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16 February 2017 | Bendigo Spirit news
New Support For Spirit To Strengthen Bendigo Basketball
The Bendigo Bank Spirit is to move under the Bendigo Stadium banner in a strategy designed to bring all BendigoÕs basketball organisations under one roof. BSL Chairman Brendon Goddard today announced the new support arrangement for the Spirit, saying the structure would benefit basketball across the city and throughout regional Victoria. ÒBendigo is known for its fantastic basketball teams and achievements on the national stage, and we are pleased that our national womenÕs team can enjoy the local support we are able to provide to our other teams.Ó Mr Goddard said it made sense for the Spirit to be able to tap into the administrative support that already exists for the Bendigo Braves and Bendigo Basketball League teams with their home court at the Bendigo Stadium. ÒWith our new facilities about to come on line itÕs the perfect time for all our local and national basketball teams to be under the one roof.Ó Bendigo Bank Spirit Chairman Greg Bickley has welcomed the initiative. ÒI think this is a great strategy to pool our resources and take advantage of the longstanding expertise of the Bendigo Stadium. What this will do is let the Spirit focus on what it does best: play strong competitive womenÕs basketball on the national stage. More importantly, this will secure the pathway for kids across our region to play at the highest level.Ó The Bendigo Stadium is midway through a $15 million dollar upgrade of its West Bendigo facility, and Mr Goddard said every sporting team with its home court at Bendigo Stadium would benefit. ÒRight here in Bendigo we are going to have a state of the art arena with a 4000 seat showcourt that can hold its own on the international stage. All our basketball, netball and volleyball teams can only benefit from this standard of facility and the organisational strength we bring to underpin their competitions.Ó Article: WNBL


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Echium khuzistanicum är en strävbladig växtart som beskrevs av V. Mozaffarian. Echium khuzistanicum ingår i släktet snokörter, och familjen strävbladiga växter. Inga underarter finns listade i Catalogue of Life.

Källor

Snokörter
khuzistanicum

redpajama_set_name: RedPajamaWikipedia


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Portals Nous är en ort i Spanien.   Den ligger i regionen Balearerna, i den östra delen av landet,  km öster om huvudstaden Madrid. Portals Nous ligger  meter över havet och antalet invånare är . Den ligger på ön Mallorca.

Terrängen runt Portals Nous är kuperad åt nordväst, men österut är den platt. Havet är nära Portals Nous åt sydost. Den högsta punkten i närheten är  meter över havet,  km norr om Portals Nous.  Närmaste större samhälle är Palma de Mallorca,  km nordost om Portals Nous.

Klimatet i området är tempererat. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är februari, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är november, med i genomsnitt  mm nederbörd, och den torraste är juli, med  mm nederbörd.

Kommentarer

Källor

Orter i Balearerna
Kontrollbehov inkommande wikilänkar


David Humphrey, "Crier" (2004), acrylic on canvas.
"According to the artist's bio, he'll turn fifty next year. You'd think Mr. Humphrey would start acting his age already." Thus ends a review by Mario Naves that appeared in the New York Observer regarding David Humphrey's current exhibition at Brent Sikkema. He did, however, spell his name right. In response I can imagine Mr. Humphrey replying with something like, "Not bloody likely, mate."
In the nearly twenty years that I've been watching the progression of Humphrey's work, I can't help but think that he's due for a breakout season. A cover article in November's Art in America by Raphael Rubenstein featured Humphrey along with seven other locals as "painters…who have the ability to hold the viewer's attention…for a substantial amount of time." His move from a blue chip 57th Street gallery to a young Chelsea dealer was a big gamble for a mid-career artist. This edgier space seems to be willing to let the artist's "freak flag fly." Finally we're getting a chance to see the sculptural work in depth, a branch of his pursuit that we haven't seen often in the galleries before. Now don't get me wrong, much of the essence of the work is a sense of critique, a critique of his own middle-class upbringing and a critique of current trendy fashions in the Manhattan art scene. There is a fine line between an artist who follows a particular party line, and one who is able to identify and incorporate those devices and stylistic mannerisms, and through subversion, use them for their own satirical purposes.
David Humphrey, "Wave Watcher" (2004), acrylic on canvas.
White and whiteness are a common theme in this group of work. Whether it is the whiteness of a snowy landscape, the whiteness of foam on a cresting wave, or the white marble of a carved poodle with a pillow head, it's ever present. The supposedly carefree world of suburban enclaves with their fairytale themed playgrounds presents a disturbing image when seen through Humphery's lens of memory. Perhaps too much Jell-O and marshmallow salad and fluffy white bread in Whitelandia has a deleterious effect on the white blood cells.
A repertoire of cutesy kitschy images like poodle figurines, pairs of fuzzy puppies and kitties, puffs of snow, and rec room doodads begin to take on a more malevolent mood when they are repeated and enlarged. "Movable Wave Hutch" (2004) is an inflated wave balanced on a slim pole with a rolling base, drops as fat as snowballs hang from the crest by links, and litter the floor. Tiny poodle tchotchkes are secreted around the structure and in small niches. Is this a statement on the durability of cute, or some aquarium accessory grown monstrous? In "Crier" (2004), a lightly painted, neutral toned landscape, the torso of a wavy haired boy seems to rest on a large sandwich, his eyes, wide as Lifesavers, excreting tears that flow down and across the bread. He is accompanied by his cuddly pup, while in the foreground a disembodied hand plays on an electric keyboard. The central figure, as in several other paintings, is rendered with a red line, less an example of facility and beautiful brushstrokes than a workmanlike directness that thickens and thins like the paths worn in a lawn through repeated passages. Humphrey's recent switch to acrylics comes with a lightness and synthetic quality that is conducive to this subject matter. "Baby Sitter," "Horsey Love," and "Snowmobile," all from 2004, employ snow covered grounds, figures in the middle ground, and appliances or vehicles in the foreground. Is this a coloristic contrivance, a desire for the clean bracing chill of a Connecticut winter, or a metaphor for the chilling veneer of domesticity as depicted in the Ang Lee film The Ice Storm? This is a place where teenagers are pretty, their hair is perfect, and recreational vehicles sparkle. You may not be comforted by Humphrey's dialectical amplifications of the grotesque in the cute, the oppressiveness of the fluffy, or the reinforcement an image receives as it begins to fade. These visions are not unlike those one might encounter while sniffing nitrous oxide and watching cartoons in the basement rumpus room. End of scene… fade to white.


There is nothing more satisfying than slipping into a comfy bed at the end of a hard day, and nothing worse than realising how long the night ahead will be when the mattress is lumpy and the pillows too flat. Fret not, help is at hand with tips on how to spring your bedroom from basic to beyond, so you can get back to forty winks.
Like your favourite jeans, mattresses wear out. A good rule of thumb is to replace them every seven to ten years. However, if signs of sagging, lumps or dents are visible replace them sooner.
A mattress should be flipped over and rotated four times a year to ensure it wears evenly.
Preserve a mattress from stains and spills by investing in a removable, washable mattress cover.
Take your mattress to the next level and vacuum it with a deodoriser for added freshness.
Whether you like them fluffy, flat, stacked or scattered, a decent pillow is essential for a solid night's sleep. There are three major fillings to choose from: feather down, memory foam and polyester fill.
Feather down – exceptionally malleable, down pillows gently embrace the head and neck. Choose those that have high 'fill power' as it indicates how plump and durable the pillow will be. Those with allergies should look for hypo-allergenic options.
Memory foam – returning to its original shape, memory foam moulds to your movements during the night. Often a good choice for those with neck problems.
Polyester fill – the least expensive option, polyester fill pillows provide adequate support but break down quickly to lose their shape.
On average pillows should be replaced every two years.
Feather down pillows accumulate fewer allergens than synthetic pillows.
Humans spend 1/3 of their life sleeping.
The average person sweats half a pint of perspiration during the night.
Parents of newborns lose six months of sleep in the first two years of their child's life.
You can't sneeze whilst sleeping.
Before alarm clocks, 'knockers-ups' tapped on client's windows until they arose.
Shining a bright light on the back of your knees can apparently reset the brain's sleep-wake clock – good bye jet lag!


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Reptiles, Rodents and Small Animals•
How Rattlesnakes Hatch
By Tom Ryan
i Jupiterimages/Photos.com/Getty Images
With their deadly venom and signature noise-making tails, rattlesnakes are some of the most iconic reptiles around. When rattlesnakes are born, they hatch from eggs, but there's more to the story than that -- the way that a rattlesnake hatches from an egg is different from the way, say, a bird does. But, of course, the rattlesnake would never reach that point if his parents hadn't met and mated in the traditional rattlesnake fashion in the first place -- females generally produce offspring every two to five years.
Mating Habits
While there are variations between types of rattlesnakes and their geographic areas, in general, rattlesnakes mate during the warmer months, from mid-spring through mid-autumn. During the mating process, a female leaves traces of her scent wherever she goes, and male rattlesnakes use their tongues to follow the trail. When more than one male reaches a female, the two will engage in combat, and to the victor go the spoils: the female's affection.
The Ovoviviparous Way
When a rattlesnake is pregnant, she carries eggs, but the eggs don't hatch outside of her body -- they hatch inside. This is because rattlesnakes are ovoviviparous, which is a type of animal that carries eggs inside their body until they hatch. She'll then give birth to live offspring. Rattlesnakes aren't unique in this regard -- other reptiles are also ovoviviparous.
Gestation and Birth
The length of the gestation period varies some from breed to breed. In general, a rattlesnake's gestation period lasts about 90 days, but some breeds, like the timber rattlesnake, can be pregnant for longer. In the case of the timber rattler, females may be pregnant for as long as five months. The average brood size is between four and ten baby rattlesnakes, which are born wrapped up in a membrane from which they quickly free themselves.
Baby Rattlesnakes
Since they don't hatch outside the body, baby rattlesnakes are generally well-developed and independent when they're born. They are born with only one rattle, but every time they shed their skin, another rattle develops. They'll stay relatively close to their mother until their first shed -- about a week after their birth -- and then they go off on their own.
New York State Dept. of Environmental Conservation: Timber Rattlesnake Fact Sheet
Eastern Massasauga Recovery Team: Mating and Young Gestation
San Diego Zoo: Reptiles: Rattlesnake
Encyclopedia Britannica: Rattlesnake
Tom Ryan is a freelance writer, editor and English tutor. He graduated from the University of Pittsburgh with a degree in English writing, and has also worked as an arts and entertainment reporter with "The Pitt News" and a public relations and advertising copywriter with the Carnegie Library of Pittsburgh.
See More Animals
Facts on Texas Rattlesnakes
The Duration of a Giraffe's Pregnancy
Opossum Birth & Rearing Habits
The Brain Size of a Cow
Birth to Death of a Sidewinder Rattlesnake
Cobra Vs. Rattlesnake
The Difference Between Gopher Snakes & Rattlesnakes
Life Cycle of a Rattlesnake
What Is the Size of a Male and Female Rattlesnake?
Facts on Sidewinder Rattlesnakes
Facts About a Rattlesnake's Life Cycle
Rattlesnake Life Cycle
Reproduction and Migration in Eastern Diamondback Rattlesnakes
Facts About Copperhead Snakes
Characteristics of a Rattlesnake
Snakes That Look Like Rattlesnakes But Are Not
How Do Diamondback Rattlesnakes Care for Their Babies?
Information About a Tiger Rattlesnake
The Reproductive Cycle of Whiptail Lizards
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redpajama_set_name: RedPajamaCommonCrawl


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"Flip-Flopping Flipper," "Boring And Fake," And "Gazillionaires": How Republicans Spent The Week Attacking Their #OHSEN Candidates
Happy Friday, and welcome to "Buckeye Brawl," a weekly newsletter from the Ohio Democratic Party highlighting the nasty, chaotic, and expensive Republican primary for Senate. This out-of-control primary is making conservatives "deeply worried" about the prospects of Republicans losing this seat.
As the Republican Senate primary continues to sink lower and lower, these GOP candidates are injecting even more nasty personal attacks, more chaos, and more money into this race. We're here to help you keep track of all of it.
Here's what you may have missed:
FLIP-FLOPPING FLIPPER. A new USA Freedom Fund ad was released this week with possibly the worst jingle we've ever heard: "J.D.'s a flip, flip, flip-flopping flipper / deleted his [anti-Trump] tweets / but we have the receipts." The tweets featured are the same ones USA Freedom Fund used on their attack website nochancevance.com. This ad follows one from last week where they claimed Vance "abandoned the Republican Party" and called Trump an "idiot." USA Freedom Fund is backing Josh Mandel in the race, and given Mandel's propensity to go on the attack, it's clear that Vance will have to continue answering questions about his anti-Trump past – and these questions aren't going away any time soon!
BORING AND FAKE? In an interview on Breitbart News, J.D. Vance (presumably feeling the heat from the $1 million in ads attacking him for his anti-Trump past) decided to say that what distinguishes him from the rest of the GOP Senate field is that he tries "to not be boring and … not be fake." He said, "At the end of the day, I think our voters can sniff out when somebody's just repeating slogans at them instead of talking to them about real issues. I try to talk to them about real issues." Hmm, is he talking about Timken, Mandel, Moreno, Gibbons, or Dolan? Who's to say? But as usual, we do know Vance is inflating his credentials here – he is incredibly boring and fake.
BUNCH OF MILLIONAIRES AND GAZILLIONAIRES. This primary has up to five self-funding candidates (and could be more!) – with many of them multi-millionaires – and that isn't making Josh Mandel happy. At his election lie rally this week, Mandel said he's running against "a bunch of millionaires and gazillionaires." Josh Mandel is also a millionaire, no matter how he may try to hide it. It's why we've been calling this primary a millionaire melee!
"CLUB FOR CHINESE GROWTH." In responding to Club for Growth's attack ad against him, J.D. Vance said on Charlie Kirk's show the group was the "Club for Chinese Growth." Vance then discussed how RINOs (like him) did not support Trump's first run for president. That's correct, J.D.! This primary is phonies attacking each other for being phonies when everyone's a phony. It's hard to keep up.
SILICON VALLEY AND WALL STREET RINOs. At his election lie rally, Mandel this week said that all of the RINOS running against him for U.S. Senate are financially backed by Silicon Valley and Wall Street. This isn't the first time Mandel has bashed Vance for his Silicon Valley millionaire past. In September, Mandel bashed Vance's Big Tech and Hollywood connections in an interview with Ben Shapiro, saying, "I think if the election were held today in Hollywood, Silicon Valley, Wall Street or DC, I think J.D. Vance would run away with it. But if the election was held today in Ohio, he'd get destroyed, because Ohioans are not buying what he's selling…They see him as a total phony and a total fraud." Vance isn't alone…Mandel has also made thousands off Big Tech as well.
Thanks for reading along – that's all for the Buckeye Brawl this week. If you have questions, my email is [email protected]. Have a great weekend!


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Cattle Bay Marina development
Bega Valley Shire Council is engaging with the proponents of the Cattle Bay Marina development in good faith, but will be standing up for the needs of ratepayers at Monday's (May 29) conciliation hearing with the NSW Land and Environment Court.
Media reports this week don't give the community an accurate picture of the situation.
In working with the developer over an extended period of time, Council has insisted that normal, statutory road and infrastructure charges be applied to the development.
Mayor Kristy McBain said an expectation that ratepayers should pay for road and sewerage upgrades tied to the development was unfair.
"Our position is that developers are charged Section 64 and Section 94A charges in order to reduce the long term burden on the community," Cr McBain said.
"The proponents of the Marina argue that we should reduce or waive these charges, Council and I believe the community think otherwise, and that is why the Land and Environment Court are involved."
The charges in dispute will add up to hundreds of thousands of dollars and are formulated based on the total value of the development and the additional demand it places on public infrastructure – stage 1 has been reported to be worth around $5.5 million which consists of a 154 berth marina.
Later stages include a 4.5 star resort as well as 60 dwellings and retirement living with a reported value of around $55 million.
"We are keen to see the marina advance and add to Eden's appeal," Cr McBain said.
"But this is a commercial development and improvements to Cattle Bay Road and connection to the Shire's sewerage system need to part of the proponents expenses and not shifted to ratepayers," Cr McBain said.
Any link to Code of Conduct matters currently before Council are misguided.
"We are working within a State Government framework that says such matters need to be done confidentially, these matters are not part of Monday's conciliation." Cr McBain said.
"I understand the interest and can assure the community and local media that details will be made public when appropriate."
Bega Valley Shire Council will continue to advocate for the community and work within the guidelines set down.
Photograph: Cattle Bay Cannery Wharf


text:
describe('map', () => {

  let map;

  beforeEach(() => map = new HashMap());

  it('should put element with given key - value and remove by key', () => {
    const key = 'foo';
    const value = {
      id: 1,
      name: 'foo'
    };

    expect(map.contains(key)).toBe(false);
    expect(map.get(key)).toBeUndefined();

    const r1 = map.put(key, value);

    expect(r1).toBe(map);
    expect(map.contains(key)).toBe(true);
    expect(map.get(key)).toBe(value);

    const r2 = map.remove(key);

    expect(r2).toBe(map);
    expect(map.contains(key)).toBe(false);
    expect(map.get(key)).toBeUndefined();
  });
});

redpajama_set_name: RedPajamaGithub


Genetic transformation and molecular characterization of transgenic plants of grapevine, tobacco and Arabidopsis for virus resistance and for functional studies.
In vitro culture, induction of somatic embryogenesis in grapevine, and study on molecular bases of embryogenesis (WOX genes).
Isolation of small RNA from grapevine and study on microRNA (miRNA) and small interfering RNA (siRNAs).
In situ hybridization for virus detection and gene expression analyses.
Detection of viruses, viroids and phytoplasma by serological and molecular techniques.
Virus and viroid eradication in grapevine.
Molecular interactions between viruses and grapevine.


Tiger Woods went from not knowing if he would ever play golf again to winning the Tour Championship on Sunday, marking his first win in more than five years.
Tiger Woods won the Tour Championship on Sunday, at the age of 42, 17 months removed from his fourth back surgery and just a year since he resigned himself to the possible end of his playing career.
It had been more than five years—1,876 days in all—since his last professional win. "I can't believe I pulled this off," Woods said during the trophy presentation.


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A Conspiracy of Conspiracists
By Peter Bowditch
Research into the psychology of conspiracy theorists has been withdrawn from publication following complaints that the research is itself a conspiracy.
The cover story in the June edition of Australasian Science, "Lies, Damn Lies, and Science", described research into the psychology of conspiracy theorists by three academics: Stephan Lewandowsky, Gilles Gignac and Klaus Oberauer.
I've had an interest in this area for a long time, so it was nice to apply a bit of confirmation bias when I saw that their research had confirmed one of the things I had noticed over the years – that people rarely if believe in only one conspiracy, and that belief in one conspiracy theory can be a useful predictor of the person's position on others.
Anti-vaccination campaigners are quite often AIDS deniers and opposed to GM foods; 9/11 "Truthers" can be relied on to believe that the HAARP project is designed to control weather in conjunction with chemtrails behind airliners; and climate change deniers know that it is just part of a wider government plan to destroy capitalism and enforce the hegemony of the United Nations over governments.
The title of their research paper was "NASA Faked the Moon Landing – Therefore, (climate) Science is a Hoax: An Anatomy of the Motivated Rejection of Science". There was nothing very controversial in it, and it replicated the findings of previous research in the area.
Well, the authors thought it was uncontroversial until they started getting feedback accusing them of all sorts or perfidy. Their methods were attacked as being unprofessional and possibly fraudulent, the existence of people interviewed or surveyed was questioned, and they were almost openly accused of committing scientific fraud.
What was strange was that complaints didn't come from 9/11 Truthers, Holocaust deniers or many of the other species of conspiracy theorists but came from climate change deniers. Given that the title of the paper contained the word "climate", this should not have come as a surprise, because climate change denial is possibly the best organised (and some would say funded) opposition to science around.
The authors found the flow of accusations that they were part of some great conspiracy themselves interesting, and wrote a follow-up paper titled "Recursive Fury: Conspiracist Ideation in the Blogosphere in Response to Research on Conspiracist Ideation", which was published in the journal Frontiers in Psychology. Then the fun resumed. Apparently this paper was an affront to those honest maverick scientists who have been exposing the climate change "hoax" for the past 20 years. The Frontiers in Psychology web page that used to host the paper now just displays the abstract, plus the following notice:
This article, first published by Frontiers on 18 March 2013, has been the subject of complaints. Given the nature of some of these complaints, Frontiers has provisionally removed the link to the article while these issues are investigated, which is being done as swiftly as possible and which Frontiers management considers the most responsible course of action. The article has not been retracted or withdrawn. Further information will be provided as soon as possible. Thank you for your patience.
I've read the "Recursive Fury" paper, and it seems to be a quite reasonable analysis of the way that certain groups who rely for their existence on a shared ignorance or rejection of science react to criticism in two ways – they tighten the circle of wagons around themselves and their dogma, and they increase the noise about how all critics are part of the conspiracy.
I've lost count of the times that I've been accused of being in the pay of pharmaceutical companies for my stand on vaccination and alternative medicine, although I have to give top marks to the Holocaust denier who accused me of being on the payroll of "the Jews". It's standard practice for these groups, and all this paper did was analyse a real-world manifestation of the problem.
It is rather ironic that a group who claim that their views are suppressed by the scientific publication industry (but who seem to have untrammelled access to mainstream media) should now be trying to suppress the publication of something in the scientific literature because it hurts their feelings. I realise that I am exposing myself to accusations of being a hypocrite and an apologist for warmism by implying a conspiracy of conspiracists to suppress the article, but that's a risk we supporters of scientism have to take.
Which reminds me of some "red flag" words used to discredit opponents. If you see anyone described as a "warmist", "evolutionist", "Darwinist", "vaccinationist" or a follower of "scientism" you can often stop reading. The writer has lost the argument. Name-calling and ad hominem have their place in kindergarten battles. They have no place in the discussion of science.
Peter Bowditch is a former President of Australian Skeptics Inc. (www.skeptics.com.au).
Naked Skeptic


The Jamestown Regional Airport Authority (JRAA) is accepting sealed bids for four tillable farmland lease agreements and two hay land lease agreements.
The tillable farmland and hay land is located on the JRAA property. Sealed bids may be submitted by mail to: Jamestown Regional Airport, Attn: Lease Bids, P.O. Box 1560 Jamestown, North Dakota 58402, or in person at the office of the Airport Manager at 1600 21st Ave. NE, Jamestown, North Dakota 58401. Bids will be accepted in person until noon (12:00 PM) on March 7, 2019. Mailed bids must be postmarked by March 4, 2019. Any bids received after the deadline will not be accepted.
The top three (3) bidders will be invited to attend a bidding auction and to raise their bids.
Interested parties should obtain bid instructions, bid form, map of the areas, or review the land by inquiring at the Airport Managers office. Persons seeking additional information may contact the Airport Manager at (701) 252-6466.
By order of the Board of the Jamestown Regional Airport Authority.


First of all, this is not a movie review. It may look like one but I really don't consider it to be one. Haha. This may be just like my thoughts, reactions and such on the movie.
Okay. So let me start off by saying "I actually haven't seen Paranormal Activity yet... nor that Blair Witch Project movie." Yeah, I am a loser. I know. LOL. I just said that to make it clear that I could not actually compare this one to both of those movies.
Anyways, The Fourth Kind is a movie about real alien encounters backed by real footages and recordings that were reported at a certain place called "Nome." The First Kind is actually Sighting. The Second Kind is Evidence. The Third Kind is Encounter or Contact and the Fourth Kind is Abduction, which obviously is the creepy one.
I'd say this one directly. I actually enjoyed the movie and it scared me.
Who would have thought aliens would freakin' scare me that much?? The movie was disturbing. It goes to show that horror movies don't need to have ugly vampires, witches, etc. to make it frightening.
The movie presented a simple idea -- just a mere re-enactment of the compiled evidences of recordings, testimonies and interviews done regarding a particular encounter case. The rest is just for you to believe. The idea of integrating actual footages with the actors' interpretations was well done by the way.
It may have bad reviews as they say it was just a hoax and all that crap but if you just come to enjoy,watch the movie and think about that other possibility of it actually happening, then this movie would be a good one. It creeped me out. I'm scared of aliens now! hahaha.
Anyways, it was a great night. Stuffed myself with a lot of Pizza again while watching the movie at Anjo's place (which by the way is like a damn mansion. haha) with some wondeful and awesome people (Francine, Steena, Jyllel). I just accidentally met them at the mall and after that, it was absolutely just fun fun fun. After all, the best nightouts are those that are instantly planned right? haha.


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Author Marc Jacquand
Marc Jacquand
Read more articles →
Policy Papers 11-04-2020 by Marc Jacquand
UN Reform and Mission Planning: Too Great Expectations?
Since 2017, the UN system has undergone a historic process of reform at several levels and across many entities. Several of these reforms have either directly aimed at improving the planning of UN missions or included elements that have a significant bearing on mission planning. As the focus shifts from designing to implementing these reforms, […]
Peacekeeping, UN System
Inside the Engine Room: Enabling the Delivery of UN Mandates in Complex Environments
Particularly in the complex environments where it increasingly deploys, the UN depends on a range of functions to implement its mandate. These include but are not limited to provision of security, facilitation of access, medical support, support to staff welfare, logistics, coordination, and risk management. Compared to substantive tasks implemented as part of mandates, these […]
The Nitty Gritty of Climate Policy: Taking Stock of COP27, Looking Ahead to COP28
The agreement to establish a fund for loss and damage was a historic win for developing countries, but progress…
Analysis, Climate and Our Common Future, climate change
Milestone in the Security Council: What the New Humanitarian "Carve-out" Means for UN Sanctions Regimes
Last week, the United Nations Security Council (UNSC) adopted Resolution 2664, a cross-cutting humanitarian carve-out for all UN sanctions regimes–including the 1267 ISIL/al-Qaida regime–to safeguard the timely and effective conduct of…
Analysis, humanitarian affairs, security council, terrorism
2022 Editor's Choice: Global Observatory Must Reads
December 15, 2022 by the Global Observatory
The editors of the Global Observatory have compiled some of 2022's notable and most-read articles that speak to both global events and new thinking on peace and security, United Nations (UN) peacekeeping, gender and security, and the climate crisis.
Year in Review: Top International Peace Institute Reports of 2022
The International Peace Institute's 10 most-read reports of 2022.
Disinformation Is a Growing Threat for UN Peacekeepers
December 14, 2022 by Albert Trithart
UN missions will need to address the root causes of misinformation and disinformation by proactively reshaping narratives about the UN.
Analysis, peacekeeping


Ruag's Civil Aviation Division offered a wide array of services. They sought a tool that would enable their sales team to lead more dynamic and interesting sales meetings that could better present their capabilities to potential clients.
We developed an app that every salesperson could use on a personal device, wherever a meeting was held. The app opened with a unique icon representing each area for which they offered services. When clicked, the icon opened with a short, impressive animation, revealing the details in an engaging way. The information on the topic was delivered with relevant case studies, eye catching images and other appropriate materials. The app also provided a checklist to mark the information each client found useful. At the end of the meeting, the sales person would automatically receive the checklist summary with details of the subjects discussed, enabling simple and effective follow up. The app empowered the sales team to lead effective sales meetings.
Because the app was so useful to their selling process, the company purchased IPADS for each of the members of the sales team staff.


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Beardstown, IL
Beardstown Houston Memorial Library
13 Boulevard Road
Beardstown, IL 62618
Records show that Beardstown had a library as early as 1847. During the next fifty years there were several libraries, both subscription and free, organized to serve the community.
The Beardstown Woman's Club, after its organization in 1897, listed as one of its projects "to work for a public library, to purchase reference books, and to encourage the donation of 'study' books...."
Mrs. Emmons made a bequest to the club to be used for the purchase of books and the "new" Beardstown Public Library was housed on the second floor of the Model Building, owned by the Kuhl and VonFossen families, at 101 Main Street.
In 1903, the Board of Library Trustees and the Woman's Club applied for, and received, a Carnegie Grant for $10,000 for a new building. At its completion in December 1904, the trustees began the furnishing of rooms and the acquisition of an improved book collection. By 1949 the holdings had increased to 4,998 books wth 1,099 cardholders.
Mr. Phillip Kuhl served as president of the Board of Trustees from its inception until 1938. The first librarian was Mrs. Van Sickle, with Miss Hallie Seeger serving as librarian from 1914 until 1961.
Beardstown Houston Memorial Library is not affiliated with AmericanTowns Media


This measure is to be submitted each time a repair of abdominal aortic aneurysms (AAA) is performed during the performance period. It is anticipated that Merit-based Incentive Payment System (MIPS) eligible clinicians who provide services of the repair of abdominal aortic aneurysms (AAA), as described in the measure, based on the services provided and the measure-specific 3denominator coding will submit this measure. This measure may be submitted by MIPS eligible clinicians who perform the quality actions described in the measure based on the services provided and the measure-specific denominator coding.
A higher calculated performance rate for this measure indicates better clinical care or control. Therefore the "Performance Met" numerator outcome option for this measure is the representation of the better clinical quality or control. Submitting that numerator outcome option will produce a performance rate that trends closer to 100%, as quality increases.


Develop alternatives - Jump over the Koopa Troopa, step on the Koopa Troopa, etc.
Evaluate the Outcome - I miscalculated my jump, got hit by the Koopa Troopa, died, and lost a life. Maybe next time I should try a different approach.
Of course, in reality these steps happen quickly and automatically. Our world tends to dictate that we rush these decisions (If Mario doesn't act in the next 1.5 seconds, it's all over). One of the consequences is that we often end up satisficing (yes, that is a word) instead of maximizing.
Our human nature leads us to only develop alternatives until we find one that is above this threshold. As we select the first option we find above this threshold, we are satisficing. Where satisficing is going with the first acceptable option, maximizing is going with the best possible option—meaning, you develop all the possible options before selecting the best one. If Mario were maximizing in the example above, he'd also consider options like "turn around and run the other way," "just stand there and see what happens," "go up and over the bricks above," "pause the game to get more time to decide," and maybe several others. Maximizing leads to superior outcomes. Maximizing works because sometimes the best options are not the most obvious ones. We shouldn't rule out missing meals, walking instead of driving, or asking for exceptions, even though these options aren't usually considered. Maximizing allows you to move forward with confidence, knowing that you considered every option. In life, we often satisfice when we ought to maximize. Of course, maximizing comes with a trade-off. It takes time and effort to evaluate all the options. Like Mario, we may only have a few seconds to decide. If there are a lot of options, we may need to write them down so we can remember them all. But for important decisions, the time spent maximizing is worth it.
This week I realized that my schedule next semester was going to be too much for me to handle. I've got a legitimate problem on my hands.
Just commit to this schedule anyway.
Try this schedule until things get really bad… then make a change.
Drop a class or two.
Reduce my hours at work.
Hire some tutors for some of these classes.
Study time management practices over the Christmas break.
Study speed reading over the Christmas break.
Ask other people for advice.
Audit one or more of these classes.
Ok that's enough for now. As you can see, several of these are awful ideas. But now I am in a position where I can be confident that my choice (or choices) will result in the best possible outcome.


text:
Canonization of the Gods – The Wonderland in Saha World of Maha
YANG Mao-Lin was born in 1953 in Changhua, Taiwan and graduated from the Fine Arts Department of Chinese Culture University in 1979. He was one of the four founders of the 101 Modern Art Group, and in 1984 formed the Taipei Art Group and assumed the post of its first president. In 1992, he won the first Lion Art Creation Award. His works in the 1980s have already showed high sensitivity to politics and history. His early paintings which borrow the subjects from Chinese classic mythology and his Graphic Hero Series in 1986 both feature storylines and characters as metaphors of authoritative regime's dominance on culture and ideology, signifying the abused and victimized society. His artwork Behavior of Game Playing in 1987 adopts muscled bodiesand fiery gestures to depict the physical violence of the street protests or the political conflicts around the lifting of Martial Law, straightforwardly revealing the energetic but yet chaotic "Taiwan phenomenon."
In the nineteen-nineties, he started to move towards propositions combining local, social and historical narratives, which included Made in Taiwan, Yun Mountain Memorandum, Lily Memorandum, Zealandia Memorandum and Dayuan Memorandum. These works multi-dimensionally examine the social reality and the complicated history influenced by various cultures throughout the colonial/ immigration period in Taiwan. In the late 1990s, he changed his artistic practice from political and historical issues to pop culture symbols, criticizing the transplantation of foreign cultures in Taiwan's contemporary society in a mocking tone. After 2002, he started making the superstars in Western comics into sculptures, and integrating them with elements from the Eastern culture such as Buddha statues, altars, or shrines. These characters with "supernatural power" thus became the new holy idols where we projected our personal emotions upon. His artworks after 2007 featured love stories and the character "Alice" as the prototype, revealing his desire for salvation and spiritual satisfaction.
The main character of the work is Peter Pan, the little boy from Western literature, who can fly and will never grow up. He rides on a rhinoceros beetle, a stag beetle, a bumblebee, a longhorned beetle, and a dragonfly (which are a million times larger than their original size) at five directions – east, south, west, north, and the center – to protect the magic island in the artist's mind. Other protectors include Captain Hook and the crocodile, and these two used to be the villains of the story who are each other's enemy. In the Utopian paradise, the innocent passion of Peter Pan comes from the depth of the artist's heart where a child forever lives inside. From the resistance to the social/political authority in the early stage of his artistic practice to the world of fantasy now, the artist's attempt to change the world remains alive, although he no longer takes a rebellious position. Instead, he unleashes the childhood fantasy, creating a fictional happy ending to fulfill the paradise in his dream which he will never reach.
The career trajectory of YANG Mao-Lin is closely linked to the history and society of Taiwan. Yang already showed an interest in the island's history and mythologies and expressed his desire to give constructive criticism to the society in his early works. In the early 1980s, he decided to stand against the mainstream, disregarding their values and ideologies so as to discuss political, social, historical and cultural issues even more critically through art. He especially focused on two inter-related topics, "the infiltration and influence of the colonialists' culture" and "the formation and establishment of one's own culture."
The world started to change drastically in later years and Yang, who is quick to catch up with the changing times, diverted his attention to globalization in the mid 1990s. He gave a special and sarcastic note on how foreign cultures and local sub-cultures "attacked" the society of Taiwan. As he grew older and his thoughts changed, Yang's focus changed again. He became interested in the "unforgettable, heart-felt moments in life, which become even more alive with time." He resorted to mythologies and manga (a Japanese term referring to cartoons and comics) which he had loved for some time, and made sculptures of characters from western comics and oriental manga. In Alice in Wonderland (1865), based on his own imagination and preferences, he brought a fantastical paradise to life. Subverting the original storyline, he even made Alice and other major characters much more gigantic than they otherwise would be. It is through these funny formations that he reveals his most private thoughts to the public. It is also with such sincerity that he hopes to seek spiritual redemption of his own.
Chinese title: 封神演義—摩訶婆娑世界的夢幻島
English title: Canonization of the Gods – The Wonderland in Saha World of Maha
Medium / Classification: Sculpture
Dimensions: Dimensions variable
Artist: YANG Mao-Lin
Collection Unit: Collection of the National Taiwan Museum of Fine Arts
Guide to the Use of Image Files and Data from the Online Collection Database
http://collectionweb.ntmofa.gov.tw/eng98/01_interpret.aspx
Related Work: Zealandia Memorandum L9303 Zealandia Memorandum L9202 MADE IN TAIWAN‧Slogan Section VI


Jennifer Garner and Ben Affleck Attend Church Together With Their Kids: Pics!
Jennifer Garner and Ben Affleck might not be married anymore but they appear to still have one, happy family!
The exes were spotted out in Los Angeles at the Pacific Palisades Community Church with their three children, Violet, 12, Seraphina, 9, and Samuel, 6, on Sunday.
Garner, 45, wore a chic floral skirt and black top with shades, while Affleck, 45, donned a navy bomber jacket and jeans. The two arrived and departed church together.
After 10 years of marriage, the couple separated in June 2015 and officially filed for divorce last year. Despite this, they have been spending a lot of time together recently.
The two celebrated Easter in Hawaii as a family, where Affleck was working on his new film, Triple Frontier.
"They had a great weekend with the kids," a source previously told ET of the family's holiday, adding that Affleck has been "back and forth to L.A. a number of times during training" while shooting the movie.
For more from the amicable exes, watch the clip below!
Jennifer Garner Looks Fit and Fabulous in New York City -- See the Pics!
Are Meghan Markle and Prince Harry Relocating to Africa?


There are six ways in which a person and the situation interact to shape a person's goals, thoughts, feelings, and behaviorsThese are:1. Different persons respond differently to the same situation.2. Situations choose the person.. Persons choose the situation4. Different situations can prime different parts of the person.5. Persons change the situation.6. Situations change the person.s part of your answer:Discuss what is meant by each of these dyadsProvide an example of how each one worksAssume you are a supervisor. How would you work within each of these situations with your employees to increase employee motivation? How would your decisions be affected by each person-situation dyad?Assume that you are an industrial/organizational consultant brought into the same office as asked to study these person-situation interactions in order to advise management how to best put them to use to increase employee motivation which research design would you use? Why is this design the best fit for this office situation?


What is commissioning? | Whatis Series...?
The origin of commissioning rests in a 1989 political attempt to revive an ailing NHS.
The purchaser–provider split aimed to separate bodies concerned with the 'what' from those concerned with the 'how'.
Commissioning responsibilities are now divided across NHS England, clinical commissioning groups (CCGs) and local authorities.
Co-commissioning is a term that may apply to both specialised commissioning and primary care commissioning. It seeks to involve CCGs in commissioning services for which NHS England is legally accountable.
Specialised commissioning is concerned with services provided in relatively few hospitals but these usually have catchment populations of more than one million people. The budget is £15.6 billion.
More than half of all CCGs have taken devolved responsibility for commissioning general practice services from 1st April 2016.
Commissioning support units (CSUs) provide business services to commissioners. There are currently six NHS CSUs.
NHS finances are under immense pressure. A provider overspend of £2.45 billion in 2015/16 was offset by a national underspend by NHS England and specialised commissioning.
In 2015/16, 62 CCGs reported underspends totalling £122 million against their annual plan, while 39 CCGs reported overspends totalling £151 million.
The Cancer Drugs Fund overspent by £126 million (37%) despite reprioritisations undertaken during the year.
From 1st April 2016, the Greater Manchester Combined Authority took control of a £6 billion health and social care budget.
The Five Year Forward View sets the scene for the period up to 2020.
From 2016, every health and care system in England (44 in total) will produce a multi-year Sustainability and Transformation Plan (STP), showing how local services will evolve and become sustainable over the next five years.


text:
Works by R. F. C. Hull
( view other items matching `R. F. C. Hull`, view all matches )
Zen in the Art of Archery.Eugen Herrigel & R. F. C. Hull - 1955 - Philosophy East and West 5 (3):263-264.details
Psychology and Religion: West and East.Carl G. Jung, Herbert Reed, Michael Fordham, Gerhard Adler & R. F. C. Hull - 1959 - Philosophy East and West 9 (3):177-180.details
Chinese Philosophy: Topics in Asian Philosophy
Psychology and Alchemy.C. G. Jung, R. F. C. Hull, Herbert Read, M. Fordham & G. Adler - 1953 - Tijdschrift Voor Filosofie 16 (1):156-156.details
Alchemy is central to Jung's hypothesis of the collective unconscious. In this volume he begins with an outline of the process and aims of psychotherapy, and then moves on to work out the analogies between alchemy, Christian dogma and symbolism and his own understanding of the analytic process. Introducing the basic concepts of alchemy, Jung reminds us of the dual nature of alchemy, comprising both the chemical process and a parallel mystical component. He also discusses the seemingly deliberate mystification of (...) the alchemists. Finally, in using the alchemical process as providing insights into individuation, Jung emphasises the importance of alchemy in relating to us the transcendent nature of the psyche. (shrink)
The Interpretation of Nature and the Psyche: Synchronicity an Acausal Connecting Principle.C. Jung, R. F. C. Hull & W. Pauli - 1959 - Philosophy 34 (130):259-262.details
Philosophy of Psychology in Philosophy of Cognitive Science
Existence and Being.Martin Heideggers Einfluss auf die Wissenschaften.Robert Cumming, Martin Heidegger, Douglas Scott, R. F. C. Hull, Alan Crick, Werner Brock, Carlos Astrada, Kurt Bauch, Ludwig Binswanger, Robert Heiss, Hans Kunz, Erich Ruprecht, Wolfgang Schadewaldt, Heinz-Horst Schrey, Emil Staiger, Wilhelm Szilasi & Carl Friedrich von Weizsacker - 1951 - Journal of Philosophy 48 (4):102.details
Answer to Job: (From Vol. 11 of the Collected Works of C. G. Jung).R. F. C. Hull (ed.) - 2010 - Princeton University Press.details
Considered one of Jung's most controversial works, Answer to Job also stands as Jung's most extensive commentary on a biblical text. Here, he confronts the story of the man who challenged God, the man who experienced hell on earth and still did not reject his faith. Job's journey parallels Jung's own experience--as reported in The Red Book: Liber Novus--of descending into the depths of his own unconscious, confronting and reconciling the rejected aspects of his soul. This paperback edition of Jung's (...) classic work includes a new foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London. Described by Shamdasani as "the theology behind The Red Book," Answer to Job examines the symbolic role that theological concepts play in an individual's psychic life. (shrink)
French Philosophy in European Philosophy
Poststructuralism in Continental Philosophy
$4.91 used $6.98 new $8.99 from Amazon Amazon page
Dreams: (From Volumes 4, 8, 12, and 16 of the Collected Works of C. G. Jung).R. F. C. Hull (ed.) - 2010 - Princeton University Press.details
Dream analysis is a distinctive and foundational part of analytical psychology, the school of psychology founded by C. G. Jung and his successors. This volume collects Jung's most insightful contributions to the study of dreams and their meaning. The essays in this volume, written by Jung between 1909 and 1945, reveal Jung's most essential views about dreaming--especially regarding the relationship between language and dream. Through these studies, Jung grew to understand that dreams are themselves a language, a language through which (...) the soul communicates with the body. The essays included are "The Analysis of Dreams," "On the Significance of Number Dreams," "General Aspects of Dream Psychology," "On the Nature of Dreams," "The Practical Use of Dream Analysis," and "Individual Dream Symbolism in Relation to Alchemy". New to this edition is a foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London. (shrink)
Consciousness, Sleep, and Dreaming in Philosophy of Cognitive Science
$3.39 used $8.00 new $10.59 from Amazon Amazon page
Four Archetypes: (From Vol. 9, Part 1 of the Collected Works of C. G. Jung) [New in Paper].R. F. C. Hull (ed.) - 2010 - Princeton University Press.details
One of Jung's most influential ideas has been his view, presented here, that primordial images, or archetypes, dwell deep within the unconscious of every human being. The essays in this volume gather together Jung's most important statements on the archetypes, beginning with the introduction of the concept in "Archetypes and the Collective Unconscious." In separate essays, he elaborates and explores the archetypes of the Mother and the Trickster, considers the psychological meaning of the myths of Rebirth, and contrasts the idea (...) of Spirits seen in dreams to those recounted in fairy tales.This paperback edition of Jung's classic work includes a new foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London. (shrink)
Jung Contra Freud: The 1912 New York Lectures on the Theory of Psychoanalysis.R. F. C. Hull (ed.) - 2011 - Princeton University Press.details
In the autumn of 1912, C. G. Jung, then president of the International Psychoanalytic Association, set out his critique and reformulation of the theory of psychoanalysis in a series of lectures in New York, ideas that were to prove unacceptable to Freud, thus creating a schism in the Freudian school. Jung challenged Freud's understandings of sexuality, the origins of neuroses, dream interpretation, and the unconscious, and Jung also became the first to argue that every analyst should themselves be analyzed. Seen (...) in the light of the subsequent reception and development of psychoanalysis, Jung's critiques appear to be strikingly prescient, while also laying the basis for his own school of analytical psychology. This volume of Jung's lectures includes an introduction by Sonu Shamdasani, Philemon Professor of Jung History at University College London, and editor of Jung's Red Book. (shrink)
Sigmund Freud in 19th Century Philosophy
Synchronicity: An Acausal Connecting Principle. (From Vol. 8. Of the Collected Works of C. G. Jung).R. F. C. Hull (ed.) - 2010 - Princeton University Press.details
Jung was intrigued from early in his career with coincidences, especially those surprising juxtapositions that scientific rationality could not adequately explain. He discussed these ideas with Albert Einstein before World War I, but first used the term "synchronicity" in a 1930 lecture, in reference to the unusual psychological insights generated from consulting the I Ching. A long correspondence and friendship with the Nobel Prize-winning physicist Wolfgang Pauli stimulated a final, mature statement of Jung's thinking on synchronicity, originally published in 1952 (...) and reproduced here. Together with a wealth of historical and contemporary material, this essay describes an astrological experiment Jung conducted to test his theory. Synchronicity reveals the full extent of Jung's research into a wide range of psychic phenomena. This paperback edition of Jung's classic work includes a new foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London. (shrink)
Introduction to Jungian Psychology: Notes of the Seminar on Analytical Psychology Given in 1925.William McGuire & R. F. C. Hull (eds.) - 2011 - Princeton University Press.details
In 1925, while transcribing and painting in his Red Book, C. G. Jung presented a series of seminars in English in which he spoke for the first time in public about his early spiritualistic experiences, his encounter with Freud, the genesis of his psychology, and the self-experimentation he called his "confrontation with the unconscious," describing in detail a number of pivotal dreams and fantasies. He then presented an introductory overview of his ideas about psychological typology and the archetypes of the (...) collective unconscious, illustrated with case material and discussions concerning contemporary art. He focused particularly on the contra-sexual elements of the personality, the anima and the animus, which he discussed with the participants through psychological analyses of popular novels, such as Rider Haggard's She. The notes from these seminars form the only reliable published autobiographical account by Jung and the clearest and most important account of the development of his work. This revised edition features additional annotations, information from the Red Book, and an introduction by Sonu Shamdasani, Philemon Professor of Jung History at University College London. (shrink)
Farewell to European History or, the Conquest of Nihilism.Alfred Weber & R. F. C. Hull - 1947 - K. Paul, Trench, Trubner.details


text:
package pl.touk.sputnik.processor.shellcheck;

import com.google.common.io.Resources;
import org.apache.commons.io.IOUtils;
import org.junit.jupiter.api.BeforeEach;
import org.junit.jupiter.api.Test;
import org.junit.jupiter.params.ParameterizedTest;
import org.junit.jupiter.params.provider.ValueSource;
import pl.touk.sputnik.review.Violation;

import java.io.IOException;
import java.net.URISyntaxException;
import java.util.List;

import static org.assertj.core.api.Assertions.assertThat;
import static org.assertj.core.api.Assertions.catchThrowable;

public class ShellcheckResultParserTest {

    private ShellcheckResultParser shellcheckResultParser;

    @BeforeEach
    public void setUp() {
        shellcheckResultParser = new ShellcheckResultParser();
    }

    @ParameterizedTest
    @ValueSource(strings = {
            "shellcheck/empty-file.txt",
            "shellcheck/no-violations.txt"
    })
    void shouldParseNoViolations(String filePath) throws IOException, URISyntaxException {
        // given
        String response = IOUtils.toString(Resources.getResource(filePath).toURI());

        // when
        List<Violation> violations = shellcheckResultParser.parse(response);

        // then
        assertThat(violations).hasSize(0);
    }

    @ParameterizedTest
    @ValueSource(strings = {
            "shellcheck/sample-output.txt"
    })
    void shouldParseSampleViolations(String filePath) throws IOException, URISyntaxException {
        // given
        String response = IOUtils.toString(Resources.getResource(filePath).toURI());

        // when
        List<Violation> violations = shellcheckResultParser.parse(response);

        // then
        assertThat(violations).hasSize(3);
        assertThat(violations).extracting("filenameOrJavaClassName").contains("myotherscript", "myscript");
        assertThat(violations)
                .extracting("message")
                .contains("[Code:1035] Message: You need a space after the [ and before the ].")
                .contains("[Code:2039] Message: In POSIX sh, echo flags are undefined.")
                .contains("[Code:2086] Message: Double quote to prevent globbing and word splitting.");
    }

    @Test
    public void shouldThrowExceptionWhenViolationWithUnknownMessageType() throws IOException, URISyntaxException {
        String response = IOUtils.toString(Resources.getResource("shellcheck/unknown-message-output.txt").toURI());

        Throwable thrown = catchThrowable(() -> shellcheckResultParser.parse(response));

        assertThat(thrown).isInstanceOf(ShellcheckException.class)
                .hasMessageStartingWith("Unknown message type returned by shellcheck (type = fatal)");
    }
}


text:
Label Website
"Crooked Heart (feat. Frankie Barranco)" from Crooked Heart (feat. Frankie Barranco) (Single)
"Draw Near" from Whisper EP
"Let Go" from Whisper EP
"Shook" from Whisper EP
"Wherever You Are" from Whisper EP
"Whisper" from Whisper EP
7eventh Time Down Announces Spring Tour
Stillman Releases Debut EP 'Whisper' Today
(Friday, December 06, 2019)
Rhett Walker Leads Acclaimed Additions to First Company Management Roster
(Monday, August 05, 2019)
Stillman Releases Debut Single 'Shook' Today with New Music Video
(Friday, August 02, 2019)
Stillman
927 Views | 0 Comments [edit]
Jacob Stillman, who goes by the moniker Stillman, hails from Little Rock, Arkansas. With a loving and supportive family and his father who was a bass player, Stillman knew from an early age he was deemed to follow a musical calling.
He was only a mere 11 years old when he joined his first band, writing songs and singing pop/punk music. But around that same time, he was also discovering drugs and alcohol, and by the time he was in middle school, he had gotten arrested with a few misdemeanors under his belt.
When he turned 16, he was given a record deal, so he quit high school and moved to Dallas with his band. After a short stint in Texas, there was one day that Stillman found himself high, face-first on a bathroom floor, and with a chipped tooth. The last thing he remembered that particular day was hearing a voice whispering the boldest, and most influencing words, "You are mine."
With the welcoming support of his parents, the very next day he packed his car, quit his band and left everything behind to head back home to Arkansas. He eventually reached out to a childhood friend's father (who was a local pastor) to seek help and ask a million questions about God.
Stillman became hungry for Christian Theology, and it was August 2011 when he gave his life to Christ, being baptized in the back of a pickup truck in a garden center parking lot. He was ready to begin his new journey and had a new reason to create again, something he never thought he would get the chance to do.
For a few years, he led worship at his church and began songwriting. After blindly emailing a famed producer in Franklin, TN, Stillman was introduced to a community of artists and creatives, including Seth Talley, David Leonard, and Brad King (the Creak Music team). It was through these relationships that Stillman created and released his first single, "Crooked Heart." A few months later he followed with "Keep Movin On," which at press time has broken a million streams across Apple and Spotify.
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text:
Villa Manin-Kechler si trova nella frazione San Martino a Codroipo, in provincia di Udine.

Storia
La villa appartenne alla famiglia veneziana Manin, che l'aveva eretta nel XVI secolo, con un borgo che si era sviluppato attorno. A metà del Seicento venne ceduta per avviare lo straordinario progetto della villa di Passariano. Passata ai Kechler, nel corso dell'Ottocento la barchessa occidentale venne trasformata in filanda. A quell'epoca, per migliorare la selezione dei bachi da seta, venne invitato a San Martino Louis Pasteur.

Un altro ospite illustre fu Ernest Hemingway, che vi soggiornò più volte, invitato dal conte Carlo, con il quale era solito andare a caccia e pesca nelle vicine valli di Caorle. Nel 1948 lo scrittore ebbe un'amicizia romantica con Adriana Ivancich, una giovane aristocratica veneziana, proprietaria di una villa veneta sita nel comune di San Michele al Tagliamento e conosciuta tramite Kechler, e nel 1954 ritornò a San Martino per riprendersi dai postumi di un grave incidente aereo in Africa.

Descrizione
Il corpo principale ha forma cubica con due barchesse laterali che ospitavano le stalle. Incorniciano il giardino, oggi in stile neoclassico, con statue ai lati del vialone d'ingresso. Sul retro si estende un vasto parco.

L'architettura della villa nasce nel '500 come Casino (piccola casa) o Palazzina di caccia e solo per questo scopo. Infatti, l'entrata principale al centro del piano terra dà accesso a un unico grande androne che si estende per tutta la profondità dell'edificio terminando in fondo con una simile porta d'uscita nella facciata del retro verso la campagna. I cavalieri cacciatori scendevano nell'androne dal 1º piano "nobile" dove erano situati i loro alloggi tramite una monumentale scala situata al centro dell'androne sulla sinistra entrando. Lì montavano i loro cavalli già bardati dai loro scudieri e uscivano in campagna all'aria aperta per la caccia con i cani.
Al ritorno la scena si ripeteva a rovescio. I cavalieri smontavano e risalivano nelle loro stanze per cambiarsi per il banchetto serale nell'androne al piano terra. I cavalli venivano riportati nelle loro stalle delle barchesse mentre servi e cuochi portavano la selvaggina nelle cucine situate nelle stanze laterali all'androne e cucinavano per il banchetto. Gli alloggi per i servi erano situati nelle soffitte al secondo piano.

Nel 1975 la villa fu ristrutturata e restaurata dall'architetto Edgardo Pinto Guerra per permetterne la divisione in due unità abitative indipendenti per due nuclei familiari della famiglia. Una al piano terra e l'altra al primo piano. La scala monumentale rimase in vista dall'androne ma fu chiusa in cima al suo arrivo al Primo piano. L'accesso indipendente al secondo piano fu creato con una nuova bella scala con ingresso da una porta esistente in fondo sul lato destro del corpo principale.
Il restauro fu anche strutturale. Tant'è che l'unico danno che il famoso terremoto del 1976 causò fu una stretta fessura diagonale sul muro dell'androne del piano terra.

Altri progetti

Collegamenti esterni

Manin-Kechler
Residenze dei Manin
Architetture rinascimentali del Friuli-Venezia Giulia


Bassist Olie Brice has been a regular visitor to Jazz North East in recent years, in contexts as diverse as Loz Speyer's Inner Space Music and an improv duo with German pianist Achim Kaufmann, but this will be the first time he's been here as leader of his own group.
And what a group it is. On mainly original tunes which combine Olie's love for melody with plenty of space for free-ranging improvisation (and the occasional unexpected standard - 'If You Were the Only Girl in the World' often finds a place in their sets), the three horn front line of Alex Bonney on trumpet, George Crowley on tenor sax, and Mike Fletcher on the rarely heard C-Melody sax provide a subtle blend of gently textured harmonies and open but measured intensity. With Olie's own compelling bass playing (Charles Mingus and Charlie Haden are the masters who most readily come to mind), and the impeccable drumming of former Stan Getz sidesman Jeff Williams, this is a band that brilliantly balances the straightahead and the free, and should enthrall fans of both approaches.


March 21 is Fragrance Day and we wanted to take a minute to talk about fragrances, because they aren't all created equally. Fragrance is getting a lot of attention recently, and with good reason. You may already know that if you see "fragrance" listed on a label, the specific ingredients in that scent are considered proprietary and do not need to be disclosed. This means that consumers have no idea what is being added to the products they buy.
The problem with fragrance is that it is difficult to limit exposure. We have all been subjected to being in close quarters with someone who liberally applied perfume or cologne or walked into a suburban room that smells like a strawberry field. With candles, cleaning products, personal care items, and even trash bags containing scented versions, exposure is becoming more frequent as Americans feel that the smell of clean and fresh is an actual scent, rather than the absence of one. The problem is becoming so pervasive that some have dubbed fragrance as "the new second hand smoke". While it may seem like an overboard comparison, there are health risks associated with breathing in synthetic fragrances. One study found that large numbers of respondents reported symptoms after being exposed to products containing fragrance.
Even people who know better can fall prey to these sneaky toxins. Recently, at a Kosmatology team meeting, we were brainstorming how to make a vanilla scented soap. In our heads, we all expected it to smell like a cupcake… but vanilla doesn't smell like a cupcake. It smells good, but it doesn't smell like vanilla mixed with flour, sugar and eggs baking in an oven. After a lot of sniffing, our noses didn't know what they were smelling anymore, and we realized that we could not find a way to make that scent using just essential oils! There are so many vanilla cupcake smelling products out there that we actually forgot that it's not a scent found in nature.
We get emails from customers asking us to make scents they would love - like blueberry and pumpkin. But the truth is, blueberry seed oil doesn't have much of a smell, in the same way that plain blueberries don't have much of a scent. And if you've ever carved a pumpkin, you probably haven't been blown away by it's amazing aroma, because there isn't one, and the same goes for the pumpkin seed oil. Sometimes, you can create a scent in one product, like a solid soap, but the scent doesn't translate well to a liquid soap; we aren't saying nobody can do it, it's just not something we have found a way to do yet.
So keep sending us your ideas, we always love to hear from you, but without adding artificial ingredients, we can't make every scent that you ask for, or sometimes even the ones we intend to! But at the end of the day, we want you to know that Kosmatology products will smell just like nature intended. And when you are choosing cleaning products, home goods and personal care products, remember to think about what you are buying and reduce your exposure to potential toxins hiding as fragrance.
Ah, Valentine's Day. If you have an elementary or preschooler in the house, then you know that the aisles of every store are just bursting with pre-made cards that contain lollipops, pencils, or stickers for the kids to hand out to everyone in their class. Now, to be clear, I have sent those cards out, because they are easy and life gets busy. I've also done the cute, traditional ones where we glue stick doilies to construction paper for days! However, sometimes it's fun to do something a little different.
So, I thought I'd share my very favorite Valentines that we have ever done in my house. These are super cute, easy, reusable AND made from recycled materials! Awesome, right? You need three things: old crayons, a mold (a silicone muffin mold or ice cube tray is ideal), and something to package your crayons so your little one can hand them out to friends.
We have an arts and crafts bin that always has some spare, unloved, broken crayons at the bottom. The crayons that we get free at restaurants or the ones that just break in half, never to be used again. If you have a similar bin, pull out all those unloved pieces and start unwrapping! Preheat your oven to 175 degrees. Take your molds (we actually used molds from an old bath bomb kit for the ones pictured) and start filling them with the crayon pieces that you have removed the paper from, mix those colors up and have fun, the colors will swirl as the crayons melt.
Once the molds are almost full, place the molds on a cookie sheet and bake for 10-15 minutes until melted. Let them cool for about 30 minutes, and then pop them out. Repeat as needed until you have enough crayons and voila – the cutest little Valentines! Just for fun, we made a template for the cutest free printable labels you can print out and stick to your bag of Valentines crayons.
Triple win – cute Valentines for the class, you just saved some money and you cleaned out your crayon bin!


text:
O TNSJ - Teatro Nacional São João, E.P.E. MHM localiza-se na Praça da Batalha, no centro histórico da cidade do Porto, Distrito do Porto, em Portugal. Para além do edifício-base, integram esta estrutura o Teatro Carlos Alberto e o Mosteiro de São Bento da Vitória.

História
Denominado originalmente como Real Teatro de São João, a sua primitiva edificação foi erguida em 1794 por determinação de Francisco de Almada e Mendonça, com projecto do arquitecto italiano Vicente Mazzoneschi, que havia sido cenógrafo do Teatro de São Carlos em Lisboa. Foi inaugurado com a comédia "A Vivandeira" a 13 de Maio de 1798, com o intuito de assinalar o aniversário do príncipe D. João (futuro D. João VI), motivo este por que, nos primeiros tempos, ainda lhe deram o nome de Teatro do Príncipe.

A estrutura interior do original Real Teatro de São João era semelhante à do Teatro de São Carlos, e a sua composição próxima dos teatros de tipo italiano que, na época, se tinham estabelecido como regra de sucesso.

Em 11 de Abril de 1908 um violento incêndio destruiu completamente o edifício.

Sem se conformar com a perda, logo uma comissão se constituiu para a sua reconstrução, que teve início em 1911, com projecto de Marques da Silva. Foi inaugurado a 7 de Março de 1920. E foi adquirido pelo Estado português em 1992, sendo submetido a obras de restauro entre 1993 e 1995.

Hoje, o edifício totalmente reconstruído é um dos principais edifícios da cidade, tendo como missão principal a apresentação de espetáculos de teatro, sendo local de realização dos principais espectáculos culturais da cidade, onde, nomeadamente, se realizou o festival PoNTI - Porto Natal Teatro Internacional.

Em 2012, o teatro  foi reclassificado como monumento nacional. A reclassificação, aprovada em Conselho de Ministros, a 24 de Maio, foi publicada em Diário da República no dia 10 de Julho de 2012. A 7 de Março de 2020 foi feito Membro-Honorário da Ordem do Mérito.

Características
O atual edifício, de aspecto robusto mas sem estilo definido, é composto por uma imponente frontaria guarnecida por quatro colunas jónicas, entre as quais se abrem três janelas de arco pleno e outras tantas portas.

Internamente, a decoração da sala de espectáculos e principais salões ficou a cargo dos pintores Acácio Lino e José de Brito e dos escultores Henrique Moreira, Diogo de Macedo e Sousa Caldas, sendo estes dois últimos responsáveis pelas quatro figuras alegóricas colocadas no friso do entablamento e que representam a Bondade, a Dor, o Ódio e o Amor.

Ver também
 Teatro Nacional Dona Maria II
 Teatro Nacional de São Carlos

Ligações externas

Sao Joao
Sao Joao
Sé (Porto)
Monumentos nacionais no Porto
José Marques da Silva
Sao Joao
Fundações em Portugal em 1798
Membros honorários da Ordem do Mérito


In a fundamental change in scholarly publishing practice, the College Art Association has announced new standard contracts with contributors to its lead journals. These new contracts encourage scholars and artists contributing to its journals to employ fair use for third-party works in copyright (such as images and quoted text) according to the principles and limitations outlined in CAA's Code of Best Practices in Fair Use for the Visual Arts. This is in contrast to previous contracts for the CAA journals, which (like other standard contracts in the field) required contributors to obtain permissions for most illustrations and other third-party works. By adhering to the principles of fair use in this new policy, CAA leads the way for other scholarly publications and presses to similarly embrace the doctrine of fair use.
In its new author agreements, CAA states that after careful review of the Code the author must determine whether or not fair use may be invoked. If the conclusion is in the affirmative, CAA will publish without requiring third-party permission; in addition, the agreements state that the author need not indemnify CAA for claims of copyright infringement with respect to the use of a third-party work which he or she has determined is a fair use. The author's signature on the document certifies that she or he has read the Code and considered the limitations of fair use as outlined in an addendum to the agreement. Authors will still need to obtain permission for third-party works that are not utilized under fair use.
The new contracts are available in the Publications section of the CAA website.
Only months after its release, major visual arts organizations continue to endorse CAA's Code of Best Practices in Fair Use for the Visual Arts. The Society of Architectural Historians (SAH) and the Association of College and Research Libraries (ACRL) each voted in April to endorse CAA's set of principles regarding best practices in the fair use of copyrighted materials. In June, the Art Libraries Society of North America (ARLIS/NA) and Association of Research Libraries (ARL) also voted to endorse.
Founded in 1940, the Society of Architectural Historians is a nonprofit membership organization that promotes the study, interpretation and conservation of architecture, design, landscapes, and urbanism worldwide. SAH serves a network of local, national and international institutions and individuals who, by vocation or avocation, focus on the built environment and its role in shaping contemporary life. SAH promotes meaningful public engagement with the history of the built environment through advocacy efforts, print and online publications, and local, national, and international programs.
The Association of College and Research Libraries (ACRL), a division of the American Library Association, is the higher education association for librarians, committed to advancing learning and transforming scholarship. Founded in 1940 and representing nearly 11,000 academic and research librarians and interested individuals, ACRL is dedicated to enhancing the ability of academic library and information professionals to serve the information needs of the higher education community and to improve learning, teaching, and research. As Mary Ellen K. Davis, executive director of ACRL, stated: "The Code will serve as a valuable open-access resource for our higher education stakeholders." Both organizations are disseminating the Code to their members.
The Association of Research Libraries (ARL) is a nonprofit organization of the leading research libraries in the US and Canada. Comprising more than 125 libraries at comprehensive, research-intensive institutions, its mission is to shape and influence forces affecting the future of research libraries in the process of scholarly communication. ARL pursues this mission by advancing the goals of its member research libraries, providing leadership in public and information policy to the scholarly and higher education communities, fostering the exchange of ideas and expertise, facilitating the emergence of new roles for research libraries, and shaping a future environment that leverages its interests with those of allied organizations.
Groups that previously have endorsed the Code include the Association of Art Museum Curators (AAMC) and the American Library Association (ALA).
CAA welcomes other endorsements, and encourages organizations in the field to recommend the Code to members. CAA representatives are happy to address questions and to make educational presentations. To make arrangements for a presentation, whether by webinar, conference call, or in person, please contact me at jlanday@collegeart.org. The Code and supporting materials are available at www.collegeart.org/fair-use.
The creation of CAA's Code of Best Practices in Fair Use for the Visual Arts was funded by the Andrew W. Mellon Foundation, with additional support provided by the Samuel H. Kress Foundation.
Register now for the next webinar in CAA's series on fair use in the visual arts, meeting this Friday, May 29 at 1 PM EDT and the final review on Friday, June 5 at 1 PM EDT. Join the lead principal investigators of CAA's new Code of Best Practices in Fair Use for the Visual Arts, Patricia Aufderheide, university professor in the School of Communication at American University and Peter Jaszi, professor of law in the Program on Information Justice and Intellectual Property at American University's Washington College of Law, for an in-depth look at the Code's section on fair use in museums and archives and a final review of the entire series. Registration for the live events is free and open to the public thanks to a generous grant from the Andrew W. Mellon Foundation.
Video recordings of the webinars in this series are available for CAA members. To access, log into your account on collegeart.org and click on the "Webinars" tab in the left-hand navigation column. Recordings of each webinar in the series will be made available to members the week following the event.
CAA's Webinar on Fair Use in Teaching and Art Practice Is This Friday, May 15!
Register now for the next webinar in CAA's series on fair use in the visual arts, meeting this Friday, May 15 at 1 PM EDT. Join the lead principal investigators of CAA's new Code of Best Practices in Fair Use for the Visual Arts, Patricia Aufderheide, university professor in the School of Communication at American University and Peter Jaszi, professor of law in the Program on Information Justice and Intellectual Property at American University's Washington College of Law, for an in-depth look at the Code's sections on fair use in teaching and art practice. Registration for the live event is free and open to the public thanks to a generous grant from the Andrew W. Mellon Foundation.
Video recordings of the first two webinars in this series are now available for CAA members. To access, log into your account on collegeart.org and click on the "Webinars" tab in the left-hand navigation column. Recordings of each webinar in the series will be made available to members the week following the event.
The visual arts community is already putting the Code of Best Practices in Fair Use for the Visual Arts to work in Detroit. At a late-April meeting at the Cranbrook Art Museum, speakers showed fair use can enable work in five areas.
Publishing. At Wayne State University Press, explained its director Jane Hoehner, fair use is essential to publishing work on film studies, one of the press' major lines. Until now, the Society for Cinema and Media Studies code of best practices in fair use has been useful, but this new code opens more opportunities. The press does not depend on fair use for covers of the books, which function more like advertisements and are much harder to justify as a transformative use because of that.
Teaching. Diana Y. Ng, who teaches art history at University of Michigan-Dearborn, was pleased to see that current practice in her department agrees generally with the field's consensus on using teaching materials. Fairly-used materials are, among other things, limited both to a particular course and to the students, teachers and staff in that course, and images are used at an appropriate resolution for teaching.
Museums. Terry Segal, a registrar for the Detroit Institute of Arts, sees fair use as a way of expanding access and also streamlining work. She took heart from the simplicity of CAA's fair use code. As someone who has spent a lot of time granting and getting permissions, she found the fact that fair use is so simple to execute heartening. "When we're using fair use, we don't have to worry about what all the rights in the piece are," she noted.
Librarians, museum staff, scholars, artists, and teachers at the event seized upon copies of the Code to share with their colleagues. We look forward to stories of how the Code was received and used; stay in touch at nyoffice@colleageart.org.
Since the Code of Best Practices in Fair Use for the Visual Arts launched in February, it has begun conversations in libraries, museums, archives, editorial offices, and classrooms. (Need a refresher on that code? Check out this video!) Now, it's picking up fans.
The Society of Architectural Historians (SAH) and the Association of College and Research Libraries (ACRL) have just endorsed the Code and other organizations have also expressed their enthusiasm. The Association of Art Museum Directors (AAMD) sent a letter of support to CAA in February, as has the American Alliance of Museums (AAM), which also posted it on their resource page.
The Code's facilitators have been busy with workshops and presentations at the San Francisco Art Institute, the Art Libraries Society of America annual conference in Dallas, a meeting of the Legal Issues in Museum Administration in Washington, D.C., the University of Chicago and Western Illinois University among others. The College Art Association has also sponsored several webinars, including a five-part series that continues into May.
If you're interested in hosting an event on fair use in the visual arts, contact nyoffice@collegeart.org.
The Andrew W. Mellon Foundation has awarded a second grant of $60,000 to the College Art Association (CAA) to administer the Meiss/Mellon Author's Book Award for one year. The award was first given to CAA in 2013 as a temporary measure to provide financial relief to early-career scholars in art history and visual studies who are responsible for paying for rights and permissions for images in their publications. The Meiss/Mellon Author's Book Award will provide grants directly to emerging scholars to offset the costs of securing images for their first books. Recipients will be selected on the basis of the quality and financial need of their project, and awards will be made twice during the year (in the summer and fall). CAA anticipates awarding between ten and twelve Meiss/Mellon Author's Book Awards in 2015.
Scholars may submit applications for the summer round of the Meiss/Mellon Author's Book Award before the June 12, 2015 deadline. The fall deadline is September 15, 2015. CAA will administer the Meiss/Mellon Author's Book Award according to guidelines developed for the Millard Meiss Publication Fund grant, an award established in 1975 by a generous bequest from the late Professor Millard Meiss. The jury for the award, comprising distinguished, mid-career or senior scholars whose specializations cover a broad range of art scholarship, has discretion over the number of and size of the awards. For further information about the award and to apply, please visit www.collegeart.org/meissmellon.
CAA seeks to alleviate high reproductions rights costs related to publishing in the arts. With funding from a separate, generous grant from the Andrew W. Mellon Foundation and a start-up grant from the Samuel H. Kress Foundation, CAA recently published its Code of Best Practices in Fair Use for the Visual Arts. Part of a multi-year effort led by Patricia Aufderheide and Peter Jaszi, the Code presents a set of principles addressing best practices in the fair use of copyrighted materials based on a consensus of opinion developed through discussions with visual-arts professionals.
For specific questions about applying to the Meiss/Mellon Author's Book Award, please contact Sarah Zabrodski, CAA editorial manager, at szabrodski@collegeart.org or 212-392-4424.
CAA's Webinar on Fair Use in Scholarship Is This Friday, April 10!
Register now for the next webinar in CAA's series on fair use in the visual arts meeting this Friday, April 10 at 1 PM EDT. Join the lead principal investigators of CAA's new Code of Best Practices in Fair Use for the Visual Arts, Patricia Aufderheide, university professor in the School of Communication at American University and Peter Jaszi, professor of law in the Program on Information Justice and Intellectual Property at American University's Washington College of Law, for an in-depth look at the Code's section on fair use in analytic writing. Registration for the live event is free and open to the public thanks to a generous grant from the Andrew W. Mellon Foundation.
A video recording of the first webinar held on March 27th, "An Introduction to CAA's Code of Best Practices in Fair Use for the Visual Arts," is now available for CAA members. To access, log into your CAA account and click on the "Webinars" link in the left-hand navigation. Recordings of each webinar in the series will be made available to members the week following the event.
You may register for the first webinar (March 27) here. Registration for the remaining four webinars is available as a series here. Regardless of the number of these sessions you wish to attend, please register for the entire series and participate in whichever sessions you would like.
Registration is free and open to the public thanks to a generous grant from the Andrew W. Mellon Foundation. The webinars will be available at a later date as archived videos for CAA members.
Questions? Email CAA at nyoffice@collegeart.org.


Bill Bowler is an experienced ELT teacher and teacher trainer who has taught in several countries around the world. He is co-author of several courses for Oxford University Press, including the topic-based coursebooks Happy Earth and Network, the New Headway Pronunciation Course, and Literature in the Making Headway series. He is the author of The Butler Did It - a book of short original comedy sketches in the Oxford Bookworms Playscripts series.
With Sue Parminter Bill is also a Series Editor and has written adaptations for the Oxford University Press Dominoes series, a collection of full-colour readers with integrated activities.


After 700mm fell in 24hrs at Rainbow Beach and other falls in excess of 400mm in the same period (in August - our driest month), I just had to check it out. Photos from various places around the Sunshine Coast.
First chase of the 2007/08 season and not a bad start given it is September. Chased a weak trough in the Wide Bay/Burnett district of QLD.
A few very isolated storms developed over SEQ this day. I intercepted one near Fernvale and got some small (2-3cm hail) and then watched another beautiful storm SE of Beaudesert later in the day.
As supercells smashed into NE NSW and the southern parts of the Gold Coast, I chased around Boonah-Beaudesert and got some nice structure shots and some nice lightning after dark.
Another day of severe storms roared across SEQ.
Photos from the air of storms over Brisbane and NE NSW including the storm which produced a tornado near Lismore.
Photos from the air of spectacular storms over NE Victoria and NE NSW.
A trip to the Top End (Darwin). After a swim at Berry Springs, we scored a storm over Howard Springs which we followed to Channel Island.
Photos from Litchfield National Park and a storm which exploded over the area later in the day.
Also on the trip to Darwin we played around with giant Barramundi at Howard Springs before heading out to Gunn Point where a storm developed late in the day. We finished the day with a beautiful sunset at Fogg Dam.
We trekked out to Kakadu National Park for a few days. This day saw us visit Ubirr and Nourlangie, both rekowned for their aboriginal art. The storms also came to the party again this day.
Another day in Kakadu National Park. Today was the beautiful Barramundi Gorge and Gunlom Plunge Pool.
A cell developed SW of Grafton and moved due N finally dissipating N of Casino after 4hrs.
A drive out to Dundee Beach and then evening storms east of Darwin.
Storms in the outer rural of Darwin and Fogg Dam sunset.
A frustrating day of chasing in NSW around Coonabarabran.
Another frustrating day with storms developing on the coast near Grafton and then further W along the trough.


text:
Anoushka Shankar and Shilpa Rao come together for a song about heartbreak from a woman's perspective
Add it to your playlist ASAP
By Subhanjana Das February 10th, 2020
Two hyper-talented musicians. A lunch in London. A mutual admiration of each other's work. That is pretty much how Anoushka Shankar's collaboration with Shilpa Rao on her new single Those Words came to be. The track is taken from her upcoming EP, Love Letters. Those Words also features British composer, singer and cellist Ayanna Witter Johnson. In fact, the whole creative army behind the song was an all-female one.
For Anoushka Shankar, that came from a very personal space. "I was leaning on close female friends as my marriage ended, spending time with them as part of the healing process. Some of them are also musicians and the process became musical. Due to the experiences influencing the songs it felt natural to keep the female voice and perspective strong," shares Shankar. Love Letters indeed is rooted in a strongly feminine voice, something that Shankar says she aimed for. "I was strongly drawn to the female voice and therefore focused exclusively on songs with lyrics, creating a collection of songs that directly address heartbreak and its ensuing emotions in a way that instrumental music can only hint at," she says.
The voice in Those Words is that of Shilpa Rao, who has lent her distinctly identifiable voice to popular Bollywood tracks such as Manmarziyan from Lootera and Bulleya from Ae Dil Hai Mushkil. Those Words mark the singer's first international collaboration.
Speaking of how she came together with Anoushka Shankar for the song, Rao says, "It's just so amazing that people from various genres of music just come together to create something, and incidentally, this project is an all-female one. It just happened to be so and it has flown very naturally.
Huge thank to all of you for the love you have shown for our new single #thosewords. It's a labor of love ☺ If you haven't please find LINK IN BIO. Happy listening 😃😃😃. . . . . #shilparao #anoushkashankar #newsong #music #love #l4l #f4f #collaboration #collab
A post shared by Shilpa Rao (@shilparao) on Jan 11, 2020 at 4:48am PST
Rao adds, "The song has a narrative of a woman who's sitting and thinking of, of the relationship that she had after separation. It's not that she wants it back. She is not in a regret mode or a what-could-have-been mode; it's more of just remembering the times that she had with someone. So, I think it's a very beautiful, strong, progressive, evolved way of life."


Writing our own music is a passion we both share. We have hundreds of ideas and songs, but we both feel that out of 50 songs you may have one keeper. You may ask "what's the best song you've ever written?" and the only answer is "we haven't written it yet". This is a great way of keeping you on your toes with song writing. It's a way of expression and there's no better feeling than taking a song from your mind, recording it in a studio and then having it played on radio.
We learn cover material because it actually helps with the song writing process and also because the majority of people want to hear music they know. At certain gigs or when busking we try to incorporate our own stuff when we can into a set of cover music to keep people interested.
When you break a produced song down to just guitar, drum and vocals, you hear the entire song in a different way, it's like you hear it from a songwriters point of view. It teaches you about structure, lyrics and is a massive learning curve; it may explain why all of our original songs have different genres.
We are both quite particular about writing & learning songs and a lot of effort goes into it. We break it down and work on it and then test it out in front of a live audience. We currently have over 200 cover songs in the bag and constantly add new ones.
So if we had to choose between original stuff and cover music, we would have to say both. All the greats covered songs and still are; we only hope that one day someone will be covering one of our original songs, what a buzz that would be.