sequencing activity is in progress and so far we can confirm that none of these variants have been identified in those without international travel history," Dr Balram Bhargava, Director-General, Indian Council of Medical Research, told The Hindu on the sidelines of a press briefing.
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Printable version | Jan 20, 2021 9:32:59 AM | https://www.thehindu.com/news/national/tardy-hunt-for-uk-variant-of-virus/article33562267.ece
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This chic little pencil dress will turn heads when you walk into the room! The Capsleeve Sweetheart Black Pencil Dress is crafted of a substantial fabric with a bit of stretch to it. It features a flirty sweetheart neckline, cap sleeves, an empire banded waist, and a fitted pencil cut. An invisible back zipper completes this great look. We absolutely love this stylish twist on a classic style! It would be perfect paired with black pumps and accessories—or try punching it up with a bright color. This dress would even look great with a belt or sash around the waist for contrast—so many ways to wear this dress you'll cherish for years. This dress runs a bit large; consider sizing down if you are between sizes.
Details: Invisible back zipper. 95% cotton, 5% spandex. Dry clean only. Small measurements: Length from top of shoulder to hemline: 35". Bust: 34-36".
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/Uncategorized /Can I edit my customers' notes in Ordoro?
Can I edit my customers' notes in Ordoro?
We're happy to report to you that you can now add or edit notes for your customers' orders in Ordoro. Things like gift messages, special instructions, gift wrapping preferences are now editable from within Ordoro. You will be able to edit your customers' notes in two easy ways, by using our Orders List page and our Order details page.
Please follow the instructions below on how to edit/add customer notes in Ordoro.
To edit comments in the Orders List page.
1. Select on the Orders tab, located at the top of your dashboard in Ordoro and then select on Awaiting Fulfillment.
2. Select on the expand icon located to the left of the barcode under Awaiting Fulfillment or you can also find this button to the far right of the order line as seen below.
3. Once the order line has been expanded, you can add or edit a note under Customer Notes by selecting add note. Please note: add a comment located under Customer Notes will not create customer notes but will generate a comment under your timeline and won't be visible to your customers.
4. A module will pop up, please enter your text into this box. Please note that these comments will also appear on your packing lists, so make sure to not get them mixed up with order comments.
5. Select the Save button once complete.
To edit notes using the Order details page.
1. Select on the Orders tab located at the top of your dashboard and then select on Awaiting Fulfillment.
2. Select on the Order Id you would like to edit or add notes to. You will be directed to the order details page.
3. Under Order Summary, you can select Add notes and a module will pop up.
4. Select the Save button once complete.
Where do my customer notes display?
Your notes will be saved into your packing list and will be visible to your customers.
How can I delete my customer notes?
If you accidentally include the wrong text in this field and save it. No worries, the text can be deleted by simply removing the text and pressing 'Save'. Your text field will be clear and ready for new text.


text:
Deze lijst van voetbalinterlands is een overzicht van alle officiële voetbalwedstrijden tussen de nationale teams van Burundi en Namibië. De Afrikaanse landen hebben tot op heden drie keer tegen elkaar gespeeld. De eerste wedstrijd, een kwalificatiewedstrijd voor de Afrika Cup 2017, vond plaats in Bujumbura op 26 maart 2016. Het laatste duel, een kwalificatiewedstrijd voor de Afrika Cup 2023, werd gespeeld op 4 juni 2022 in Johannesburg (Zuid-Afrika).

Wedstrijden

Samenvatting

Wedstrijden bepaald door strafschoppen worden, in lijn met de FIFA, als een gelijkspel gerekend.

Namibië
Burundi


F.P. LOCKLIN & BROTHER, later, F.P. LOCKLIN & Co.
Francis P. Locklin, doing business under the name of F. P. Locklin & Co., a manufacturer of bracelets and cane heads, at 63 to 71 Clymer St., Brooklyn, N. Y., with a sales room formerly at 202 Broadway, New York, has made an assignment in Brooklyn to Nicholas J. White, giving preferences for $2,500.
Mr. Locklin has been in business over 20 years, and formerly claimed a capital of $35,000. The original firm, F. P. Locklin & Bro., dissolved about 18 months ago. The " Co." in the present firm is nominal.
A judgment for $3,278 was entered against Mr. Locklin on Oct. 20th in favor of the Umbrella Co.
Sympathy is extended to Peter H. Locklin, a manufacturer of silverware and umbrella handles, at 142 Fulton St., Manhattan, in the bereavement caused by the death, last Sunday, of his wife, Mrs. Henrietta Knowles Locklin, at her home, 410 Decatur St., Brooklyn. Besides her husband, five sons and a daughter survive.
Peter H. Locklin, Sr., head of the firm of P. H. Locklin & Sons, goldsmiths, at 36 Gold street, New York, and active in the jewelry trade in that city for forty-five years, died at the home of his daughter in Cranford, N. J., in his seventy-fifth year. Mr. Locklin was formerly associated with his brother, Frank P. Locklin, in the manufacture of gold and silver novelties, under the firm name of F. P. Locklin and Brother, but he resigned from this partnership in 1892 and formed a new one with his sons, Peter H. and John L. Locklin as members.
NOTICE is hereby given, that the Partnership formerly subsisting between John Radenhurst and Joseph Stubbs, of Birmingham, in the County of Warwick, Saddlers, Ironmongers and Whip-Manufacturers, was dissolved on the 13th day of April last by the death of the said John Radenhurst; and that the Partnership (if any) subsisting between the Executors of the said John Radenhurst and the said Joseph Stubbs is this day dissolved by mutual consent; all debts owing by and to the firm of Radenhurst and Stubbs, will be paid and received by the said Joseph Stubbs.–Dated the 31st day of March 1834.
Executors of the above named John Radenhurst, deceased.
The business of Richard Williams.
Henry Williams, of No. 44, Ludgate Hill, London, umbrella and parasol manufacturer.
The above advertisement appeared in the catalogue of the wholesaler, Robert H. Ingersoll of New York.
Julius Nussbaum was formerly in partnership with Emanuel Nussbaum until 1888. By 1908 he was occupying the Fann Street and Bridgewater street addresses. Around 1913 he disposed of the business to Alfred Edward Cross.
To Julius Nussbaum, of 237, Rue St. Martin, Paris, in the republic of France, for the invention of " Improvements in umbrellas, parasols, or sunshades."
Julius Nussbaum entered his marks 'J.N' contained within an oblong punch, on the 12th September 1883, and 'J.N' contained within an heraldic shield, on the 12th January 1899 with the London Assay Office.
He also entered marks with the Birmingham Assay Office on the 27th November 1888 and on 12th November 1903.
Guldsmedsaktiebolaget were established in 1867. They merged with C.G. Hallberg in 1961, and acquired Gense (Gustaf Eriksson Nysilverfabriken) in 1964.
James Robertson & Son entered their mark 'J.R & S' contained within an oblong punch, with the Edinburgh Assay Office.
John Dickson Robertson was the sole partner in the business in the earlier part of the 20th century.
SEQUESTRATION of DAVID MILLAR, Builder, Mansfield Cottage, Bellevue, Edinburgh.
Edinburgh, Thomas Sloan, Contractor, Edinburgh, and James Robertson, Umbrella Maker, Leith Street, Edinburgh, have been elected Commissioners. The examination of the Bankrupt will take place within the Bankruptcy Court-room, Sheriff-Court-house, George IV. Bridge, Edinburgh, on Monday the 29th day of March current, at one o'clock afternoon. The Creditors will meet in Messrs J. & G. Smith's Rooms, No. 79, George Street, Edinburgh, on Thursday the 8th day of April 1869, at two o'clock P.M. To entitle Creditors to the first dividend their oaths and grounds of debt must be lodged on or before the 2d day of July 1869.
Date of Sequestration 2d March 1869.
In the Sequestration of RICHARD CRAIG FALCONER, Tinsmith and Plumber, Dalkeith, carrying on business there under the Firm of R. FALCONER & SON, Tinsmiths and Plumbers, of which. Firm he is sole Partner.
Edinburgh, David Dunn, Metal Merchant there, and James Robertson, Umbrella Manufacturer there, have been elected Commissioners. The examination of the Bankrupt will take place within the Bankruptcy-court-room, Sheriff-Court-house, Edinburgh, on Wednesday the 15th day of March 1871, at one o'clock afternoon. The Creditors will meet in Dowell's Rooms, No. 18, George Street, Edinburgh, on Friday the 24th March 1871, at one o'clock afternoon.
Greatly appreciate the extensive listings you posted. I just purchased a Ben Cox umbrella in Brighton and thought you might like to see the handle photo but I don't know how to post it here. It is a full Ivory handle with an Oriental family carving wrapping around. The silk says 'NYLFRANCE FMF CYON' all around the edges. Am I correct to presume it was made prior to 1913 as the stamp on the Malacca shaft slide doesn't mention 'sons' and only says 'London Ben Cox'? Anything you can think of about this item is much appreciated!
http://www.tinypic.com is recommended. Embedded images get a far greater response than just posting links.
The business of William Sydney Hall and Henry Edgar Fitzgerald registered their mark 'H & F' contained within an oblong punch, with the London Assay Office on the 18th October 1899. They also registered a mark 'H & F' contained within an oblong punch with clipped corners, at the Chester Assay Office on the 31st October 1901.
By 1914, Henry Edgar Fitzgerald appears to have left the business and was replaced by Edward Thurston Davies. The business still continued to trade under its original name. A further mark 'H & F' contained within an oblong punch was entered with the Chester Assay Office on the 23rd July 1914.
The firm also registered marks with the Birmingham Assay Office in 1904.
THE CHALFORD STICK Co. Ltd.
Established c.1902 and thought to be in business until perhaps as late as 1981. Besides their Gloucestershire factory, they had warehouses in London, Glasgow and Manchester. They also had agencies in Berlin and Paris.
The owners in 1908 were identified as H.C. Daun, George B. Chell, and H. Isaac. George B. Chell was responsible for the Manchester warehouse.
The Chalford Stick Co.Ltd. entered their marks with the Chester Assay Office. Firstly 'CS' above 'CL' contained within a shield shaped punch, on the 9th February 1902 (Cancelled on the 28th July 1905), and secondly 'C.S C.Ld.' contained within a conjoined diamonds shaped punch on the 28th July 1905.
Established in 1840 by William Dangerfield, it was to become one of the largest and most successful stick-manufacturers in the country and at one time employed as many as 1,000 workers.
Following William Dangerfield's death in 1894, the business is thought changed hands several times before it was acquired in June 1903 by a company headed by A.C. Harrison. The business had offices in London, Manchester, Glasgow, and Paris, and distributed their output all over the world.
In 1912 the business was sold to Sir Alfred Apperly (d.7-9-1913) and it was later formed into a new company styled 'Chalford Woodworkers' who continued the production of sticks etc. until c. 1930.
P. CONSTANTINE & SON, later, CONSTANTINES Ltd.
Recorded as umbrella makers in 1900. They were converted into a limited liability company in c.1905, styled Constantines Ltd. The directors noted as H. Constantine in 1905, and F. Constantine in 1913.
Other addresses noted for this business, 16, 18, 20, Swaine Street, Bradford and 6, York Place, Leeds.
Constantines Ltd. were noted as exhibitors at the British Industries Fairs of 1929 and 1947.
They registered the trade mark 'Aquachute'.
As Constantines Ltd. the business entered their marks, 'C. Ltd' contained within a pennant shaped punch, with the London Assay Office on the 2nd September 1905, and a similar mark, but with a more rounded end to the tip of the pennant, was entered on the 3rd September 1913.