A rotator cuff tear is a common injury, especially in sports like baseball or tennis, or in jobs like painting or cleaning windows. It usually happens over time from normal wear and tears, or if you repeat the same arm motion over and over. But it also can happen suddenly if you fall on your arm or lift something heavy.


Grip+: The Grip+ is "a 27.5 Plus" wheel with a 45mm external, 40mm internal width and an asymmetric rim profile (offset 2.5mm). We have selected a 40mm internal based on our testing with 2.6 to 3.0 tires. We believe that the 2.8 width tire is the optimal "plus" width, above which the handling starts to be affected and the bike steers a bit like a fat bike.
The 40mm size is the right balance between weight and width at that size. The 2.8 tire, especially one of the great sub 800 gram models, will still feel like a fast mountain bike that you can race XC on with amazing grip and rolling speed at 9-15 PSI pressure.
For flowy or rooty courses or when it is greasy, we actually prefer the 27.5 plus to our 29rs. With a 2.8 wide tire you have a reasonable degree of certainty that you can fit the wheels into a 29r frame for an optional tire size.


text:
import { splicesEqual } from "lazy-array/test/helpers";

module("Lazy Array - Basic operations");

test("can make initial insertion", function() {
  var splices = [];
  splices.push([0, 0, 3]);
  splicesEqual(splices);
});

test("can make insertions at splice boundaries", function() {
  var splices = [];
  splices.push([0, 0, 3]);
  splices.push([0, 0, 2]);
  splicesEqual(splices, "at the beginning");
  splices.push([2, 0, 3]);
  splicesEqual(splices, "in the middle");
  splices.push([8, 0, 4]);
  splicesEqual(splices, "at the end");
});

test("can split insertions", function() {
  var splices = [];
  splices.push([0, 0, 2]);
  splices.push([1, 0, 1]);
  splicesEqual(splices);
});

test("can remove without splitting", function() {
  var splices = [];
  splices.push([0, 0, 3]);
  splices.push([0, 3, 0]);
  splicesEqual(splices);
});

test("can remove without splitting across boundaries", function() {
  var splices = [];
  splices.push([0, 0, 3]);
  splices.push([3, 0, 2]);
  splices.push([0, 5, 0]);
  splicesEqual(splices);
});

test("can remove with splitting", function() {
  var splices = [];
  splices.push([0, 0, 3]);
  splices.push([0, 2, 0]);
  splicesEqual(splices, "at the beginning");
  splices = [];
  splices.push([0, 0, 3]);
  splices.push([1, 1, 0]);
  splicesEqual(splices, "in the middle");
  splices = [];
  splices.push([0, 0, 3]);
  splices.push([1, 2, 0]);
  splicesEqual(splices, "at the end");
});

redpajama_set_name: RedPajamaGithub


Perpetual Power specialises in the design, installation, and on-going management of custom power stabilisation, solar, and thermal management solutions for your business.
With extensive experience across multiple industries, we aim to bring the same exemplary levels of craft, service, and no-nonsense expertise to every project, regardless of size or infrastructure.
We'll deliver a smart, efficient, solar energy solution for your business, from 200kW up to several MW – on- or off-grid.
From consultation to commissioning, Perpetual Power offers a comprehensive, end-to-end service to ensure you have the right power protection system for your business, and the environment and training to support it.
We'll monitor your batteries to ensure that any problems are identified before they become critical. When necessary, our stock of leading international battery products will ensure that you're up and running again in the shortest possible time.
Our expert regional teams will safely decommission, upgrade or relocate, reinstall, and recommission your UPS with minimal disruption to your business.
Forewarned is forearmed. Our customisable reporting systems can help to predict electrical anomalies and disturbances, and prevent unnecessary downtime.
You're in safe hands. Our flexible maintenance and emergency support contracts have you covered. Before and when you need it.
You can trust our comprehensive power and thermal management solutions to help keep your sensitive IT environments stable and operating at peak efficiency.
We'll design and expertly install bespoke storage solutions for your IT environment. Large or small.
We offer a range of flexible short- or long-term rental solutions that can be tailored to your specific business requirements.
With operational teams based in Gauteng, the Western Cape and KwaZulu-Natal, we're on hand when you need us.
Widely recognised for their world-class engineering capabilities, Emerson is a global manufacturing and technology company offering a comprehensive range of commercial network power products and climate technologies to the industrial, commercial, and consumer markets worldwide.
An Emerson Network Power brand, Liebert is the world's leading provider of precision cooling, UPS, racks, power management, surge protection and monitoring software.
ABB is one of the world's leading power and automation engineering companies, providing solutions for secure, energy-efficient transmission and distribution of electricity.
SYSTEMS SUNLIGHT S.A is a global player in the field of integrated energy solutions, specializing in the development, production and marketing of batteries and energy storage systems for industrial, advanced technology and consumer applications. In it's third decade of sustained growth, the company today ranks among the world's top providers of energy storage solutions.


Any time a student refers to a teacher as a pedagogue he or she is not suggesting that the teacher has feet which are a foot-and-a-half (sesquipedalian) long.
The Greek ped used in English is a shortened form of the Greek pais (paid-), which means a "child"; usually a "boy", because in old Grecian times, boys were considered "more important" than girls.
Actually, pedagogue means "a child's guide" or "guiding a child". In ancient Athens, the pedagogue was a slave who led his master's children (boys) to school or provided private tutoring. In the U.S., the equivalent of "guiding a child" is now "home schooling". In time, the word became known as a "teacher".
This Greek ped is used primarily in technical terms; such as pedagogics, which refers to the "science of teaching". There is more information about pedoagogue, pedagog on this page.
Another derivative from the Greek ped is a word meaning "education" or the results of "education"; such as, "knowledge" or "learning". The Greek element pedia is found in other Greek words; such as, cyclopedia and encyclopedia, "circles of knowledge".
A desire to give birth to or to bear a beautiful child: Kent and Sally were convinced that their desire to have a callipedia was achieved when their daughter was born.
1. The circle of learning; the whole body of arts and sciences.
2. A book containing extensive information about all branches of knowledge, or about all of the areas of some particular art, science, and specialized information; all of which are arranged alphabetically.
Pertaining to or of the nature of a reference work; often in several volumes, containing articles about various topics that are often arranged in alphabetical order, dealing with the entire range of human knowledge or with some particular contents.
1. The circle of learning; a general course of instruction.
2. A literary work containing extensive information about all branches of knowledge which are normally arranged in alphabetical order.
3. An elaborate and exhaustive repertory of information on all the branches of some particular art or department of knowledge.
4. Etymology: from Greek egkukiopaideia, "general education"; from egkuklios, "general" + paideia, "education"; from pais, "boy, child"; however, literally "training in a circle" from enkyklios, "circular" + paideia, "education, child-rearing", from pais, "boy, child".
The term encyclopedia is said to be an erroneous form (a false reading) occurring in manuscripts of Quintilian, Pliny, and Galen, for "encyclical education", the circle of arts and sciences considered by the Greeks as essential to a liberal education.
A reference to a whole circle of learning that comprises a wide range of subjects.
Pertaining to, or resembling an encyclopedia; that strives to present information about all branches of learning; and relating to universal knowledge and comprehensive.
1. A compiler of or a writer for an encyclopedia.
2. Someone who attempts to deal with every branch of knowledge, or whose studies have a very extensive range.
The dances or other exercises performed by unclad boys at public festivals in ancient Greece: The gymnopaedia on festive occasions in Greece included boys who were not wearing any attire because it was a tradition in those days.
1. Instruction in a subject; such as, a foreign language, during sleep, usually with the use of recordings and a pillow-speaker: In other words, hypnopedia is "sleep-learning".
2. Etymology: from Greek hypnos, "sleep" + paideia "child".
A company that supplies multimedia and interactive television services and digital arts software tools and information is presented in the form of extended articles.
A system in which information is presented in condensed or shortened formats.
A morbid hatred of or an aversion to children; sometimes including one's own child: Kathy has a feeling of misopedia which was intensified when her neighbor's son accidentally hit a baseball through her living room window and he denied doing it even though she saw him do it while she was outside working in her garden.
Obviously there are many examples of misopedias taking place in some societies, because every once in a while, there are news reports that reveal information about some adults being prosecuted for not taking care of their children or because they were mistreating them.
Someone who has a fear and strong dislike about being around children which may include his or her own child or children: Mary was a misopedist who sometimes went to visit her older sister who had a baby, but she tried to avoid letting the child touch her because she couldn't tolerate such contact.
1. Relating to or concerned with the cure of deformities in children, or of bodily deformities in general.
2. Orthopedic bed, a bed in an orthopedic ward; normally one individually designed to relieve specific skeletal symptoms; more generally, a bed with a very firm mattress or board.
It also refers to orthopedic bedding, divan, etc.
3. An orthopedic shoe, a shoe designed to ease or to correct deformities of the feet; also, orthopedic boot, footwear.
Showing page 1 out of 5 pages of 65 main-word entries or main-word-entry groups.


text:
Melitaea alboocellata är en fjärilsart som beskrevs av Leo Andrejewitsch Sheljuzhko 1929. Melitaea alboocellata ingår i släktet Melitaea och familjen praktfjärilar. Inga underarter finns listade i Catalogue of Life.

Källor

Praktfjärilar
alboocellata

redpajama_set_name: RedPajamaWikipedia


I wrote recently about Tathra and how resilient its residents had been following devastating fires that had destroyed some 70 homes — and how the small NSW South Coast town was producing some of the country's finest oysters. On just a short visit I found that there was plenty to do in Tathra, especially, but not exclusively, on the dining front. Here are half-a-dozen things well worth pursuing: Stay below the limit if you're driving, but have a beer, or two or three, in the historic Tathra Hotel, which dates from 1888 and occupies prime real estate on a point with great ocean vistas. I've heard it claimed that it's the must attractively located pub in Australia. There are plenty of others that would dispute that claim, so let's just settle for 'one of'. Renovations have included the addition of four roomy and quite luxurious suites, plus a terrific bar and dining area. There are also plans to add a micro-brewery and the bar already stocks some terrific independent-maker beers on tap, including the excellent Crankshaft IPA by Canberra's BentSpoke. Phone (02) 6494 1101 or visit www.tathrahotel.com.au  Say g'day to legendary Australian rocker Frankie J Holden while staying at Tathra Beachside. He was in Sydney during my visit, but I did thoroughly enjoy my stay at his 'retirement' project, which includes accommodation ranging from well equipped holiday units to powered van and camp sites. It really is beachfront and the appeal as a summer holiday destination must be magnetic. It almost goes without saying that music plays a leading role at Beachside, and that Frankie J often adds a personal touch, such as playing at the Rockabilly Retro Week the park sponsored last year. Phone (02) 6494 1302 or visit www.tathrabeachside.com.au You'll recognise her by the shock of red hair and she's always ready to have a chat about the excellent, largely local, produce she stocks, ranging from spices through fresh meats to cheeses and breads. The café also serves lunch, and the coffee is first rate, as is the location directly across the road from the beach. Phone (02) 6494 5145 or visit www.facebook.com/BlendAtTathra The owners, sisters Emma and Poppy Benton, have secured a great position, right on the town's historic wharf and serve delicious breakfasts and lunches as well. As well as fresh bread, pastries and other local produce, The Wharf Locavore also markets an exceptional ranges of pottery and beauty products. For the owners a favourite pastime is sitting on the wharf, sipping coffee and watch whales glide by, sometimes coming right up and nudging the historic timber structure. Phone 0438 762 175 or visit www.facebook.com/thewharflocal Visit On the Perch Bird Park and feed the many birds that owner and curator Steve Sass obviously loves and takes care of like they were part of his family, which I guess they are. To the point where he doesn't open if he thinks conditions will overstress the birds. Steve runs daily 'Meet the Keeper' sessions which help visitors understand the 80-odd types of birds in the aviary, including nearly 20 species that are endangered. Phone (02) 6494 1169 or visit www.ontheperch.com.au Be sure to visit Fat Tony's Bar and Grill and you'll discover that there's absolutely no truth in the restaurant's name. Owner Anthony Little is the fittest, slimmest Fat Tony you'll ever cross paths with and he runs a very slick operation out of a renovated 1905 heritage cottage. My entrée of crisp, lime-scented calamari was exemplary, as was 'Phat Pasta' main course. The tagliatelle was cooked to perfectly al dente, and woven through a delicious mix that included wild mushrooms, semi-dried tomatoes and asparagus. As I said, delicious. Phone 6494 4550 or visit www.fattonys.com.au John Rozentals was a guest of Destination NSW.
A delicious pastry at The Wharf Locavore.
I wrote recently about Tathra and how resilient its residents had been following devastating fires that had destroyed some 70 homes — and how the small NSW South Coast town was producing some of the country's finest oysters.
On just a short visit I found that there was plenty to do in Tathra, especially, but not exclusively, on the dining front.
The Tathra Hotel … tasteful renovations in keeping with an historic building.
Stay below the limit if you're driving, but have a beer, or two or three, in the historic Tathra Hotel, which dates from 1888 and occupies prime real estate on a point with great ocean vistas.
I've heard it claimed that it's the must attractively located pub in Australia.
There are plenty of others that would dispute that claim, so let's just settle for 'one of'.
Renovations have included the addition of four roomy and quite luxurious suites, plus a terrific bar and dining area.
There are also plans to add a micro-brewery and the bar already stocks some terrific independent-maker beers on tap, including the excellent Crankshaft IPA by Canberra's BentSpoke.
Say g'day to legendary Australian rocker Frankie J Holden while staying at Tathra Beachside.
He was in Sydney during my visit, but I did thoroughly enjoy my stay at his 'retirement' project, which includes accommodation ranging from well equipped holiday units to powered van and camp sites.
It really is beachfront and the appeal as a summer holiday destination must be magnetic.
It almost goes without saying that music plays a leading role at Beachside, and that Frankie J often adds a personal touch, such as playing at the Rockabilly Retro Week the park sponsored last year.
Bronwyn Pividori … doing great things with Blend@Tathra.
You'll recognise her by the shock of red hair and she's always ready to have a chat about the excellent, largely local, produce she stocks, ranging from spices through fresh meats to cheeses and breads.
The café also serves lunch, and the coffee is first rate, as is the location directly across the road from the beach.
Emma Benton … not surprised that customers are often tempted to buy the whole shop.
The owners, sisters Emma and Poppy Benton, have secured a great position, right on the town's historic wharf and serve delicious breakfasts and lunches as well.
As well as fresh bread, pastries and other local produce, The Wharf Locavore also markets an exceptional ranges of pottery and beauty products.
For the owners a favourite pastime is sitting on the wharf, sipping coffee and watch whales glide by, sometimes coming right up and nudging the historic timber structure.
Steve Sass … the birds have become part of his family.
Visit On the Perch Bird Park and feed the many birds that owner and curator Steve Sass obviously loves and takes care of like they were part of his family, which I guess they are.
To the point where he doesn't open if he thinks conditions will overstress the birds.
Steve runs daily 'Meet the Keeper' sessions which help visitors understand the 80-odd types of birds in the aviary, including nearly 20 species that are endangered.
Be sure to visit Fat Tony's Bar and Grill and you'll discover that there's absolutely no truth in the restaurant's name.
Owner Anthony Little is the fittest, slimmest Fat Tony you'll ever cross paths with and he runs a very slick operation out of a renovated 1905 heritage cottage.
Anthony Little … the fittest-looking Fat Tony you're likely to meet.
My entrée of crisp, lime-scented calamari was exemplary, as was 'Phat Pasta' main course.
The tagliatelle was cooked to perfectly al dente, and woven through a delicious mix that included wild mushrooms, semi-dried tomatoes and asparagus. As I said, delicious.


Ibiza mamas (and papas!) looking for a unique experience for the little ones on Halloween, look no further than the Ibiza Mamas Trick or Treat Train Ride. Parents and kids meet at Can Xarc in Santa Eulalia at 4pm on Halloween night, for some pre-train tapas, fun in the playground and to participate in decorating the train for the evening's ride. Then the train leaves at 5pm, snaking its way through some of the spookiest, scariest stops in the area, where kids can play trick or treat with the owners, before returning to Can Xarc at 7pm, for more fun and a kids indoor disco.


After a few months break, MCDE is back with a double 12" pack - 6 exclusive tracks selected by label's heads Pablo Valentino & Danilo Plessow. 1st record features a cut from the Raw Cuts CD Motor City Drum Ensemble "Monorail" never available on vinyl before. On the backflip MCDE & Felix 'BNCKD' (Praterei/Waxolutionists-Vienna) team up to deliver 2 tracks from HUNDRED20 their outift of fully analogue Chicago crumbled house.
2nd record offer anotha cut from the Raw Cuts CD "There's a Truth" feat. the voice of Stee Downes + a beautiful remix of "Monorail" in the pure tradition of Detroit House by young gentleman John Roberts, who recently got highly acclameid for his full lenght "Glass Eights".On the B side you'll find the joint entitled "Now" already causing dancefloor damage by the French duo Creative Swing Alliance which consist of Pablo Valentino & Steven-J, responsible earlier this year for the "One Week in Strasbourg EP". Don't sleep on this release! TIP!


text:
A Quiet Inquisition
A Quiet Inquisition Trailer
At a public hospital in Nicaragua, OBGYN Dr. Carla Cerrato must choose between following a law that bans all abortions and endangers her patients or taking a risk and providing the care that she knows can save a woman's life. In 2007, Dr. Cerrato's daily routine took a detour. The newly elected government of Daniel Ortega, a former Marxist revolutionary who converted to Catholicism to win votes, overturned a 130-year-old law protecting therapeutic abortion. The new law entirely prohibits abortion, even in cases of rape, incest, or when a woman's life is at stake. As Carla and her colleagues navigate this dangerous dilemma, the impact of this law emerges—illuminating the tangible reality of prohibition against the backdrop of a political, religious, and historically complex national identity. The emotional core of the story—the experiences and situations of the young women and girls who are seeking care—illustrate the ethical implications of one doctor's response.
Alessandra Zeka and Holen Sabrina Kahn
In Spanish with English subtitles
Alessandra Zeka
Director, Producer, Cinematographer
Since founding Adrenaline Films in 1998, Alessandra Zeka has created a dynamic cinematic style wherein her subjects tell their stories compellingly and intimately. Her work often focuses on the lives of women and gender identity.
Holen Kahn
Director, Producer, Editor
Since 1998 Holen has partnered with Adrenaline Films to produce and direct human rights based documentary films. Her work has been exhibited widely in festivals, galleries and broadcast in the U.S. and internationally.
A Quiet Inquisition film website
Restrictive abortion laws are not only bad public health policy—they violate women's human rights. For a decade, Human Rights Watch has documented the grave impact of such laws on women's health and rights throughout the world, with a focus on Latin America. Human Rights Watch published a report entitled Over Their Dead Bodies in 2007, after the ban on therapeutic abortions was put in place in Nicaragua. It found that women were already afraid to seek treatment and that doctors were afraid to provide it; some had watched women die out of fear they would be prosecuted.

redpajama_set_name: RedPajamaCommonCrawl


text:
Corish, Ned
The death has occurred of Ned Corish
Our Lady's Island, Broadway, Wexford
Corish (Our Lady's Island and late of Balllysheen, Carne, Co. Wexford), December 5, 2019, Ned, beloved husband of Margaret and loving father of Lindsay, Lorraine and Leonnie, son of the late Bridie and Kevin, brother of Betty, Jack, Paddy, Nano, Kevin, Martin, Tom, Tina and the late Margaret and Dick, sadly missed by his family, sons-in -law Emmett, Michael and Aaron, grandchildren Cian, Dylan, Clara, Maddie, Jack, Sam, and Kyle, brothers-in-law, sisters-in-law, nephews, nieces, relatives and friends. R. I. P. Reposing in Mulligans Funeral Home, The Faythe, Wexford on Friday from 4pm until 8pm. Funeral Mass in Church of the Assumption Our Lady's Island on Saturday at 12 noon. Burial afterwards in Our Lady's Island Cemetery.
Paddy Mulligan Funeral Director
40a The Faythe,
Wexford Town,
pmulliganfuneraldirector@eircom.net


Our wide range of Fresh Sea Market products is made locally in Canada, allowing a longer shelf life. All our Fresh Sea Market products are sold fresh, never frozen. These products are made from kamaboko, a special blend of refined white fish and offer versatility and great taste without the addition of preservatives. Try all our Fresh Sea Market offerings of surimi crab, fish balls and steamed, boiled, fried or broiled kamaboko and taste the difference.
Ocean Food surimi crab is sold fresh, never frozen and comes already cooked. It is available in leg and flake form, as well as in lobster flake form. Surimi crab legs appear sophisticated, much like real crab legs and can be served cold or hot. Another popular way to serve crab legs is in sushi or gimbap. The legs can be flaked, paired with a dipping sauce and served as an appetizer. The flake-form surimi crab products are convenient for using in salads, pastas, sandwiches and dips.
Ocean Food Steamed products are sold fresh, never frozen and are packaged as ready-to-eat. Steamed kamaboko is the most common form of kamaboko, as the steaming process preserves the soft and "suwari", the springy texture, of the surimi. Try our three types: Naruto Maki, Rainbow and Red. The Rainbow Kamamboko combines shades of green, white and red while the Naruto Maki has a distinctive red swirl. All of our handmade steamed kamaboko make an excellent accompaniment on top of ramen, noodles, hotpot or on its own as an appetizer.
Ocean Food Broiled products are sold fresh, never frozen and can be eaten as-is. The broiled brown kamaboko and the chikuwa both offer a smoky flavour and delicious texture. Chikuwa, meaning "bamboo ring," gets its name from its unique shape when sliced. This low-fat source of protein can be enjoyed as a snack, as well as, in dishes such as udon, yakisoba and Japanese curry.
Ocean Food Fried products are sold fresh, never frozen and arrive pre-cooked. The products are lightly fried, giving them a delicate taste while still preserving the firm texture of high-quality kamaboko. We offer a wide range of fried kamaboko, with varying flavours and fillings, including gobo (burdock) and vegetable. There's so much versatility in fried kamaboko that you can use them in almost anything from sushi to stir-frys to sandwiches.
Ocean Food Fish Balls are sold fresh and never frozen. Fish balls are one of the most common uses for surimi. Our fish balls are made with a wide variety of ingredients and flavours. We have plain fish balls, crab balls, fried fish balls and crab-flavoured fish balls. The fish balls can be enjoyed with noodles and soups. You can also barbecue the fish balls or cook them at your next hotpot gathering.


text:
I Wonder If I Take You Home
Lisa Lisa & Cult Jam, Cult Jam, Full Force & Lisa Lisa 1984
Lisa Lisa & Cult Jam, Full Force, Cult Jam & Lisa Lisa 1985
Lost in Emotion (Re-Recorded)
Lisa Lisa & Cult Jam 2010
I Wonder If I Take You Home (Re-Recorded)
Let the Beat Hit 'Em
Let the Beat Hit 'Em - Single 2011
About Lisa Lisa
Based in Brooklyn, vocalist Lisa Lisa (born Lisa Velez) and her supporting band, Cult Jam (Mike Hughes and Alex "Spanador" Moseley), were one of the most consistent dance-pop/R&B groups of the mid-'80s. Hughes and Mosley were also members of Full Force, the funk group that performed and produced the majority of Lisa Lisa and Cult Jam's albums.
Lisa Lisa and Cult Jam recorded their debut single, "I Wonder if I Take You Home," soon after forming in 1985, releasing it as an independent single. The group quickly signed to Columbia Records, which re-released the single; it climbed into the R&B Top Ten and the U.K. Top 20. The group amassed a number of hit songs throughout the '80s, yet by the end of the decade their success had begun to dry up; they disbanded after 1991's Straight Outta Hell's Kitchen. Lisa Lisa embarked on a solo career, releasing the commercially unsuccessful LL 77 in 1993. ~ Stephen Thomas Erlewine


Are you a motivated individual with a passion for helping people and a tendency to have some fun doing it? Then, we think we just might be a better team with you on it. Our team is full of down-to-earth people with a "work hard, play hard" mentality and outside interests, hobbies, families and lives. Because, after all, we know that a great team member is one that is happy inside our walls and outside them! Ready to make a name for yourself? It's not just your career, it's your future – so make sure you join a team where you feel at home. BerganKDV gives you the opportunity to work alongside professionals at all levels and explore what works best for you. Start here, even before you graduate, and begin building you the future you want.
BerganKDV provides expertise to businesses and individuals in the areas of CPA services, individual wealth management, 401k advisory services, outsourced technology, estate and trust, business valuations, fraud and forensic, life and disability insurance, outsourced accounting and payroll, hosted QuickBooks. Our experts have significant industry experience with professional services, construction and real estate, manufacturing and distribution, nonprofit, cities and schools.


How much public scrutiny is in order when a judge is deciding life and death?
Over the past month, separate rulings on confidentiality motions, brought by two terminally ill people in Alberta and Ontario seeking court approval for a physician-assisted death, granted extensive privacy protections, including anonymity for the applicants, their families and their doctors.
On March 7, Ontario Superior Court Justice Thomas McEwen granted anonymity to A.B., an 80-year-old applicant with advanced aggressive lymphoma, and to his family and doctors; banned publication of their identifying information; and sealed the court file. Justice McEwen also accepted the applicant's "reasonable" proposal, made following discussions with media counsel, to file a publicly available, redacted copy of all the evidence, documents and pleadings, including an explanation for the redactions: A.B. v. Canada (Attorney General)  ONSC 1571.
The lawyers involved in A.B., and X.Y., another physician-assisted death application pending in Ontario, have agreed to an informal protocol for best practices on confidentiality motions, said Peter Jacobsen of Toronto's Bersenas Jacobsen Chouest Thomson Blackburn LLP, counsel for CBC, CTV, the Globe and Mail and Postmedia in all three cases.
"This is really important because, given the very grave nature of the orders that the courts are being asked to make, there does need to be as much oversight as possible, yet at the same time we want to preserve the rights of privacy in those persons who have a valid claim to it," he told The Lawyers Weekly.
The practice agreed to by Ontario counsel includes notice to the media; no closed courtroom; and supplying media with a redacted application record (including explanations for the redactions) in advance of the hearing of the Carter application, so that media can challenge the redactions in court, if they want.
However the constitutional scholar noted that other privacy orders which depart from the open court principle, such as anonymization of people's names, raise a "tougher" issue in such cases. In that respect the approach taken by Ontario counsel, "offers a solution that is fair and compassionate to those who seek the court's assistance, but does not unduly compromise the open court principle," Cameron said by email.
Jacobsen's clients did not oppose the applicants' request to keep their names, or their family members' names, secret. However the media coalition did initially balk at keeping secret the names of the involved physicians, partly due to the prospect that "death doctors" could rubber-stamp requests for medical-aid-in-dying.
Fuldauer said he doesn't think death doctors running amok is "a real concern," given that judges are currently the gatekeepers, and that the new law Ottawa will roll out in the coming weeks is considered likely to require opinions from two independent doctors.
Justice McEwen also noted that this "prospective" concern did not confront the court in A.B. The judge also pointed out that courts hearing such applications will be privy to the doctors' identities, and can ask about the physicians' track record in such cases.
In the cases thus far, Jacobsen said the individual doctors involved have variously indicated they don't plan to assist with many (or any) more deaths. "They've also explained why they need confidentiality," he said. "They're very concerned about others reacting to the fact that they're involved in assisted death…There's quite a contingent of individuals out there who oppose the process, and [doctors] are concerned about being stigmatized themselves, or being criticized, or their family being harassed as a result of them being involved." There is also underlying concern about their safety.
The judge said she hoped her written reasons, which detailed the evidence supporting the conclusion that H.S. met the Supreme Court-imposed criteria for a physician-assisted death, "strikes the appropriate balance between the salutary and deleterious effects of such an order and achieves the openness and public access" mandated by the top court.
In A.B., the applicant did not seek an in camera hearing. While he did seek a sealing order of the court file, including the motion record filed for the preliminary confidentiality motion, his counsel proposed that the applicant be allowed to deliver a redacted application record that would excise only information identifying him, his family, the responding physicians and other healthcare providers. The applicant would file the redacted version of the application record with the court in the usual way, and would explain the nature of the redactions, thus enabling the media respondents to challenge the nature and scope of the redactions before the application judge.
The media did not oppose an order permitting the applicant to proceed anonymously and banning publication of his identity or that of his family members. They did oppose providing anonymity to the respondent physicians involved in the man's care.


Here in the U.K. the daylight hours are becoming fewer in number and so the days are becoming shorter; it is now dusk at 5 p.m. rather than at 10 p.m. as we were all used to at the height of summer. There can seem less time to do what needs to be done on some days - the lawn cannot so easily be mowed at 9 p.m. in October as it could in August!
People in the street are now wrapping up to protect themselves from the elements with coats, jumpers and jackets, which are far removed from the shorts and t-shirts which were sported only weeks ago. As the seasons change, so do people's expectations of what can be done and how they should go about preparing for the day.
As it sit with clients I have often observed that those who navigate the circumstances of their personal situation most successfully are often those who pay attention to the prevailing wind and adjust their sails accordingly. For a client to know when is best to try and effect change, and when to sit tight and ride out their difficulties, seems often to be one of the keys to them feeling they have successfully tackled whatever they are struggling with.
Often if a client is in distress they understandably want a rapid resolution to their problem. A person suffering with depression may feel that they have struggled long enough and now want immediate relief. It seems that if it is acknowledged that low mood can take time to develop, it is more readily accepted that putting in place strategies for managing it and aiming to master it will take a little time also.
Similarly, periods of loss or bereavement may need to be accepted as just that - periods of time that cannot necessarily be speeded up or bypassed with a shortcut. That is not to say that those difficult feelings will persist forever, but rather that given time the darkness can brighten, just as the early dusk gives way each following year to light nights and summer warmth.
When dealing with difficult periods in your life, do you have a tendency to want to constantly swim against the tide, or have you learned to be carried a little by the current while you decide where best to apply your stroke?


Where to eat ethnic in Florence? Below you can find the complete list of all places registered to firenzenotte under the category "ethnic restaurants". The places at the top are those updated more recently.


text:
Вперед (, ) — село у складі Давлекановського району Башкортостану, Росія. Входить до складу Поляковської сільської ради.

Населення — 957 осіб (2010; 985 в 2002).

Національний склад:
 башкири — 41 %
 татари — 26 %
 росіяни — 26 %

Примітки

Посилання
 На Вікімапії

Населені пункти Давлекановського району
Села Башкортостану


combines professional-grade analog components, renowned Harman digital signal processing and a built-in USB audio interface to use with your favorite Mac or PC editing software. Whether you're a singer-songwriter or a podcaster, Notepad-8FX offers best-in-class features like Lexicon effects, so you can bring a level of polish to your creative productions that's sure to impress.
Share your thoughts with other customers on Soundcraft Notepad-8FX Small-format Analog Mixing Console with USB I/O.


text:
The following is the list of awards and nominations received by Cara Delevingne.

British Fashion Awards

British Independent Film Awards

British LGBT Awards

CinemaCon Awards

Elle Style Awards

Melhores do Ano Atrevida

People's Choice Awards

Teen Choice Awards

Young Hollywood Awards

References

Delevingne


Introduction: To determine the association between body mass index (BMI) and damage in patients with systemic lupus erythematosus (SLE). Methods: This is a Cross-sectional analytical study. The main variables were body mass index (BMI) <25 kg/m2 (normal) and ≥25 kg/m2 (overweight and obesity) and damage measured by SLICC-ACR (Systemic Lupus International Collaborating Clinics/American College of Rheumatology) damage index. Other variables were sociodemographic and laboratory features, drug use and subtotal percentage of fat, leg fat, trunk fat and trunk/leg fat ratio. Results: There were studied, 309 patients. Women were 287 (92, 88%) and the average age was 42 ± 12, 98 years. The number of patients with BMI ≥ 25 kg/m2 was 194 (62, 78%). The prevalence of damage was 149 (48, 22%) patients. In the univariate analysis, the variables associated were advanced age, increased year of education, increased disease time, hypertriglyceridemia, hypercholesterolemia, low levels of HDL (<40mg/dl), higher creatinine levels, increased prednisone use, diagnosis of hypertension, actual use of immunosuppressive drugs and higher trunk/leg fat ratio. In the multivariate analysis, the associated variables were advanced age (PR:1,02; CI95%1,01-1,03), actual use of immunosuppressive drugs (PR:1,49; CI95% 1,02-2,19) and greater proportion of fat ratio trunk/leg (PR:1,24; CI95%:1,11-1,39). There was no association between BMI and damage. Conclusions: In the present study, no association between BMI (overweight/obesity) and damage was found. However, we obtained the association with the use of immunosuppressive drugs, higher trunk/leg fat ratio and older age.


Mike Leach would love to be back on the sidelines next season. He says he just hasn't heard from anyone interested in hiring him yet.
The former Texas Tech coach is getting some lobbying help for the open job at Miami, though.
Donald Trump sent a letter to university President Donna Shalala this week, suggesting the Hurricanes hire Leach to replace the departed Randy Shannon. Leach and Trump have been friends for several years.
"It'd be fun" to coach at Miami, Leach told The Associated Press.
After all, it's just a three-hour drive to Miami from Key West, Fla., where Leach moved his family from Lubbock shortly after his dismissal last December.
Besides Miami, there are Big Ten coaching vacancies at Indiana, which fired Bill Lynch over the weekend, and Minnesota, which dismissed Tim Brewster during the season. Speculation abounds about the future of Rich Rodriguez at Michigan, which ended the year 7-5, and Pac-12-bound Colorado fired Dan Hawkins, too.
"I think most folks know where to find me," Leach said.
The fact that he hasn't heard from any schools with openings, "further illustrates the damage" the firing has had on his reputation, Leach said.
Texas Tech fired Leach on Dec. 30, 2009, two days after suspending him amid allegations he mistreated Adam James, a receiver with a concussion. James, the son of former NFL player and ESPN analyst Craig James, has said Leach twice ordered him to stand for hours while confined in a dark place during practice.
Leach has denied he mistreated the player and suspects an $800,000 bonus he was to have received Dec. 31, 2009, was the reason he was fired. He has sued the university for wrongful termination and filed a separate libel suit last week that accuses ESPN and a Dallas PR agency of slander.
As for football, Leach said he doesn't care which conference he winds up in. What matters to him, he said, is to coach a competitive team at a school that backs his emphasis on academics and in a position where there would be stability.
At least he has Trump on his side. The tycoon lobbied Miami to hire Leach in 2006, when they ultimately chose Shannon. University officials confirmed the authenticity of Trump's note Wednesday.


text:
Stefanie Sun
Young Woman Achiever 2001
Singapore's most famous musical export has sold more than 30 million copies of her 14 albums during the span of her illustrious career. She also sang two National Day theme songs – We Will Get There (2002), and One United People (2003).
In 2005, she won the NTU Nanyang Outstanding Young Alumni Award and the NTU Nanyang Distinguished Alumni Award in 2014. She also won the Singapore Youth Award (Arts and Culture) in 2007 for her outstanding achievements in the music scene, and her contributions to the local and international community. In 2010, she was awarded the title of Singapore Tourism Ambassador for Greater China by the Singapore Tourism Board (STB), and in 2011, the Business China Young Achiever Award for being a bilingual and bicultural role model for the young.
She has won a total of 59 awards and other accolades for her music in the course of her career in Singapore, Taiwan, China and Hong Kong.


text:
Q: How to update current data after redirect operation in React? import React, { Component } from "react";
import Header from "components/Headers/Header.jsx";
import Consumer from "../../context";
import {
  Card,
  CardHeader,
  CardFooter,
  DropdownMenu,
  DropdownItem,
  UncontrolledDropdown,
  DropdownToggle,
  Pagination,
  PaginationItem,
  PaginationLink,
  Table,
  Container,
  Row
} from "reactstrap";

class Products extends Component {
  render() {
    return (
      <>

        <Consumer>
          {value => {
            const { products } = value;

            return (
              <Container className="mt--7" fluid>
                <Row>

                    <Card className="shadow">
                      <CardHeader className="border-0">

                            Products

                            <icon className="ni ni-fat-add "></icon>

                      </CardHeader>

                              Prooduct Name

                              *

                          {products.map(product => {
                            return (

                                    {product.ProductName}

                                  <UncontrolledDropdown>
                                    <DropdownToggle
                                      className="btn-icon-only text-info"
                                      href="#pablo"
                                      role="button"
                                      size="sm"
                                      color=""
                                      onClick={e => e.preventDefault()}
                                    >

                                    </DropdownToggle>
                                    <DropdownMenu
                                      className="dropdown-menu-arrow"
                                      right
                                    >
                                      <DropdownItem
                                        href="#pablo"
                                        onClick={e => e.preventDefault()}
                                      >
                                        Delete
                                      </DropdownItem>
                                      <DropdownItem
                                        href="#pablo"
                                        onClick={e => e.preventDefault()}
                                      >
                                        Update
                                      </DropdownItem>
                                      <DropdownItem
                                        href="#pablo"
                                        onClick={e => e.preventDefault()}
                                      >
                                        Go To Page
                                      </DropdownItem>
                                    </DropdownMenu>
                                  </UncontrolledDropdown>

                            );
                          })}

                      <CardFooter className="py-4">

                          <Pagination
                            className="pagination justify-content-end mb-0"
                            listClassName="justify-content-end mb-0"
                          >
                            <PaginationItem className="disabled">
                              <PaginationLink
                                href="#pablo"
                                onClick={e => e.preventDefault()}
                                tabIndex="-1"
                              >

                                Previous
                              </PaginationLink>
                            </PaginationItem>
                            <PaginationItem className="active">
                              <PaginationLink
                                href="#pablo"
                                onClick={e => e.preventDefault()}
                              >
                                1
                              </PaginationLink>
                            </PaginationItem>
                            <PaginationItem>
                              <PaginationLink
                                href="#pablo"
                                onClick={e => e.preventDefault()}
                              >
                                2 (current)
                              </PaginationLink>
                            </PaginationItem>
                            <PaginationItem>
                              <PaginationLink
                                href="#pablo"
                                onClick={e => e.preventDefault()}
                              >
                                3
                              </PaginationLink>
                            </PaginationItem>
                            <PaginationItem>
                              <PaginationLink
                                href="#pablo"
                                onClick={e => e.preventDefault()}
                              >

                                Next
                              </PaginationLink>
                            </PaginationItem>
                          </Pagination>

                      </CardFooter>
                    </Card>

                </Row>
              </Container>
            );
          }}
        </Consumer>
      </>
    );
  }
}
export default Products;

After adding a product in a React project, we redirect to the page where the products are listed, but the last product I added before refreshing the page does not appear in the list.
import React, { Component } from "react";
import Header from "components/Headers/Header.jsx";
import axios from "axios";
import Consumer from "../../context";
import { withRouter } from "react-router-dom";

class AddProduct extends Component {
  state = {
    ProductName: ""
  };

  validateForm = () => {
    const { ProductName } = this.state;
    if (ProductName === "") {
      return false;
    }
    return true;
  };
  changeInput = e => {
    this.setState({
      [e.target.name]: e.target.value
    });
  };
  addProduct = async (dispatch, e) => {
    e.preventDefault();

    const { ProductName } = this.state;

    const newProduct = {
      ProductName
    };

    if (!this.validateForm()) {
      this.setState({
        error: true
      });
      return;
    }

    const response = await axios.post(
      "http://localhost:54663/api/product/addproduct",
      newProduct
    );

    dispatch({ type: "ADD_Product", payload: response.data });

    // Redirect
    this.props.history.push("/admin/products", [ProductName]);
  };

  render() {
    const { ProductName } = this.state;
    return (
      <>

        <Consumer>
          {value => {
            const { dispatch } = value;
            return (

                <form onSubmit={this.addProduct.bind(this, dispatch)}>

                    Product Name
                    <input
                      type="text"
                      className="form-control"
                      name="ProductName"
                      id="productName"
                      placeholder="Product Name"
                      value={ProductName}
                      onChange={this.changeInput}
                    />

                  <button type="submit" className="btn btn-primary">
                    Add
                  </button>

                    Cancel

                </form>

            );
          }}
        </Consumer>
      </>
    );
  }
}
export default withRouter(AddProduct);

And,
I want to see the data added to the products table using the API on the current page.
Even though it is redirecting now, I can't see the last data added before the page is refreshed.

redpajama_set_name: RedPajamaStackExchange


text:
Exotic? A Curator's Note – by Noémie Etienne
Exotic? Switzerland Looking Outward in the Age of Enlightenment, Palais de Rumine, Lausanne, September 24, 2020 – February 28, 2021.
Curated by Noémie Etienne, Claire Brizon, and Chonja Lee in collaboration with Etienne Wismer and Sara Petrella. Scenography: Atelier Frédéric Dedelley in collaboration with Jocelyne Fracheboud.
Interactive visit of the exhibition online.
The first room of the exhibition Exotic? Switzerland Looking Outward in the Age of Enlightenment, on view until February 2021, gathers a multitude of objects from the collections of the Palais de Rumine in Lausanne (Fig. 1). What are these objects? What among them is considered "art," and what is not? What is old, and what is new? No accompanying information is provided, except in the form of a QR code granting access to a list of the room's contents and to the series of questions that reverberate throughout the space in the form of a sound installation. The effect of this display is unsettling. It introduces the exhibition curated by a group of scholars at the University of Bern whose research focuses on the global and colonial histories of the Old Swiss Confederacy between 1660 and 1815 (today's Switzerland, with the addition in 1815 of Geneva, Neuchâtel, and the Wallis).
Fig. 1. Exotic? Looking Outwards in the Age of Enlightenment, Lausanne, Palais de Rumine. Installation view, first room. Scenography: Atelier Frédéric Dedelley. © Lionel Henriot.
The starting point for this project was a lacquer commode in the collection of the Getty Museum in Los Angeles. I came across this commode in 2015, while I was a postdoctoral research fellow at the Getty Research Institute. It constitutes, in part, an old Japanese lacquer fragment that is inserted yet also concealed within a piece of French furniture. Other parts of the object are made up of a type of French imitation lacquer known as Vernis Martin. Why was this commode made in this way, I asked myself? Why even bother to preserve and display such a foreign fragment in a French eighteenth-century setting? Why try to imitate the gloss and dark black of Asiatic lacquer? Consulting the Encyclopédie, I noted that the Chevalier de Jaucourt, who wrote the entry on "Lacque" (Lacquer), described it as "un art exotique" (an exotic art) in 1766. What did the term "exotic" mean in eighteenth-century France, and what does it mean now? Thus, the idea of the exotic became the basis of a long-term collaborative research project focusing on the presence and imitation of extra-European objects and techniques in Europe.
Fig. 2. Exotic? Looking Outwards in the Age of Enlightenment, Lausanne, Palais de Rumine. Introduction wall, second room. Scenography: Atelier Frédéric Dedelley. © Lionel Henriot.
The main argument of the Lausanne exhibition is also one of our research conclusions. From our perspective, the eighteenth-century idea of the exotic is understood here as implying objects that came from distant realms and, moreover, were likely to be imitated, "improved," and exploited. Moreover, our argument is that nothing is intrinsically "exotic" per se: rather, the exotic is generated through processes of representation, imitation, and commodification, through which people and things are assigned a specific place in a given historical, geographical, and political context. (In his entry on Lacquer, Jaucourt describes its manufacture in Asia but then immediately provides a much longer recipe for imitating it in France, despite the absence of one of the principal botanical components.) We consequently organized the display of the exhibition's main room into four sections: leaving, collecting, exploiting, and selling. Within these processes of mediation, the cultural identity, geographical origin, gender, and social status of the gazing subject determine to a large extent his or her perspective. In the second room of the show, two open circles in the wall reminiscent of binoculars designed by Atelier Frédéric Dedelley materialize this idea of viewpoint or position (Fig. 2).
What does Switzerland do to Global (Art) History?
Fig. 3. Visit to the Landesmuseum in Zurich with students from the University of Bern. Seminar Swiss Collection, Swiss Connection, Fall 2018. © Noémie Etienne.
Returning to Switzerland after my time at the Getty, I decided to make my research questions even more specific and to work with local collections. What did "the exotic" stand for in Switzerland during the so-called Age of Enlightenment? How should this term be defined, and what does it encompass in a specific geographical (Swiss) and historical (Enlightenment) context? Until the opening of our show and the publication of our book, there was simply no exhibition, monograph, or comprehensive research project exploring the connection between the Old Swiss Confederacy (including connected cities such as Geneva, at the time an independent Republic) and other continents during the eighteenth century. In fact, books in the fields of global history or global art history tended to focus on European empires formed around countries with maritime borders and centralized governments such as France and England. Yet is it productive to think about colonialism or racism with another type of geography or polity? What could Switzerland—a small country with no access to the sea, no international trading companies, no colonial empire—bring to the discussion?
Fig. 4. Exotic? Looking Outwards in the Age of Enlightenment, Lausanne, Palais de Rumine. Installation view, second room. Scenography: Atelier Frédéric Dedelley. © Lionel Henriot.
Our investigation, which also involved students taking classes at the University of Bern, has brought to light scores of objects, including artworks, artifacts, natural specimens, books, and other things (Fig. 3). In the second, large room of our show, 150 objects, coming from more than 30 institutions, are shown (Fig. 4). All were present in Switzerland before 1815, and many were made there. We consider these artifacts to be traces of the many suppressed (hi)stories that needed to be told. One such object may exemplify our approach: the gymnotus, an electric eel preserved in a glass jar in the Natural History Museum of Geneva (Fig. 5). It was donated in 1759 to the Bibliothèque de Genève by Ami Butini, a Genevan and a colonist who had settled in Suriname to expand the sugar trade, which relied on the forced labor of men and women. In all likelihood, the eel was caught (at considerable risk, given its potential to shock) by Butini's own enslaved people, immersed in rum produced on his plantation, and then shipped to Geneva.[1] The gymnotus has been preserved and, to date, it resides in the laboratories of the museum as a natural history specimen. Yet, from our viewpoint, it also stands for an eighteenth-century artifact whose material features are germane to several disciplines: that the eel itself should have been considered a specimen speaks to the history of sciences in Europe; while its presumed method of capture and preservation evoke the history of slavery.
Fig. 5. Unrecorded collector(s) (Suriname), Gymnotus, eel in alcohol, sent to the Cabinet de la Bibliothèque de Genève by Ami Butini in 1759. Collection du Muséum d'histoire naturelle et Musée d'histoire des sciences de la ville de Genève. © Muséum d'histoire naturelle, Genève. © Philippe Wagneur.
Indeed, Switzerland is a country often described as having no relation to the trade of enslaved people. This rhetoric is even part of most of the official discourse promulgated by the Swiss government. However, as historians have revealed through archival work since the 1990's, Swiss people participated, individually and collectively, in the trafficking of human beings, either as providers of financial support or directly as enslavers. The eel gives an additional hint of this connection, suggesting the presence of enslaved people in a plantation owned by a man from Geneva, relying on forced labor and violence for the production of alcohol and for the collection of dangerous natural specimens sent back to his hometown. An object's multiple layers are comparable to a series of clues that can help us uncover and highlight invisible narratives, thereby elucidating the involvement of Swiss individuals with human subjugation during the Enlightenment.
Fig. 6. Christoph von Graffenried, Récit de la fondation de la colonie de New Bern en Caroline du Nord, 1710-1711, s.d. Pen and ink on paper. Burgerbibliothek, Bern. © Burgerbibliothek, Bern.
Changing the focus toward a small, less studied area of the exhibition offers an opportunity to reassess the history of colonialism and its connections to imperialism and nationalism. An interesting example is provided by two Bernese men, who wrote down their observations and also made drawings following their respective trips to North America: Francis Louis Michel and Christoph von Graffenried. Following Michel's expeditions in 1701 and 1702, von Graffenried, with the backing of the Burghers of Bern, founded in 1704 the colony of New Bern (in present-day North Carolina). An examination of their drawings, together with textual sources, reveals that the adventures of these two Bernese colonists was cut short: the Tuscarora Nation reconquered the land (originally the homelands of Neusiok Indians), sacking the New Bern settlement and capturing von Graffenried, who eventually had no choice but to return to Bern (Fig. 6). Their enterprise was a comparatively small-scale, local one, sustained by a city and a network of religious acquaintances. Indeed, colonial projects can also originate from individuals with access to large financial resources. In our view, to include Switzerland in the panorama of global art history encourages visitors or readers to consider understudied networks of colonial settlement. Thinking about global trade, colonialism, and slavery through the lens of a country without any official empire can also help nuance our conception of such practices, underlining how colonial designs can occur without monarchical or nation-based support.
Fig. 7. Exotic? Looking Outwards in the Age of Enlightenment, Lausanne, Palais de Rumine. Installation view, third room. Scenography: Atelier Frédéric Dedelley © Lionel Henriot.
The third room of our show shifts the visitor's gaze. Paintings, models of mountains, books, and fossils are exhibited against a green painted background (Fig. 7). Here we explore how, at least in the Swiss case, exoticization processes did not simply apply to "distant" realms. In fact, Switzerland itself became an "exotic" locale during the eighteenth century, following the definition undergirding this research project: a place constructed as strange and exploited as such. For instance, the touristic appeal of Switzerland and the Alps at the time is reflected in an oil painting by the French artist Élisabeth Vigée Le Brun, who travelled to Unspunnen in 1809 to attend a festival organized by the Bernese elites and featuring "traditional" dance, music and costumes (Fig. 8). Such events were part of a larger trend typical of the nineteenth century known as "the invention of tradition" or of a nation in the making, to borrow from historians Eric Hobsbawn and Terence Ranger's foundational analysis.
Fig. 8. Elisabeth Vigée Le Brun, Celebration of Alpine Herders in Unspunnen on August 17, 1808, 1808-1809. Oil on canvas, 84 x 114 cm. Bern, Kunstmuseum. © Kunstmuseum Bern.
Yet, and rather paradoxically, the various elements from which these depictions were fashioned—in particular the Swiss costumes—tell a different story: they offer evidence of the globalization of material culture, specifically cotton. As such, they demonstrate that, already by the late eighteenth century, non-European goods were involved in the formation of "local" identities. Furthermore, such images were occasionally manufactured overseas. A set of costume pictures, for instance, was made in China using reverse glass painting after Swiss etchings that had been specifically shipped so that Asian artisans could copy them: it portrays men and women wearing indiennes and set in hybrid Sino-European landscapes (Fig. 9).
Fig. 9. Unrecorded makers (Canton, China), after Samuel Graenicher and Christian von Mechel, A Milkmaid of Solothurn, end of the eighteenth century. Reverse glass painting, 35 x 29.7 cm. Lausanne, Musée historique de Lausanne. © Musée historique de Lausanne.
Artistic and commercial exchanges among China, Turkey, and Switzerland were intense from the end of the seventeenth century, in particular in the field of watch making. To give one notable example: Isaac Rousseau, father of Jean-Jacques Rousseau, worked at Istanbul's Topkapi Palace as a clock regulator, making sure that the clocks correctly indicated the times for Muslim prayer. The conception of Switzerland devised by urban elites, however, was that of a peaceful land whose inhabitants were chiefly involved in cheese-making and farming. Interestingly, Jean-Jacques Rousseau himself played a formative role in diffusing this image abroad, in addition to capitalizing on it.
What is to be Seen – and What Remains Silent
An exhibition reveals fragments left through history and preserved in institutions or private collections. But what about what is not there? What about losses, missing things, or archives that were not shared? According to Walter Benjamin, a document of culture is always at the same time a document of barbarism.[2] What remains hints at a gaping hole: behind those works that have been preserved are all those that could not be kept or even created. The lifeworlds of women, workers, enslaved people, and others flicker only fleetingly in the few surviving pictures and archival materials.
The massive absence of objects, images, and information in our exhibition is addressed through the work of contemporary artists. Some pieces were made for the show itself, as is the case with Disappearing Africans (2020), a film and installation by Senam Okudzeto. In her work, Okudzeto uses her own body, which slowly disappears from the screen through the process of a black face realized on her skin by a white male painter. Souvenirs d'Haïti (2020) by Fabien Clerc consists of a set of porcelains from Limoges on which images of the Haitian Revolution are represented: they are ghosts, palimpsest memories of another revolution that shaped history and led to the (temporary) abolition of slavery and, paradoxically, reparations for enslavers. Installations by Susan Hefuna (2015), finally, comprise delicate shadows that "write" through a glass panel on the wall words such as: time, trace, truth, silence.
Fig. 10. Unrecorded makers (New Caledonia, Melanesia), Nââkwéta, eighteenth century, probably collected between 1791 and 1794. Lausanne, Musée d'histoire et d'archéologie de Lausanne. ©Nadine Jacquet.
An exhibition is itself an archive, a narrative full of losses and shadows. In his contribution to the exhibition catalog, Denis Pourawa, an artist from New Caledonia, describes his encounter with a ceremonial ax known as a Nââkwéta, offering us his account of its origins. While handling the object he attached a small piece of cotton yarn from his own scarf, which we decided to leave on the object (Fig. 10). Pourawa also created a piece of oral poetry used as a sound installation in the exhibition, entitled Poésie sonore des gouffres. By leaving on the Nââkwéta a trace of his interaction that will now become part of its history, he suggests how history itself is not only a narrative of the past: it affects our present, and our future.
The current call to dismantle historical monuments in public spaces has also impacted Switzerland. A statue of David De Pury, an eighteenth-century salesman whose wealth was partly based on the slave trade, was covered in red paint this past summer. Since then, the statue has been cleaned and remains in the center of Neuchâtel. Those who have a stake in keeping this monument argued, characteristically, that "one should not rewrite history." Yet public statues are not history: they are part of collective memory, that which a society decides to remember and valorize. On the other hand, history can also be described as a collection of factual details put into perspective. However, memory and history are interlinked. The latter should inform the former, in order to make appropriate choices regarding preservation and public space. Among other things, the exhibition Exotic? aims to spotlight and enrich the global history of the Old Swiss Confederacy, in order to facilitate a better-informed shaping of its memory.
Studying colonial history beyond the French or British Empires leads to the discovery of many unknown artists, artefacts, and artworks. The case of Switzerland, for instance, sheds light on understudied patterns of circulation, trade, and land occupation, adding to the (often more successful) narratives of aristocratic or imperial support. It offers a way to escape the tendency to focus on well-known images or artists–which is at risk of a perpetual production of readings and re-readings of the same limited corpus. Yet if Switzerland can do a lot for art history, what can art history possibly do for Switzerland? Historians have explored the connection between the Old Swiss Confederacy and the slave trade since the 1990's. Their work is based on written sources and published material. By taking into account a broader diversity of media, from drawings to wallpaper, natural specimen to textiles, art historians can enrich those findings through the analysis of complex cultural productions tied to global and colonial history. Art historical research shows how much the construction of an exotic gaze was connected to representational conventions and practices, and how closely global trade was tied to the daily lives of people. Finally, as a discipline focusing on the social life of material culture, art history allows us excavate fragments from the past that can be shared with a large audience, engaging directly with contemporary politics.
Noémie Etienne is professor of art history at the University of Bern
[1] For more about enslaved people as specimen collectors in Suriname: Susan Scott Parrish, "Embodying African Knowledge in Colonial Surinam," in Agnes Lugo-Ortiz and Angela Rosenthal eds., Slave Portraiture in the Atlantic World (Cambridge: Cambridge University Press, 2013), 257–281.
[2] "According to traditional practice, the spoils are carried along in the procession. They are called cultural treasures […]There is no document of culture which is not at the same time a document of barbarism. And just as such a document is never free of barbarism, so barbarism taints the manner in which it was transmitted from one hand to another. The historical materialist therefore dissociates himself from this process of transmission as far as possible. He regards it as his task to brush history against the grain." Walter Benjamin, "On the Concept of History," in Selected Writings, trans. Edmund Jephcott et al., 4 vols. (Cambridge, MA: The Belknap Press of Harvard University Press, 2003), 4:391–392.
Cite this note as: Noémie Etienne, "Exotic? A Curator's Note," Journal18 (December 2020), https://www.journal18.org/5426.
← Pictured Politics: A Review — by Tara Zanardi
Marking Time: A Review – by Francesca Kaes →
Dare to Know: A Review – by Oliver Wunsch
Madame de Pompadour and Sèvres Porcelain: A Review—by Alden R. Gordon
Blue Lewoz: A Review – by Jessica L. Fripp
Artist's Notes: Nm'ultes is an Active Dialogue II: An Autobiographical Creative Inquiry – by Michelle Sylliboy
Artist's Notes: Nm'ultes is an Active Dialogue I: Reclaiming Komqwejwi'kasikl – by Michelle Sylliboy
Crafting Enlightenment: A Review—by Katie Scott
Maurice-Quentin de La Tour: A Review — by Margot Bernstein
Les Animaux du Roi: A Review – by Katie Hornstein
In Sparkling Company: A Review – by Romita Ray
Peintres Femmes: A Review — by Paris A. Spies-Gans
Organic Supplements: A Review – by Giulia Pacini
Joseph Wright of Derby: A Review – by Craig Hanson
Left Bank/Right Bank: Two Views of the "Indies" in Paris – by Meredith Martin
The Life and Work of Rosalba Carriera: A Review – by Melissa Percival
The Little Conquest of the Red Fort – by Abhishek Kaicker


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ECCC pictures have been posted.
Pictures of the Space Needle, EMC & Musuem of Flight along with the tour of the Underground will be posted by the end of next week.
This entry was posted in Conventions and tagged comic-con, eccc, pictures by RK Bentley. Bookmark the permalink.


1. Purpose. Owner owns the property located at __________________________________ (the "Property"). Manager is in the business of managing properties of this type. Owner desires to engage Manager to manage the Property.
Advertising of Property. Manager shall advertise the Property for rent, engage and screen potential renters, enter into rental agreement(s) with acceptable renter(s). Owner shall reimburse Manager for all expenses related to such Advertising. Manager shall notify Owner, in advance, of anticipated expenses related with such Advertising.
Collection & Disbursement of Rent. Manager shall be responsible for all collection of Rent earned on the Property. Manager shall then be responsible for disbursement of those proceeds to Owner. Owner shall provide Manager with direction as to how proceeds shall be disbursed. Manager shall further prepare and provide to Owner a detailed accounting of all rents, expenses, and disbursements.
Maintenance & Repair. Manager shall be responsible for performing, or hiring necessary personnel to perform, all necessary maintenance and repairs to the Property. Owner shall reimburse Manager for the cost of all such maintenance and repairs. Manager shall provide Owner invoices of the actual costs.
Legal Proceedings. In the event that collection and/or legal proceedings become necessary with regard to the rental of the Property, Manager shall handle all such proceedings. Owner shall reimburse Manager for all expenses incurred in the pursuit of collection proceedings and/or legal proceedings. Manager shall not be responsible for any legal proceedings that do not result from the management and rental of the Property.
4. Term. This Agreement shall commence upon the Effective Date, as stated above, and will continue until ____________________________________________________________.
5. Termination. This Agreement may be terminated at any time by either Party upon ___ days written notice to the other party. Upon termination, Manager shall disburse to Owner any monies in Manager's possession due and owing to Owner within thirty (30) days from the date of termination. Owner shall reimburse Manager for any expenses incurred or approved prior to the date of termination within thirty (30) days from the date of termination.
6. Representations and Warranties. Both Parties represent that they are fully authorized to enter into this Agreement. The performance and obligations of either Party will not violate or infringe upon the rights of any third-party or violate any other agreement between the Parties, individually, and any other person, organization, or business or any law or governmental regulation.
8. Limitation of Liability. UNDER NO CIRCUMSTANCES SHALL EITHER PARTY BE LIABILE TO THE OTHER PARTY OR ANY THIRD PARTY FOR ANY DAMAGES RESULTING FROM ANY PART OF THIS AGREEMENT SUCH AS, BUT NOT LIMITED TO, LOSS OF REVENUE OR ANTICIPATED PROFIT OR LOST BUSINESS, COSTS OF DELAY OR FAILURE OF DELIVERY, WHICH ARE NOT RELATED TO OR THE DIRECT RESULT OF A PARTY'S NEGLIGENCE OR BREACH.
10. Waiver. The failure by either party to exercise any right, power or privilege under the terms of this Agreement will not be construed as a waiver of any subsequent or further exercise of that right, power or privilege or the exercise of any other right, power or privilege.
11. Legal Fees. In the event of a dispute resulting in legal action, the successful party will be entitled to its legal fees, including, but not limited to its attorneys' fees.
12. Legal and Binding Agreement. This Agreement is legal and binding between the Parties as stated above. This Agreement may be entered into and is legal and binding both in the United States and throughout Europe. The Parties each represent that they have the authority to enter into this Agreement.
13. Governing Law and Jurisdiction. The Parties agree that this Agreement shall be governed by the State and/or Country in which the Property is located.
14. Entire Agreement. The Parties acknowledge and agree that this Agreement represents the entire agreement between the Parties. In the event that the Parties desire to change, add, or otherwise modify any terms, they shall do so in writing to be signed by both parties.
Related Contracts and Forms: Basic Rental Agreement and Month to Month Rental Agreement.


text:
Normally, I Eat at Joe's
There's a good vibe growing for Saturday's "Eat In" at the former Chink's Steaks. Here's how to keep it that way.
By Joel Mathis· 8/9/2013, 7:00 a.m.
There are few labels that signify normalcy more than the name "Joe." Joe College. Joe Cool. A good Joe. There's something cheerful, upbeat and even a little bit All-American about the name.
So when Joe Groh changed the name of his steak shop — from Chink's Steaks, named after the former owner — to, well, "Joe's," I feel confident that he was not trying to strike a blow for diversity or political correctness or anything like that. What he wanted was something unobjectionable, something that would let him expand his customer base, and "Chink's" — which doubles as a vulgar slur on Asians — would never fit those qualifications. Basically: There's not much normal about being needlessly offensive.
But trying to be normal created a bit of abnormality for Joe: He started losing business, from customers who liked the old name and hated giving in to "political correctness." And we decided to respond to that bit of craziness by holding an "Eat In" this Saturday at the steak shop: We didn't want Joe to suffer for removing any hint of racism from his business name.
A few dozen people have responded they'll come — we've gotten support and coveragefrom some news sources around town (Zagat, the Inquirer, City Paper, WHYY) and beyond. It has seemed like a good vibe is developing.
Except for one thing.
You'll remember Stu Bykofsky's column which started all this on Monday. There was a stark moment in that column that occurs while Stu and Joe are in Joe's shop, chatting:
A little old lady, maybe 75, comes in with her son and daughter. She says to Groh, "You make me sick," orders a cheesesteak, sits down, eats it, then walks out telling him, "You still make me sick."
"Pure Philadelphia," Stu called it, but it was actually a disquieting, ugly moment. And it's worth noting, because on Thursday afternoon, the following was posted to the "Eat at Joe's" Facebook page.
I bumped into the "you make me sick" 75 y/o grandma and got word she will be attending on Saturday. She said she's bring signs. I'm pretty sure she isn't bringing 'signs' of support.
Admittedly, I got nervous about this for a few minutes. And then I decided what my response will be.
I'm going to act normal. Like a regular Joe.
I'm not going to make a sign. I'm not going to chant. I'm not going to scream and shout. I'm not going to confront anybody.
Instead, I'm going to simply defy anybody who is so deeply attached to the old, racist-sounding name that they have to hold boycotts and protests (or even, reportedly, commit graffiti) by walking into Joe's Steaks around Saturday noon and laying down my hard-earned money — in exchange, of course, for a cheesesteak and fries. Maybe a shake.
And then I'm going to sit down with my family and friends and eat until I'm full. I'm going to have lunch like it's the most normal thing in the world.
Because it is normal. Hating racism in the 21st century is normal. Having lunch is normal. Demanding that somebody else cling to a business name that gives great offense is the abnormal thing here. The thing about that normalcy — the normalcy, again, I'm pretty sure Joe Groh deeply craves at this point — is that it doesn't have to put on a show or make signs. It just is.
We'll be there Saturday. Hope to see you there.
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text:
Illinois State Museum to Welcome Visitors on July 2
Press Release: The Illinois State Museum in Springfield will reopen to the public on July 2 after the Illinois General Assembly's Joint Committee on Administrative Rules (JCAR) approved a request by the Illinois Department of Natural Resources (IDNR) to charge an admission fee.
Originally Deposited as: 191206
Number or Issue: June 15
Date Created: 06-15-2016
Date Last Modified: 06-15-2016
1. Illinois State Museum to Welcome Visitors on July 2 (16-0452-AGR-Museum-JulyOpening.pdf).
Document Size: Software: Microsoft Office Word Version: 2010
This is part of a series. It is part of Press releases from the Governor's agencies: 74234