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Why the Pandemic Will Actually Strengthen the Art Experience Economy—and the Old-Fashioned Gallery Business, Too
The post-thing economy—starting with Superblue—could save the art market from obsolescence.
Tim Schneider, April 12, 2021
teamLab, Massless Clouds Between Sculpture and Life (2020). Installation view of "Every Wall is a Door" Superblue Miami, 2021. Sound: teamLab. © teamLab, courtesy Pace Gallery.
A version of this story first appeared in the spring 2021 Artnet Intelligence Report, which you can download in full for free here.
The launch of Superblue could not have come at a worse time.
It was August 2020, in the heat of the summer lockdown, when the company announced its formation to a largely skeptical art world. It would pursue, it said, a twin mandate: to produce show-stopping immersive artworks for mass audiences of ticket buyers at a 50,000-square-foot "experiential art center" in Miami and take on experiential commissions for private and public clients at an ever-evolving array of off-site locations around the world. Both goals would be achieved in collaboration with A-list artists bridging the increasingly hazy borders between creative disciplines.
The much-hyped inaugural program would include a mirrored labyrinth by the Olivier Award-winning scenic artist and set designer Es Devlin, a past collaborator with Billie Eilish and Beyoncé; 360-degree interactive software environments by art collective teamLab; and an enveloping "Ganzfeld" light installation by James Turrell, whose roughly 60-year career awing the public with perceptual wonders has guided the vision of Superblue.
In other words, it had a very specific cocktail in mind. Big art. Big names. Big… crowds.
Es Devlin, Rending of Forest of Us, (2021). Courtesy Es Devlin Studio.
Some would have questioned Superblue's mission regardless of the events of 2020.
What was the art world supposed to make of this company, which boasted investment from Laurene Powell Jobs and seemed to hybridize a cultural-events producer, a major gallery, and a gilt-edge selfie factory? Was it a competitor to traditional art dealerships, looking to poach their artists and turn their nuanced works into blockbuster entertainment? Or was it a thoughtful, fearless effort to expand art's audience beyond the elite clique it's catered to for more than 100 years?
With life as a whole upended by a global pandemic, however, those questions were largely swept aside by an existential quandary: Could Superblue, and the experiential art economy it envisioned, survive the coronavirus?
teamLab, Forest of Resonating Lamps-One Stroke, Metropolis (2018). Installation at Mori Building Digital Art Museum, teamLab "Borderless." Courtesy of teamLab and Pace Gallery.
Despite what appeared to be colossally bad timing, Superblue forged ahead. Its Miami complex, originally scheduled to launch in December 2020 in the up-and-coming Allapattah district, is now due to debut on April 22. The company plans to hire 60 staff members there to complement its existing team of nearly 40 split among New York, London, and Miami.
Superblue's leaders are wagering that, rather than doom the experience economy, the COVID clampdown actually strengthened it. Even more surprisingly, the biggest beneficiary of Superblue's radical focus on charging admission just might be the traditional art market.
The Big Blue Picture
Superblue is the next logical destination on a path art and culture have been traveling for generations. By the dawn of the 21st century, the world's most prominent art institutions had spent three decades following the map drawn by "Treasures of Tutankhamun," the record-breaking exhibition of Egyptian artifacts that inaugurated the museum-blockbuster model with its U.S. tour culminating at the Metropolitan Museum of Art in 1978—just as the same maximalist, populist mode began dominating Hollywood.
Installation view of "Infinity Mirrored Room-Love Forever" at the Hirshhorn. (Photo by Bill O'Leary/The Washington Post via Getty Images)
By the early 2010s, smartphones and social media had led many to devote a good portion of their recreational lives to capturing and broadcasting their immersion in striking settings. This preoccupation made overnight global sensations of canonical artworks like Yayoi Kusama's "Infinity Mirrored Rooms," made-for-Instagram playgrounds like the Museum of Ice Cream, and a new breed of artist-created participatory environments like teamLab Borderless, the art/tech collective's museums in Tokyo and Shanghai.
Not everyone has greeted the shift kindly. "I want to be challenged, I want to be uncomfortable, I want to be provoked," critic Kriston Capps said in a 2018 interview about the Indianapolis Museum of Art's transformation into the mainstream-courting mashup rebranded as Newfields: a Place for Nature and the Arts. "And when those possibilities are not even on the table, well, then it's not art. It's more like a food court or an amusement park."
The Museum of Ice Cream in New York City. (Photo by Cindy Ord/Getty Images for Museum of Ice Cream)
But disruption-hunting Superblue cofounder and board chair Marc Glimcher isn't particularly interested in how Capps might define art. If "regular people" pay to see an installation, as Glimcher sees it, the art establishment inevitably dismisses the work as "just a spectacle"—code signifying that it's "not good" or, indeed, even "art" at all.
At Superblue, he said, "we don't think that's a very 2021 point of view."
The smearing of boundaries between fine art and other disciplines is necessary for Superblue's success. For its installations to attract the maximum number of visitors, some of them must appeal to audiences interested in the arts, plural: fashion, theater, design, live music, dance, and more. For Glimcher, that's the future.
"These artists, like so many greats throughout history, are trying to do something that will change the way you think about everything," he said. "We're going to all this trouble and expense because what these people are offering could be one of the biggest impacts on human consciousness since movies or phones."
Glimcher's borderline-messianic belief in the value of interdisciplinary experiential art collided with a math problem that has been vexing the commercial gallery sector for decades: If the artists you want to work with are primarily interested in creating shared experiences rather than salable objects, can you sustainably fund the former without diverting their valuable time and resources to the latter?
Es Devlin, Forest of Us (2021). Installation view of Every Wall is a Door, Superblue Miami, 2021. Photo: Andrea Mora.
Glimcher was intimately acquainted with dealers' usual answer, thanks to his day job as president and CEO of Pace Gallery, the international art juggernaut where his father, Arne, began collaborating with Turrell, Robert Irwin, and other experiential-art innovators shortly after its founding in 1960. (Superblue and Pace insist they are independent businesses, despite crossover in their executive ranks and artist lists and the fact that Superblue's New York team worked out of Pace's former Upper East Side gallery before going fully remote in March 2020.) Producing such installations meant Pace had to "beg, borrow, and steal" to fundraise the budget, Glimcher explained, then try to sell enough "souvenirs" to get out of the red.
teamLab, Universe of Water Particles on a Rock where People Gather (2018). Installation at Mori Building Digital Art Museum, teamLab "Borderless." Courtesy of teamLab and Pace Gallery.
Granted, the souvenirs he referred to aren't coffee mugs or T-shirts; they are unique or limited-edition artworks, often priced at tens or hundreds of thousands of dollars each. But if a gallery is trying to produce an experiential work of the magnitude of, say, Roden Crater, the volcanic cinder cone that Turrell has spent more than 40 years transforming into a network of meticulously crafted architectural installations, it needs to sell a lot of Turrell's domestically friendly interior LED installations to cover the costs.
Superblue's ticketing model changes the equation. It is largely modeled on teamLab, whose museum in Tokyo drew 2.3 million paying visitors in its first year of operation. (For comparison, the Van Gogh Museum, in Amsterdam, attracted 1.4 million that same year.)
teamLab, The Haze (2018). Installation at Mori Building Digital Art Museum, teamLab "Borderless." Courtesy of teamLab and Pace Gallery.
Superblue pays each artist an upfront fee to create an immersive work, as well as a royalty from gross ticket sales throughout its run. (The size of the fee and royalty vary on a case-by-case basis.)
Since every Superblue artist receives funding directly from the general public, the relationship becomes more lucrative the more popular an installation is—just as in mass-culture businesses like Hollywood, pop music, and book publishing. As Mollie Dent-Brocklehurst, Superblue's cofounder and CEO, puts it, "You couldn't sell a single visit to a rich collector" and expect the model to function; it only succeeds at scale.
With admission to the inaugural trio of Miami installations starting at $30, scale seems plausible. Yes, it's slightly higher than full-price admission to the Museum of Modern Art ($25). But it's also $9 less than a ticket to, say, the Museum of Ice Cream's New York flagship.
It's not only the art in Superblue's universe that departs from tradition—the artists do, too. These aren't, by and large, lone geniuses working in their studios with an assistant or two. Some are full-fledged companies that have grown as immersive art experiences have exploded in popularity.
Take teamLab, whose LinkedIn profile lists "artists, programmers, engineers, CG animators, mathematicians, and architects" as part of a team that exceeds 500 employees. (That the collective has a LinkedIn profile underlines the contrast with the old school.)
"When we started looking at the program, it seemed to me that the artists making the most interesting experiences tended to be collectives," explained Dent-Brocklehurst. "To create the high-tech element and monumentality of these shows, it took a lot to put it all together."
A visitor at Random International's Rain Room at MoMA (2012). Photo: TIMOTHY CLARY/AFP via Getty Images.
Another collective working with Superblue, Random International, shot to international acclaim in 2012 with Rain Room, an environmental installation that enables visitors to waltz through an artificially generated monsoon without getting wet, thanks to a halo of dry space that follows them as they move. After its London debut, the installation went on the road, drawing tens of thousands of visitors to high-profile institutions like MoMA, in New York; the Yuz Museum, in Shanghai; and the Los Angeles County Museum of Art.
Random International cofounder Hannes Koch described Rain Room as "more of a logistical challenge than a creative one" after a certain point. The studio had to allocate tremendous resources to solving the technical and bureaucratic issues that arose with each new site. Koch said he and fellow cofounder Florian Ortkrass soon realized "there wasn't a sustainable model" that would enable them to keep creating public artworks of a similar scale and complexity.
For one thing, you need someone—not an artist, but a producer of sorts—to twist arms and get things done, Koch explained: "If you're hellbent on bringing the way you feel about the world into an experience or public object, you need a lot of backing, a lot of technical and infrastructural firepower to convince people. You have to feed the monkey in some sense, and that's not what we're here for."
Artechouse, Submerge (2020). Courtesy of Artechouse.
Random International peaked at 30 full-time employees in early 2019. Two years later, it is about half that size, with staff members including software and architectural designers, a senior commissioning manager, and even a dramaturge to help craft the narrative and tease out the art historical lineage of each new project.
Superblue has been an important part of this "rightsizing" process, Koch said, noting that Random International now focuses the majority of its in-house energy on "broad experimentation, research, initial prototyping," and the final stages of each project; intermediate steps are largely handled by a mix of studio staff and external partners, including Superblue.
This structure leaves the studio free to "pursue weird hunches relentlessly," then call up institutionalized resources on demand rather than agonizing over every detail.
Beyond the Ticketed Experience
Beyond solving a problem for ambitious artists, the true innovation of offerings like Superblue, some observers said, is that it imports to the art market models that the broader retail industry has profitably used for years.
Resonant in-person experiences—even when they cost visitors nothing—have proved hugely effective at driving traditional sales. Futurist, author, and retail consultant Doug Stephens framed the phenomenon through Apple's "profound" decision to transform its physical stores into aspirational, high-design temples to product exploration and customer service.
teamLab, Flowers and People, Cannot be Controlled but Live Together – Transcending Boundaries, A Whole Year per Hour (2017), Interactive Digital Installation, Sound: Hideaki Takahashi. © teamLab, courtesy Pace Gallery.
"What Apple recognized decades before everyone else was that e-commerce doesn't negate the value of stores," he explained. "Stores became experiential playgrounds aimed not so much at sales but at customer acquisition. If we can draw people to touch and play and kinetically experience the products, it draws them into the ecosystem and gives us a customer for life that we can service in all kinds of ways."
Superblue's immersive installations could have the same effect on visitors of means who aren't yet collectors. Since the company works with multiple artists represented by galleries other than Pace, as well as some who have no dealer at all, Superblue could hook visitors in a quasi-institutional setting, then send them off to become clients elsewhere in the art-market ecosystem.
(Dealers may still require some convincing on this point. Asked how Superblue might impact the existing gallery system or whether they could envision collaborating with the company, five major gallerists declined to comment.)
In this model, as Koch sees it, artists benefit from "an integrated landscape where we can show the work wherever it's most relevant," and everyone would make money doing what they do best. Proof of the virtuous cycle, he hopes, will arrive this spring when Superblue and BMW i, BMW's electric vehicle arm, copresent a live rendition of Random International's No One Is an Island at a to-be-determined U.S. venue.
No One is an Island presented by Random International, Superblue, Studio Wayne McGregor and BMW i; dancer: Jacob O'Connell (Company Wayne McGregor). Photo: Ravi Deepres. © BMW AG
Debuted as an online-only presentation last November, the work centers on a software-driven robotic installation that waves its light-tipped arms to create ghostly, ephemeral images of different life forms. (Imagine an automated assembly line reprogrammed to produce flashlight "drawings" in homage to Eadweard Muybridge.)
In-person viewers will soon see this piece complemented by live choreography and a commissioned score to further explore our evolving relationship to our environment as software and automation increasingly replace nature and human interaction. The installation itself grew out of Fifteen Points/I (2016), a smaller, simpler forebear included in Random International's solo show at Pace New York a half decade ago.
"Domestic objects, editions, and series we've often seen as prototypical studies," Koch explained. "The long game plan is to bring what we do into the public context."
No One Is an Island is on schedule to be the first project realized by the less-discussed arm of Superblue's business, which facilitates commissions and collaborations with outside parties such as museums, cities, arts festivals, and corporations. The way this is monetized depends on the project: It could be an admission fee, the acquisition of the work for long-term installation, or another solution entirely. (The live presentation of No One Is an Island will not be a ticketed affair, but instead funded by BMW i and Superblue.)
Es Devlin, Forest of Us, (2021). Installation view of Every Wall is a Door, Courtesy Es Devlin Studio. Photo credit Es Devlin.
If all goes as planned, Superblue's experiential art center will support the ticketed side of the company's portfolio while this other side organizes projects for hire. Admission revenue from the Miami complex can keep the coffers full while long-term, modestly remunerative commissions grind toward completion.
On paper, these shared resources make major commissions viable for Superblue when they are not for most galleries and artists. Object sales generate a more sporadic revenue stream (and thus a less reliable subsidy) than ticket sales, and Superblue has the production and operational expertise to complete projects more suited to a specialty architecture firm than a traditional art dealer.
"Galleries are where public commissions go to die," Glimcher said. "It's not because dealers aren't excited. It's because it requires a different skill set to deal with municipalities, real-estate committees, community boards, contractors, engineers."
By fusing in-house ticketed experiences with outside commissions, Superblue's infrastructure enables each side of the business model to support the other for the long run.
Still, what will make or break all of Superblue's ideas are its investors. The Emerson Collective, the organization launched by Laurene Powell Jobs, receives billing as the company's founding partner. (She declined to be interviewed for this story.) Another backer is Therme Group, a Viennese company specializing in "wellbeing resorts." The rest remain anonymous, but Glimcher relayed that none are strictly "money investors" seeking profit. They include leaders in real estate, ticketed events, city planning, health, and other fields who can contribute knowledge Superblue lacks even at the top of its org chart.
Their investment pays for much more than just artists' fees. Superblue leases the building housing its Miami art center from the Rubell family (whose luxe museum stands directly across the street), meaning rent on its 50,000 square feet is an ongoing expense. (Superblue declined to disclose rent or renovation costs.) The company also pays expenses throughout the life cycle of each artwork, including for equipment, production, shipping, marketing, staffing, maintenance, and de-installation.
Es Devlin's set design for Beyoncé's "Formation" tour, 2016. Courtesy of Es Devlin.
Superblue's profit picture hinges on what it receives in exchange. The artist and the company co-own the physical components of each installation, and the artist retains sole ownership of the intellectual property. However, in addition to all ticket revenue after the artist's royalty, Superblue also retains the right to lease each installation to another venue (with the artist's approval) at the end of its run in Miami.
Crucially, these non-Superblue venues could be operated by any of the wide-ranging parties the company partners with, from individual collectors to architects to municipalities. (In these cases, the artist would still be paid a royalty on gross ticket sales during the work's run at the new location, and the host's costs and benefits would vary based on the specifics of the project.)
The prospect of touring suggests a surprisingly apt reference point for Superblue's ticketed experiences: the high-stakes business of Broadway.
Mitch Weiss, a manager and consultant whose career on Broadway began in 1985, compared analyzing Superblue's strategy to "talking to a 28-year-old… who has great ideals and ideas that sound phenomenal, but real-world experience may inevitably teach them it doesn't work as expected."
Weiss sees the two businesses linked by the same core tension: After paying high front-end costs, will the ticket revenue come in fast enough to keep the show open—and long enough to make it a hit? Superblue declined to provide information about its budgets for the opening round of programming at its Miami center, so it is impossible to judge how steep a climb it faces to profitability. Still, the Broadway comparison at least offers a sense of the commercial dynamics at play.
Artechouse in New York City. Photo: Christopher Ernst.
Like Superblue in its ticketed experiences, Broadway producers must pay up front to rent a venue, outfit it properly (see: stage and scenery, lighting, costumes), and secure the talent (see: writers, directors, actors). Accomplishing this feat in 2021 requires signing on a consortium of investors (usually between 20 and 35 of them).
With the investors' seed money in hand, the producers prepare the show, market it like mad—and hold their breath to see if the audience will come.
According to Weiss, the average Broadway musical costs between $18 million and $22 million to produce today. Yet while production expenses have skyrocketed over the decades, he said, the bust rate "has stayed consistent since I was a little child." Then and now, he estimated, 80 percent of Broadway shows flop, wiping out their investors' contributions in the process. Hits, though, are "better than Vegas ever could be," with backers earning annual returns of "hundreds of percent."
These runaway successes largely come courtesy of tourists and touring—two factors Superblue hopes to benefit from. But the ongoing complications of the pandemic raise questions about both.
The Corona Conundrum
In a January 2021 New York Times story, Superblue COO Marcy Davis responded to a question about the effect of the pandemic by stating that the Miami art center is "not dependent upon fly-in tourism," thanks to the large audience in South Florida and a likely "increase in day-trippers driving to Miami from throughout the region."
Superblue's experiences were conceived from the start around timed tickets, controlled capacity, and unidirectional traffic flow, but the company has pledged that the initial cycle of installations will open with an even lower cap on attendance, and they will remain on view through at least the end of 2022.
Experiential Art Center in Miami, Façade Rendering Courtesy of Superblue. Photo: Moris Moreno
All of the above suggests that Superblue has vastly more cushion from its investors than the average Broadway musical. According to Weiss, a new musical will normally be forced to close within its first three months if its audience is restricted to residents of the tristate area.
If the same show becomes a tourist attraction, however, its lifespan and earnings are limitless. Weiss notes that, in the 1950s and '60s, the tenure of a Broadway hit maxed out at roughly 18 months. Fast-forward to 2021, and Phantom of the Opera is entering its 35th consecutive year. The producers of a hit can also license the show's subsidiary rights to theaters around the world to extend its earnings, just as Superblue can license its installations to venues elsewhere.
Will the demand be there, though?
Glimcher, for one, is confident. "Somewhere in the middle of COVID, people started thinking, 'All those [cultural] dollars… do I really want to spend them sitting in a chair three and a half inches from another person? Or do I want to be looking in a really energized way, walking around experiences that are not jammed?'"
Glimcher relayed that additional Superblue investors are "coming out of the woodwork during COVID." The new funding has the company planning to open two more art centers in undisclosed cities in the U.S. and internationally.
Similar immersive art experiences have also bounced back strongly from the 2020 shutdowns. Artechouse, which presents experiential exhibitions from artists melding art, science, and technology, has welcomed more than 150,000 visitors since reopening its three for-profit spaces in New York, Miami Beach, and Washington, D.C., last fall. Cofounders Sandro Kereselidze and Tati Pastukhova plan to announce locations in "at least" three new cities by the end of 2021—a feat that is all the more notable since Artechouse has been entirely self-funded since opening its first building, in 2017.
CARNE y ARENA (2017). Photo: Emmanuel Lubezki.
There is at least one positive indicator on the touring front, too. Carne y Arena, an immersive installation by the filmmaker Alejandro González Iñárritu meant to communicate the harrowing experience of migrants crossing the southern border of the U.S., will travel for "the next five years, at least," according to the project's technology and set design partner, Phi Studio.
The company, which optimized the experience for pandemic touring, sold out the final weeks of its engagement in Denver after it reopened in January 2021. Carne y Arena debuted in Montreal in mid-March, with producers in discussions with venues in the US, Europe, and Asia for later dates. (Another of the installation's producing partners happens to be Laurene Powell Jobs's Emerson Collective.)
Even if Superblue Miami opens to an attendance drought, the company could very well weather it. As long as its investors stay on board, short-term ruptures and inevitable tweaks to the model will be irrelevant. Which is fitting, since Superblue's mission is ultimately to aid its artists in leading us away from the here and now.
"They're not documenters, these artists, they're dreaming the future," Dent-Brocklehurst said. "It's not a mirror. It's a window."
This story originally appeared in the Spring 2021 Artnet Intelligence Report. To download the full report, which includes in-depth data analysis of auction performance in 2020, a profile of the best bad painter out there, Robert Nava, and a look inside the forgery scandal that rocked the art world, click here.
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Home > News > Products > Vanguard to Put Out Small Cap International Index
Products December 11, 2008
Vanguard to Put Out Small Cap International Index
The Vanguard Group announced its intention to offer its first international small-cap index fund.
By Fred Schneyer
A Vanguard news release said the Vanguard FTSE All-World ex-US Small-Cap Index Fund will offer three share classes (Investor, Institutional, and ETF) and is expected to be available in the first quarter of 2009.
The target benchmark for the fund is the FTSE Global Small Cap ex US Index, a market-capitalization-weighted index of stocks traded on markets outside the United States, the investment firm said. The fund will invest in a broadly diversified sampling of securities from the benchmark, which comprises more than 3,300 stocks of companies in 47 countries.
The fund's ETF Shares have an estimated expense ratio of 0.38%. The Investor Shares, which will require a $3,000 minimum initial investment, have an estimated expense ratio of 0.60%, while the Institutional Shares have an estimated expense ratio of 0.35% and a $5 million minimum initial investment requirement.
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Chick-fil-A zamboni commandeered by protesters during hockey game
Dominick Suzanne-Mayer
Filed to: Chick-Fil-AFiled to: Chick-Fil-A
Photo: Glowimages (iStock)
Weird time to be Chick-fil-A, huh? While the fast-food chicken restaurant remains one of the most popular chains, and continues to expand rapidly, and even has the coveted teen vote, it's hard to bring up eating at Chick-fil-A without touching off heated discussions about things like homophobia, boycotting as a method of social change, the tangible benefits of the latter, etc.
Chick-fil-A can give free chicken to all the babies and centanarians it wants, but until the company reckons with its publicly discriminatory practices, it's going to keep getting dragged into the spotlight at inconvenient moments. Like, for instance, in the middle of a Cincinnati Cyclones game.
WLWT-5 reports that the Cyclones, a mid-level professional hockey affiliate of the Buffalo Sabres, were playing at home on Saturday night when an outing for the Chick-fil-A Fan Zam, the Cyclones' branded zamboni, went ... well, not according to plan. This is the Fan Zam, normally:
On Saturday, during a playoff game, several fans aboard the Fan Zam managed to conceal protest signs within birthday message cards, only to reveal the message "Chick-fil-A is Anti-Gay" once actually out on the ice:
In response, the Cyclones removed the demonstrators, and would go on to ban fan signs aboard the zamboni:
Since 2012, when Chick-fil-A company president Dan Cathy acknowledged in an interview that Chick-fil-A is a company solely supportive of "traditional" marriage (specifically the heterosexual, God-fearing kind), the company has struggled to separate itself from that reputation and has continued to donate to charities discriminating against LGBTQ communities. San Antonio and Buffalo have both recently barred the franchise from operating in their airports; San Jose's upcoming location in its own airport will strive to be the "gayest" in the country. Presidential candidates are weighing in.
Chick-fil-a is allowed to take whatever public stances it likes. It just might want to get to the point of being at peace with protests continuing alongside them. In the meantime, April 13, 2019 will forever go down as the night that a flock of fans flim-flammed the Fan Zam.
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Mayor Pete Buttigieg: I could "broker peace deal" between LGBTQ groups, Chick-fil-A
Cow blocking traffic en route to Chick-fil-A proves universe has sense of irony
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Q: Need Help with Differentiation I came across below expression where I needed to find the value of K where the maximum value will occur for the below function
$P=\binom{k}{2} \times 2^{n-k}$
I re-wrote it as
$P=2^{n-1} \times \{\frac{k^2-k}{2^k}\}$
differentiating it with respect to k
$\frac{dP}{dk}=2^{n-1}  \times \Biggl( \frac{(2k-1)-(k^2-k)(log2^k)}{2^k} \Biggr)$
My query is, can I keep base of log in the above expression to 2?
I know I need to equate the above value to 0, to find the critical point.
Please help me further I am stuck here.

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La Casa delle Vestali era la sede del collegio sacerdotale delle Vestali della Roma antica, presso il Foro Romano. Era collocata alle spalle della Regia e componeva un unicum con il Tempio di Vesta, in un complesso chiamato Atrium Vestae.

Storia

Il nome antico di Atrium Vestae si riferiva in origine ad un'area aperta situata presso il tempio di Vesta, sede del culto della dea, circondata da costruzioni. La residenza delle Vestali ne fece parte solo a partire dal II secolo a.C., occupando l'area compresa tra la Regia, la Domus Publica (la residenza del pontefice massimo) e le pendici del Palatino.

Negli scavi più recenti sono stati rinvenuti i resti di una capanna dell'VIII secolo a.C., interpretata come la casa delle Vestali di età regia.

La posizione, esterna ai confini degli abitati del Palatino e del Quirinale, fa ritenere che il culto di Vesta fosse un culto pubblico condiviso tra genti Latine e Sabine, coincindendo quindi anche nell'epoca con i racconti delle gesta romane ai tempi del primo re Romolo.

In quest'epoca l'edificio era molto più piccolo e presentava lo stesso orientamento della Regia secondo i punti cardinali. Sotto questi resti sono state a più riprese messe in luce fasi di costruzioni precedenti, in stretto legame con le ricostruzioni della Regia, risalenti fino al VI secolo a.C..

Nel 12 a.C. Augusto, nella sua qualità di pontefice massimo, donò alle Vestali la Domus Publica, residenza del pontefice dove aveva abitato anche Giulio Cesare. Probabilmente dopo l'incendio del 64 d.C., il complesso venne ricostruito a un livello più alto con una nuova pianta e un nuovo orientamento, in accordo con le altre costruzioni che circondavano la piazza del Foro.

I resti attualmente visibili furono rimessi in luce dagli scavi di Lanciani (1884), a cui si deve la rimozione dei muri di contenimento degli Orti Farnesiani, e di Boni (1907) e appartengono ad una ricostruzione databile, sulla base dei bolli laterizi ("marchi di fabbrica" impressi sui mattoni utilizzati nelle costruzioni), principalmente all'epoca di Traiano.

L'ala occidentale, con il tempio di Vesta fu restaurata in epoca severiana dopo un incendio nel 191 d.C.

Con l'abolizione dei culti pagani voluta da Teodosio I nel 391 e la sconfitta degli ultimi campioni del paganesimo a Aquileia nel 394, la casa venne abbandonata dalle ultime vestali e fu rioccupata, in parte, dalla corte imperiale prima e da quella papale poi.

Nell'area, già a partire dal XV secolo furono rinvenuti a più riprese basamenti di statue con iscrizioni di dedica alle Vestali datate tra la fine del III secolo e il 377, ora ricollocate nel cortile.

Descrizione
L'aspetto attuale del complesso è quello legato all'ultimo restauro della moglie di Settimio Severo, Giulia Domna, dopo l'incendio del 191.

Le stanze, in origine su almeno due piani (come visibile ancora oggi sul lato sud), si articolano intorno ad un cortile porticato, con fontane (poi sostituite da un'aiuola ottagonale).

Edicola di Vesta
Dal tempio si accedeva verso est alla casa, passando accanto a un'edicola, sostenuta originariamente da due colonne ioniche delle quali oggi ne resta una sola. Quella mancante è riprodotta in mattoni ricavati dall'anastilosi eseguita alla fine del XIX secolo. L'iscrizione sul fregio testimonia come essa fosse stata edificata col denaro pubblico disposto per decreto del Senato. I bolli sui mattoni la collocano all'epoca di Adriano.

Poiché il tempio era sprovvisto di simulacro, può darsi che la statua di Vesta fosse collocata proprio qui.

Cortile centrale

Dall'ingresso si penetra nel cortile centrale della Casa, composto come una sorta di peristilio. Una passerella moderna permette di vedere i resti dell'edificio repubblicano sottostante, con pavimento a lithostroton con formelle irregolari di marmo.

Al centro si trovano tre bacini, due piccoli quadrati e uno grande rettangolare al centro, che vennero coperti in epoca costantiniana da una struttura ottagonale in laterizio, interpretabile come una decorazione del giardino, oggi rimossa. Il bacino rettangolare inoltre ricalca la sagoma del foro di Iulium Carnicum, ovvero l'odierna Zuglio situata in Friuli-Venezia Giulia, foro caratterizzato dal taglio di un angolo per permettere il passaggio funzionale tra questo e l'edificio termale; mentre il foro di Zuglio ha una disposizione NO-SE (con taglio a nord-est), questo bacino ha una disposizione simmetricamente capovolta (con taglio a sud-est).

Sotto il portico erano allineate le statue delle Vestali massime (le virgo vestalis maxima). Le numerose basi e statue ritrovate erano ammassate soprattutto nel lato occidentale del cortile, evidentemente in attesa di essere trasformate in calce. Le più belle oggi si trovano altrove, mentre quelle presenti sono collocate senza un preciso criterio, poiché se ne ignora la disposizione originale, con accoppiamenti arbitrari tra basi e statue.

Le iscrizioni delle basi risalgono all'ultima fase dell'edificio, dell'epoca severiana, o posteriori. Esse sono:
 di Numisia Maximilia, 201 d.C.
 tre di Terentia Flavola, del 209, 213 e 215
 di Campia Severina, del 240 (non più esposta qui)
 di Flavia Mamilia, 242 (non più esposta qui)
 due di Flavia Publicia, 247 e 257
 di Coelia Claudina, 286
 due di Terenzia Rufia, 300 e 301 (non più esposte qui)
 di Coelia Concordia, 380 (non più esposta qui)

Un'altra base del 364 sul lato sud, vicino alla scala che sale alla via Nova presenta un nome di vestale cancellato, del quale si riconosce solo la prima lettera, "C". Potrebbe trattarsi della vestale Claudia, ricordata dal poeta cristiano della fine del IV secolo Prudenzio. Essa aveva abbracciato la fede cristiana e per questo il suo nome sarebbe stato coperto dall'infamia degli ultimi adepti del paganesimo.

"Tablinum" e lato est

Sul lato orientale è presente un grande ambiente coperto a volta sul quale si affacciano due file di tre stanze più piccole, impropriamente detto tablinum (stanza di ricevimento nella domus romana). Se è facile immaginare come ognuna delle sei stanze fosse destinata a una vestale, più complessa è l'identificazione della stanza centrale, forse un sacello dei Lari.

Al livello inferiore sono state trovate le tracce di un piccolo santuario. Forse vi si trovava la statua marmorea di Numa Pompilio, mitico fondatore del culto di Vesta, che oggi è conservata nell'Antiquarium Forense.

Sopra il "tablino" vi sono le tracce di una scala che dimostra l'esistenza di un secondo piano superiore, forse destinato al personale di servizio.

Lato sud
Il lato sud è quello meglio conservato, con numerose stanze che si aprono su un lungo corridoio:
un forno, quella che viene considerata una cucina e un mulino con la mola ben conservata, anche se recenti studi ritengono che questa sia stata posta in questa posizione nei primi del '900. Da qui parte anche la scala per il piano superiore, dove si trovavano le stanze delle sacerdotesse, dotate di bagni riscaldati.

Altre due scale per il primo piano si trovano in fondo all'estremità dell'ala sud, vicino a un'aula absidata, forse un santuario. Potrebbe trattarsi del sacello del misterioso dio Aius Locutius, collocato nel vecchio bosco sacro del Lucus Vestales. Secondo Cicerone quest'area era legata a un'antica leggenda, secondo la quale nel 390 a.C. una misteriosa voce avrebbe avvertito qui i Romani dell'imminente assalto dei Galli, rimanendo però inascoltata.

Lato ovest
Il lato ovest è occupato da un grande ambiente rettangolare, fronteggiante il "tablino", di solito identificato come un triclinio.

Lato nord
Le stanze sul lato nord sono quelle in peggior stato di conservazione. Gli elementi a disposizione non sono sufficienti per attribuirvi una funzione, neppure ipotetica.

Note

Voci correlate
 Vestali
 Tempio di Vesta

Altri progetti

Collegamenti esterni
 Christian Hülsen, Il Foro Romano. Storia e Monumenti, Roma 1905 sul sito Lacus Curtius
 Scheda sugli scavi di Andrea Carandini sulle pendici settentrionali del Palatino (sito della Università di Roma La Sapienza)

Foro Romano
Roma R. X Campitelli

redpajama_set_name: RedPajamaWikipedia


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Nominate a historic place
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W.M. Ashdown House
121 Kate Street, Winnipeg, Manitoba, R3A, Canada
Formally Recognized: 1988/10/31
Primary Elevation
City of Winnipeg Website
Construction Date(s)
1882/01/01 to 1882/12/31
Listed on the Canadian Register: 2006/06/28
Statement of Significance
Description of Historic Place
The W.M. Ashdown House is a two-storey brick-clad residence built in 1882 and situated mid-block in a mixed-use neighbourhood in Winnipeg's inner city. The City of Winnipeg designation applies to the building on its footprint.
Heritage Value
The W.M. Ashdown House is a good example of a vernacular brick residence from the 1880s, of which few survive in Winnipeg. The modest structure, a reduced, unadorned version of the Queen Anne Revival style, was built during the city's first major boom in one of the new residential areas that emerged outside the downtown core to accommodate rapid population growth. Originally owned and occupied by William Ashdown, brother of hardware magnate James H. Ashdown, the dwelling has retained much of its exterior and some of its interior integrity as well as the advantages of a large lot within an area generally characterized by higher-density development.
Source: City of Winnipeg Committee on Planning and Community Services Meeting Minutes, October 31, 1988
Character-Defining Elements
Key elements that define the heritage character of the W.M. Ashdown House site include:
- its location near the front of a large well-treed double lot, mid-block on the east side of Kate Street between William and Bannatyne avenues
Key exterior elements that define the dwelling's heritage character and reduced Queen Anne Revival style include:
- its L-shaped, two-storey mass with asymmetrical yet balanced facades
- the irregular and steeply pitched roof with a front gable and hip ends
- the monochromatic cream-coloured brick veneer, laid in a stretcher pattern, with raised brick quoins as a decorative element, resting on a cut-stone foundation
- the number, arrangement and variety of windows on all four sides, including a one-storey multi-paned bay window under the front gable and large and small rectangular windows, oriented vertically, with wooden sills, plain surrounds and flat-arched brick heads
- the tall narrow chimney on the east elevation rising above the roofline
Key interior elements that define the dwelling's heritage character include:
- the internal organization with a front offset hallway, living room, dining room and kitchen on the main floor and bedrooms on the second floor off a central hallway
- the elegant corner staircase with a wooden balustrade, twisted handrail and decorative scrollwork on the stair-ends
- the modest detailing, such as the crown moulding in the dining and living rooms, the deep wooden baseboards, wide wooden casings around window and door openings, metal radiators, etc.
Recognition Authority
Recognition Statute
City of Winnipeg Act
Recognition Type
Winnipeg Landmark Heritage Structure
Recognition Date
Significant Date(s)
Theme - Category and Type
Expressing Intellectual and Cultural Life
Peopling the Land
Function - Category and Type
Location of Supporting Documentation
15-30 Fort Street Winnipeg MB
Cross-Reference to Collection
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SEARCH THE CANADIAN REGISTER
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First Scandinavian Mission Church
268 Ellen Street, Winnipeg, Manitoba
First Scandinavian Mission Church is a modest-sized Romanesque Revival-style church built in 1897.…
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474 Hargrave Street, Winnipeg, Manitoba
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400 Edmonton Street, Winnipeg, Manitoba
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Q: DocuSign Default Print Destination deployment I am hoping someone can help me with a deployment of DocuSign. I am trying to deploy out the DocuSign driver silently to machines, but I need to have the machines default print destination changed from DocuSign Web to DocuSign Web NA2.
I would like to do so in a Transform but I do not see any options for this in the msi. Also I was wondering if maybe there was a config file that stores this information but I couldn't find such a file.
Can someone please help me with this?
Regards,
Dustin

A: The information is stored in the registry, not a config file. The Print Driver always would use www in the initial authentication call. I suspect this question was asked when it was still using legacy auth. this is not relavant anymore. The url is determined after the user logs in.
https://support.docusign.com/en/guides/print-driver-quick-start-v3-x


text:
SOCIALIST HEALTH ASSOCIATION
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Let's pledge to re-nationalise the NHS and prevent the cynical Tory plan to sell off Labour's greatest achievement
by Alex Scott-Samuel
Labour's top election priority must be re-nationalising the NHS in England and halting its accelerating slide into US-style privatisation.
Theresa May, Jeremy Hunt and NHS England chief executive Simon Stevens are dismantling the NHS before our eyes – and getting away with a covert insurance and private sector-linked break-up and takeover which even Margaret Thatcher didn't dare put into practice.
Our shared public service, based on national funding and pooling of risk, is being fragmented into local health systems designed for corporate takeover and is being put out to commercial tender. In the latest example, Manchester put £6bn of our NHS and care services on the open market. They deliberately did this before the May elections to force the hand of the incoming metro mayor.
Public opinion overwhelmingly supports a public NHS. The public's ultimate nightmare for the NHS is replacing it with a for-profit system based not on health need but on ability to pay, as existed before Labour founded the NHS in 1948.
The coalition government's Health and Social Care Act in 2012 – one of the longest pieces of legislation ever enacted – is the enabler for a fully privatised health system. Its architect Andrew Lansley imposed a commercial NHS market based on open competition for service contracts. Large numbers of these newly privatised services have failed due to poor standards of care – including some avoidable deaths.
At the same time, systematic under-funding has placed every NHS region, and virtually every hospital "in deficit". These deficits are in reality a political construct of the Treasury and department of health. Many consider this to be an intended market failure – creating as it does the perfect storm in which to introduce the hospital and service closure plans, the de-skilled, community based packages of care, the postcode lotteries for cataracts and joint replacements and the personal health budgets, ripe for top-ups, which make up Stevens' sustainability and transformation plans (STPs).
The STPs
Stevens has cleverly imposed through NHS regulations the massive re-organisation which constitutes the STPs. He did so without consulting local authorities or the public and, above all, without legislation. This is a national disgrace. Although many Labour councils have spoken out against the STPs – such as Liverpool and several London boroughs – most are rolling over and collaborating now that Hunt and Stevens have forced local NHS bodies to sign the STP contracts. This must stop now and our manifesto must reflect our total opposition to the Tory plans to fragment and sell off Labour's finest achievement.
STPs don't merely "save money": they attack each of the NHS' founding principles of universal, comprehensive care for all, free at the point of use. STPs are the implementation of the NHS England five year forward view and its "new models of care". They will be implemented by accountable care organisations (ACOs) modelled directly on the American private health company system. Both the ACOs and their fixed budget packages of care are designed for insurance funding and ultimately, for privatisation.
Their explicit purpose is to "eliminate deficits" in the health economy of each of England's 44 STP "footprint" areas, and to do so by cutting services, at the expense of meeting local health needs. STPs therefore invert the fundamental NHS principle of estimating a population's needs and providing services accordingly.
Lack of funding and staff shortages are part of a deliberately manufactured crisis creating a pressure on NHS trusts and commissioners to cut services and concentrate them in fewer facilities. The government must be held accountable – not only for its cuts to the health budget but also for the policies set out in the five year forward view and the STPs. These are government policy goals – a government of which NHS England is a part; these policies are not simply "the NHS' own plan", as the government misleadingly claims.
NHS re-instatement bill
The UN has previously been informed that the government's NHS privatisation policies violate the rights of UK citizens to the highest attainable standard of health. Departure from the EU Charter of Fundamental Rights will reinforce this further.
At the earliest opportunity, a Labour government must enact a NHS re-instatement Bill designed to fully re-nationalise the NHS, comparable to Margaret Greenwood's current private members bill. This legislation should be a clear manifesto commitment.
The election manifesto
The shadow health team seem to have got the message about re-nationalisation: Jon Ashworth, shadow health secretary, told the recent Unison health conference that "privatisation of the NHS will come to an end. We will reinstate the secretary of state's responsibility for an NHS publicly funded, publicly administered and publicly provided."
Ashworth has said he will review STPs and ACOs. I believe halting them is fundamental to stopping NHS privatisation. The Labour election manifesto must commit to full reinstatement of a national health service funded, owned, planned, managed and provided by a public sector for which the secretary of state is responsible. This cannot happen effectively without a full revision of the five year forward view and an immediate freeze on the development of STPs and ACOs.
Labour must fight the general election and the local elections as the party of the re-nationalised, public NHS – universal, comprehensive, free at point of use, publicly provided and publicly accountable. The savings from abolishing the NHS market will make this an affordable promise.
This article first appeared on LabourList
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I entirely agree with the sentiments expressed in the article and only wish that the Labour manifesto would take a more aggressive approach to these issues . In particular the degree to which STP's will constrain the provision of medical care.
The Northumberland, Tyne and Wear and North Durham STP for example requires a 15% reduction in emergency admissions. Ambulatory case sensitive conditions (ACSC's), that is conditions for which effective management and treatment in primary care should prevent an emergency admission accounted for 16.6% of all emergency admissions in England in 2012.
From 2003/04 to 2012/13 emergency admissions for all ACSC's increased on average by 2% per annum despite the introduction of QOF that sought to improve the the management and treatment of various conditions within primary care. The STP provides no evidence that reductions of 15% of ACSC's could be obtained.
If the Northumberland, Tyne and Wear and North Durham STP is unable to achieve a reduction in emergency admissions of the required magnitude it will require a much larger reduction in elective admissions than the 10% assumed to generate the required savings. Either way the scheme requires a substantial reduction in the provision of hospital care at the expense of the patient
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Hopewell Valley
West Windsor & Plainsboro
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Your Local Connection
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Home Hopewell Steven Doldy gets ready for senior season of Bulldogs football
Steven Doldy gets ready for senior season of Bulldogs football
Rich Fisher
Steven Doldy in action against Rancocas Valley last season. (Photo by Mike Schwartz Photography/mikeschwartz.photo.)
Steven Doldy loves playing free safety for the Hopewell Valley Central High football team, as it's good preparation for his future.
"You're like the commander of the entire defense," the senior said. "You see everything and you're basically the quarterback of the defense."
Being a commander is a career goal for Doldy, as he is looking to follow former teammates Chris Pham (Navy) and Jack Demareski (Merchant Marine Academy) to a military academy. Doldy has visited West Point, Annapolis, Air Force and MMA, and seems to be leaning toward Army. He is well aware the Cadets have won the last two Army-Navy games, having sat in the raging snowstorm at Lincoln Financial Field last December.
"I had to move seats," he said with a laugh. "I was right in the snow so I moved under the roof."
His desire to be an officer goes beyond attending traditional gridiron clashes, however. As a kid he admired his grandfather, who was in the Army Air Corps.
"As I got older and I started to understand a little more, I think it's a great path for me and a great path for my future," Doldy said. "I just like the military lifestyle and I think it would keep me on track a lot more than if I attended a regular college. I don't want to get too off course."
Bulldogs coach Dave Caldwell — who is Pham's father — says Doldy has all the qualifications that make a good military leader.
"He's focused, intelligent," Caldwell said. "His work ethic just makes coaching him easy. He understands the offense and defense, understands the idea of team-first and accomplishing team goals, about being a leader, about commitment, about being there on time and doing the extra. He's a fantastic young man, a model student-athlete."
And a model all-around athlete, as Doldy also plays ice hockey and lacrosse, with the latter being the sport he hopes to play in college. While it's in vogue to focus on one sport year-round, more and more coaches seem to prefer a versatile kid.
"I was told by a college coach that was recruiting me for lacrosse, that me playing three different sports was very important and would make me a lot better athlete when I get to the college level," Doldy said. "And I enjoy playing all three sports."
Caldwell agrees with that college coach. "I would rather have my kids compete year-round in different sports and be coached by different coaches, being held to different expectations," he said. "Obviously the whole injury prevention thing, utilizing different muscles. You always have to compete. Some of these guys go on and play in AAU and clubs; it's not the same. A lot of that stuff is more individualistic, where as you play with a high school team it's about the team. When they play, they play for team goals, not individual goals."
'It's hard to take him off the field at all,' Coach Dave Caldwell said. 'We find time to give him a rest. He would prefer we don't.'
The team goal this year is to improve, which should be attainable since Group III Hopewell is coming off a 1-9 season in which it played a ludicrously tough schedule loaded with Group IV and Group V playoff-caliber schools. Doldy took positives from the season, nonetheless.
"Last year it was one of the most unified teams I've ever been on," he said. "Everyone had such great character and the captains were amazing at keeping the team together. Despite losing I had a really good experience on that team."
Doldy helped make it a good experience with his talent and dedication. He rushed for 250 yards running behind Elijah Blu-Wilmott and also had 100 receiving yards. Defensively he made 60 tackles and had one interception and a forced fumble. He also played special teams "and never came off the field," according to Caldwell.
This year, Doldy will get increased carries but will share the load with several other backs as Caldwell does not want to wear him down. He will also play special teams again.
"It's hard to take him off the field at all," the coach said. "We find time to give him a rest. He would prefer we don't, though. He's a guy just giving great effort all the time."
Doldy started as a cornerback and tight end in the Hopewell Pop Warner. He was moved to receiver as a freshman but eventually landed at his current positions.
"I really like it," he said. "I think I'm a lot better at those two positions than where I played before."
Regardless of where he plays — or what sport he's playing — Doldy is all-hustle all the time.
"He's a young man that's a leader by example," Caldwell said. "He just knows how to compete in everything he does. He plays with a high motor. He gives great effort not only because he wants to be successful but he wants his team to be successful."
Which is a great quality to have for someone who may possibly be leading men into battle one day. Doldy knows the need for discipline at a service academy, and feels his athletic career has laid a strong foundation.
"Athletics have given me all that discipline," he said. "I have to come home, do my homework, that's after coming from practice, which sometimes goes 'til seven o'clock. During hockey we practice at night. I just know what I have to do and I do it."
The most important thing he wants to do, is return his good fortune to others.
"I just want to give back to my community," he said, "and give back to the country that's given me these opportunities."
Spoken like a true commander.
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This post aims to explain the process of acknowledging a purchase order from a buyer.
There are two kinds of acknowledgments for EDI orders: There is a 997 functional acknowledgment and there is an 855 purchase order acknowledgment.
The 997 functional acknowledgment is required for all orders and lets the sender of the order know that the receiver did in fact receive the order. A control number in the functional acknowledgment matches it to the order. However, no other information is conveyed. The fancy expression for this process is "nonrepudiation of receipt." All of CovalentWorks solutions automatically send 997 functional acknowledgments and no effort is required of the user.
An 855 purchase order acknowledgment is sent by the receiver of the order back to the buyer to tell them whether the order will be filled. Each line item on the order can be acknowledged with a response that says whether all of the quantity, part of the quantity or none of the quantity will be shipped.
Interestingly, many trading partners do not require an 855 purchase order acknowledgment. The reason is that many trading partners have a "fill or kill" arrangement with the supplier in which the supplier either fills all of the order by the expected ship date or the order is "killed", i.e. cancelled. A "fill or kill" arrangement usually makes the 855 purchase order acknowledgment unnecessary.
CovalentWorks fully supports automatic 997 functional acknowledgments and easy-to-use 855 purchase order acknowledgments for any trading partner that requires them.


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Walmart Car Battery In
Walmart Inc. is an American multinational retail company that owns a chain of discount department stores, hypermarkets, and grocery stores. Walmart is headquartered in Bentonville, Arkansas. Founded in 1971, Walmart Inc. has over 60,000 employees, and is one of the world's largest private companies. Walmart Inc. has been a household name for more than 50 years. While the name Walmart is recognizable worldwide, the company's stores are often referred to as "Supercenters."
Walmart's ethical practices, employee treatment and pay are the major issues surrounding it. Walmart employees earn low wages and are unable to provide enough for their families. The company's employees are under government social service programs, and its executives are paid astronomical annual salaries. Despite its negative reputation, Walmart remains the world's largest retailer. Any consumer should be concerned about the company's long-term success.
Sam Walton opened his first Walmart store in Rogers (Ark.) in 1962. Walmart has had a profound influence on American consumer behavior, despite its humble beginnings. The company is owned by the Walton family, which has a combined net worth of over $238 billion. Today, Walmart is the largest grocery retailer in the US. Over half of the company is owned by the Walton family. The Walmart stock is worth $4 billion. The company has been exposed to increased competition from online retailers such as Amazon.
Walmart's impact on the economy has been well documented. Walmart is one of the most successful retail businesses in the world. However, the company has been criticised for its contribution to urban sprawl and low wages. Because of its anti-union stance, Walmart employees make less money than the average retail employee. The company's positive impact on the economy has also inspired other retailers to copy their business model. So, the question is: What's the impact of Walmart on local businesses?
Walmart Plus membership offers many benefits. You can get free same-day delivery for purchases over $35. You can join Walmart Plus until December 4, 2020 without having to spend a minimum amount. During the same week, Walmart will debut the Walmart+ Weekend. Exclusive discounts will be offered to members at selected stores. The program is similar in concept to Amazon Prime Day but has a few additional features. If you're a frequent Walmart customer, Walmart Plus could be the perfect way to stay ahead of Amazon's e-commerce revolution.
Despite Amazon's growing reach, Walmart is still the largest retailer in the world, and will remain one of the biggest players for many years to come. With thousands of convenient hypermarkets across the country, Walmart is well positioned to leverage its loyal customer base to stay competitive. If it's not already, Walmart will continue to be the number one choice for shoppers. It's hard to imagine a world without Walmart. The retail industry will be very interesting over the next few years. Keep watching for this competition.
In addition to its supermarkets, Walmart also operates discount stores. Walmart Supercenters are smaller versions of discount stores. These stores have fewer associates but sell groceries and merchandise. Walmart Neighborhood Markets can be found in areas of approximately 38,000 square feet and have up to 95 associates. These stores sell groceries as well as a pharmacy. There are many products available at discounted prices, including electronics and beauty and health aids.
In addition to a regular membership, Walmart offers a subscription service called Walmart Plus. With Walmart Plus, subscribers will get unlimited shipping and delivery of items, exclusive early access to Black Friday deals, and discounts at partner gas stations. Walmart Plus is a great alternative to Amazon Prime and other similar services. You can even sign up for Walmart's membership program with Chase Offers and Amex Offers. Be sure to carefully read the terms and conditions before you sign up.
Walmart+ members can save five cents per gallons at selected gas stations and ten cents at Exxon & Mobil or Murphy stations. Walmart Plus members get member prices at Sam's Club fuel centres. Walmart+ members must select the member prices in order to receive these discounts. When buying gas, Walmart Plus members can save up to 10 cents per gallon, and the gas price is typically lower than regular retail prices.
Walmart's history section gives information on mergers, acquisitions, expansions, and new products. It also displays mergers and acquisitions as well as expansions and approvals. For instance, in January 2016, Walmart Inc. added Super Concentrates to three popular varieties of cold brew coffee: Classic, Vanilla, and Mocha. In February 2017, Walmart Inc. joined forces with Getaway to create the Getaway experience. Walmart has seen five times its growth as a result of its strategic partnership to Getaway.
Walmart Usa Florida
Orby Gun At Walmart


Feel the total repair magic of this Gliss Shampoo from Schwarzkopf. Suitable for dry, damaged hair, it specifically targets and repairs damaged areas on the surface and deep inside the hair. And what's the secret formula for this amazing product? Why, it contains 19 active ingredients to give you supple, shiny hair all day.


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adam g. dunn
public health informatics & clinical research informatics
Adam Dunn is an Associate Professor in the Centre for Health Informatics at Macquarie University, where he leads research in the Digital Epidemiology team. His research is in clinical research informatics, where he aims to improve the way results from clinical trials are used in systematic reviews; and public health informatics, where he uses large-scale data from news and social media to track how evidence and misinformation spread through society, with the aim of improving health behaviours.
Adam is/was an investigator on projects funded by the NHMRC, AHRQ, and NLM; is an Associate Editor of BMC Medical Informatics and Decision Making, Systematic Reviews, and Research Integrity and Peer Review; an Editorial Board member for JAMIA Open; and spends much of his time supporting postgraduate and early-career researchers at Macquarie University.
Associate Professor (2018-present) in the Centre for Health Informatics, Australian Institute of Health Innovation, Faculty of Medicine and Health Sciences at Macquarie University, Sydney, Australia.
Affiliate Faculty (2018-present) with the Computational Health Informatics Program, Boston Children's Hospital, Boston, United States; and Visiting Associate Professor (pending) (2019-present) with the Department of Pediatrics, Harvard Medical School, Boston, United States.
Visiting Associate Professor (2018-present) in the Department of Primary Care Medicine, Faculty of Medicine at University of Malaya, Kuala Lumpur, Malaysia.
Member, Society for Research Synthesis Methodology.
Member, Evidence Policy and Influence Collaborative; and Evidence Synthesis Node at the Charles Perkins Centre, The University of Sydney.
Member, American Medical Informatics Association.
Public health informatics: Applications of machine learning and network science in public and preventive health. These include using social media data to estimate spatiotemporal patterns of the health information that people see and engage with online; tracking the spread and persistence of misinformation, disinformation, conspiracies, and false advertising; and developing and testing interventions that aim to improve health literacy, evidence-informed decision making, and health behaviours.
Clinical research informatics: Applications of machine learning and network science in the production, reporting, and synthesis of clinical evidence. These include measuring biases that affect the integrity of clinical trial research reporting and synthesis; examining the impact of financial conflicts of interest and their disclosures on biomedical research; and new tools to facilitate access to and use of clinical trial registrations and structured results data.
Major current and past projects
NLM R01 (R01LM012976; 2019-2023) "Coupling results data from ClinicalTrials.gov and bibliographic databases to accelerate evidence synthesis"
NHMRC Project (APP1128968; 2017-2019) "Monitoring the gap between evidence and vaccination behaviour by sampling the location-specific consumption of health information from news and social media"
AHRQ R03 (HS024798-0; 2016-2017) "Developing Methods to Improve Systematic Reviews Using Clinical Trial Registries"
NHMRC Project (APP1045065; 2013-2015) "Using collaboration networks to measure bias and inefficiency in the production and translation of evidence about cardiovascular risk"
Centre for Health Informatics at UNSW (2008-2014) and then Macquarie University (2014-present).
International Alcoa Foundation Conservation & Sustainability Fellow at Curtin University (2006-2008); landscape ecology of invasive species.
Undergraduate training and PhD (2007) at The University of Western Australia in the suitably ambiguous area of complex systems and computational modelling formalisms, while modelling the spread of bushfires.
Funding groups, panels, and committees:
NHMRC Postgraduate Scholarships Peer Review Committee for Health Services (2018)
NHMRC Project Grants as a reviewer (2012, 2016, 2018)
Macquarie University Academic Senate (2019-2020)
Macquarie University Fellowship Panel (2015, 2016, 2017) and Co-chair (2018, 2019)
Macquarie University Research and Research Training Committee (2019-2021)
Macquarie University Freedom of Speech, Inquiry & Assembly Working Group (2019)
Macquarie University Research Enrichment Program Executive (2018-2019)
Macquarie University Faculty of Medicine and Health Sciences Promotion Committee Level C (2017, 2018, 2019)
Macquarie University Faculty of Medicine and Health Sciences Promotion Committee Level B (2015, 2019)
Macquarie University Research Infrastructure Panel (2015, 2016)
Macquarie University Postgraduate Research Fund Panel (2016)
AIHI's HDR Committee member for the Centre for Health Informatics (2016-2018)
UNSW Postdoctoral Academy Committee and Sub-Committee (2012-2013)
My email address is adam.dunn@mq.edu.au. On this website, I keep an up-to-date list of my published articles and pre-prints, along with media mentions, the talks I give, and the peer review and editorial work that I do. Because I work across several disciplines, citations to my work are generally most reliable at Google Scholar. My Erdős number is four. If you want to get in contact with me fast, it's probably best to tweet me at @adamgdunn.
trial2rev: seeing the forest for the trees in the systematic review ecosystem January 12, 2019
How articles from financially conflicted authors are amplified, why it matters, and how to fix it. January 24, 2018
Thinking outside the cylinder: on the use of clinical trial registries in evidence synthesis communities September 29, 2017
Differences in exposure to negative news media are associated with lower levels of HPV vaccine coverage May 1, 2017
Why the inequalities in our information diets matter (Part 2 of 2) December 4, 2016


Another 1000 for you Dave TS.
1100 in NSW, pricey !
Replacement modules for pop-up headlight for sale.
Come on fellas, I mean really?
ESD gone........garage looking a little empty!
1982 750 Katana 15091km recent import Victoria.
GSX750ES Parts - Before i bin them!
The Flying Banana is for sale!!!!!!!!!!!!!!


5 gifts to splurge on your dadWe've less than 48 hours till Father's Day now, and if you've yet to prepare your gift for daddy dearest, fret not as we've done the legwork for you!
For most of us going through puberty (and sometimes even after!), pimples are THE bane from HELL. They hurt when they are forming, they look and feel disgusting once they are RIPE with pus, and they positively OOZE with yellow sulphur-like toxins when they burst! But that's not all. After the breakout, the pimple signs off with a little parting gift: an acne scar.


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The Men Who Came Out of the Ground
A gripping account of Australia's first commando campaign
Paul Cleary
'This account . . . is breathtaking in its scope and riveting in its research' - Sydney Morning Herald
The gripping story of a small force of Australian Special Forces commandos that launched relentless hit and run raids on far superior Japanese forces in East Timor for most of 1942.
These Australians were the men of the 2/2nd Australian Independent Company - a special commando unit. Initially stranded without radio contact to Australia, the Japanese declared these bearded warriors 'outlaws' and warned they would be executed immediately if captured. The Australians drawn mainly from the bush, were chosen for their ability to operate independently and survive in hostile territory. As film-maker Damien Parer said after visiting in Timor in late 1942, 'these men are writing an epic of guerrilla warfare'.
Expertly researched by Paul Cleary, who is fluent in Tetum, the main language of the indigenous group of East Timor, it also contains insightful black and white photos.
'A cracker of a read' - The Age
'Paul Cleary has brought to life one of the great success stories of World War II' - Daily Telegraph
Hachette Australia
Hachette Australia Pty Ltd
More Books by Paul Cleary
Too Much Luck
Trillion Dollar Baby
Mine-Field
More ways to shop: Find an Apple Store or other retailer near you. Or call 133-622.


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Long Island Living Magazine
Long Island Living is the essential lifestyle magazine for fashion, beauty, the arts, food, travel and more.
A special advertising section from Newsday Media Group
By Jim Merritt
Captree State Park in Babylon. Photo credit: Newsday/ Thomas A. Ferrara
Spring break is right around the corner, and if you're looking for something different, consider Costa Rica, one of Central America's most popular destinations. For day trips, check out these Long Island and New York City spots offering adventure and excitement on the water, in the sand and on the street.
Go Fish!
April kicks off the fishing season for flounder, blackfish and striped bass. Anglers can cast a line at Magnolia
Pier in Long Beach, Town Dock Park in Port Washington or Harborfront Park in Port Jefferson. To combine a fishing expedition with a boat ride, board a Captree Fishing Fleet (captreefleet.com) day trip at Captree State Park in Babylon. The fleet's big boats offer heated cabins, experienced captains and more – all at a pretty affordable price. dec.ny.gov
Greenport's Bustling Village
A spring stroll around this North Fork seaport leads to an all-weather carousel and restaurants specializing in fresh oysters and other locally caught seafood. Greenport's browse-worthy antique shops, clothing and accessory boutiques, and one-of-a-kind gourmet stops line Main and Front streets. It's also the last stop on the Long Island Beverage Trail: Greenport Harbor Brewing Company welcomes beer drinkers downtown, and Kontokosta Winery's tasting room accommodates swirl and sippers just outside town. greenportvillage.com
A Night at the Casino
Want to experience Vegas-style fun without boarding a plane? Your best bet on Long Island continues to be Jake's 58 Hotel Casino, located in Islandia just off the LIE. It features 1,000 video lottery terminal gaming machines, Off-Track Betting kiosks and 227 guest rooms. jakes58.com
Tribeca Film Festival, April 15-26
Academy Award-winner Robert DeNiro is among the organizers of this festival founded in 2001 in the wake of the 9/11 terrorist attacks. It's become a major platform for new work by established filmmakers and emerging voices in film, TV, VR gaming and more. tribecafilm.com
NYC Hot Sauce Expo, April 18 and 19
How hot is too hot? Find out with free hot sauce tastings at the Brooklyn Expo Center, and Spicy Taco from Hell, Spicy Pizza of Doom and hot wing challenges. Also on tap: the Booze and Infuse Cocktail National Championship and a chihuahua beauty pageant. nychotsauceexpo.com
It's Central America's most popular tourism destination, with national parks bursting with volcanoes and waterfalls, coffee plantations, historic marketplaces and more.
HIKE A VOLCANO
Perched on the Pacific Rim's ring of fire, Costa Rica is home to six active and 61 dormant or extinct volcanoes accessible to tourists. Irazú is the most famous and tallest at 11,260 feet. Arenal Volcano National Park boasts 75% of the country's bird population and opportunities for waterfall rappelling, fishing, kayaking and cavern-hiking.
SHOP LIKE A LOCAL
The San Jose Central Market has been in business for almost 140 years with products ranging from local produce to souvenirs, traditional herbal medicines and, of course, coffee. Be sure to visit the local cafes where you'll find traditional soups, rice and meat, and the market's 100-year-old sweet shop.
TASTE THE COFFEE
Visit Costa Rica's coffee bean plantations at the Central Highlands and the Southern Mountain Range. A typical experience is found at Hacienda Espíritu Santo, a 600-acre coffee plantation where a tour takes in everything from growing the crops to harvesting and roasting facilities.
ART AND OXCARTS
Just outside San Jose lies Sarchí, a quaint hamlet where local artisans create paintings of colorful, decorative oxcarts traditionally used by farmers to transport coffee over the mountains. You can also pick up carved wooden utensils, jewelry, masks and furniture.
ROLL ON THE RIVER
Costa Rica's rivers plunge through volcanic mountain ranges toward the Caribbean Sea, the Pacific Ocean, the San Juan River and Lake Nicaragua. Conquer their white-water rapids on a day or an overnight rafting trip.
ROOMS WITH A (SPECTACULAR) VIEW
Costa Rica's hotel accommodations range from international brands to Arenas del Mar Beachfront and Rainforest Resort and the Parador Resort and Spa on the Pacific Coast beach at Manuel Antonio National Park. Nearby rainforest trails may offer encounters with sloths, pelicans and butterflies.
Jim Merritt is a freelance writer who has traveled throughout the Americas and Europe.
Categorized in : Travel
The Benefits of Yoga
Safe Harbor at Camp Anchor
Julie Andrews: Interview From Her LI Home
Published by Newsday Media Group Advertising Special Sections, 235 Pinelawn Road, Melville, NY 11747.	Copyright 2021, All rights reserved.
This magazine was produced by the Newsday Media Group Advertising Department, which is responsible for the content.
This magazine does not involve the reporting and editing staff of Newsday's editorial department.


Over 30 years constructing stone and brick hardscape masonry outdoor living areas. Serving Atlanta and North Atlanta, GA. since 1985!
Since 1985 we have been servicing Atlanta, Georgia as well as north Atlanta including cities like Marietta, Roswell, Sandy Springs, Buckhead, Vinings, Alpharetta, Milton and more. Please view our Service Area page HERE.
Outdoor Living….What comes to mind? Hopefully it includes having a beautiful brick or stone masonry hardscape and landscape living area outdoors yet there are so many facets to your unique home. These include gorgeous aesthetics all pulled together to create a well designed outdoor living hardscape but also making sure that all is created structurally sound. With ARNOLD Masonry and Landscape, we bring the inside out! A backyard stone or brick hardscape area where you, your family and friends will enjoy your new outdoor living entertainment area. We are going to go over some examples of what can be added and how these masonry hardscape and landscape additions can beautify your home. Allow us to give you several professional visual examples.
Have you ever gazed upon or even daydreamed what could become of your backyard? As the saying goes "The sky is the limit!". ARNOLD Masonry and Landscape has improved countless backyards for over 30 years. Just to give you a synopsis of some key ingredients are as follows: Outdoor Kitchens, Brick and Stone Patios, Firepits, Outdoor Fireplaces, Columns, Retaining Walls and Decorative Walls, Swimming Pool Patios or Masonry Decks, etc. Please view our Services Page HERE. The list could go on and on! Take a look at the visuals here and as always feel free to visit our website and peek onto our gallery page HERE.
How can it not beautify your home? Adding an outdoor living area adds that much more square footage of entertainment space to your home, even if it is outdoors. Imagine these scenarios -If you have a natural traditional style home imagine having a dark brown random patterned flagstone patio accompanied with a gorgeous dry stack fieldstone fireplace! Or if you have a home that requires a little more formality possibly a pre-cut Pennsylvania Bluestone patio and possibly a brick fireplace which all has clean , symmetrical lines. Every home is different and every project is different! How about an outdoor kitchen or pizza oven?! Adding that extra space helps you enjoy your backyard and aid in the beauty of your home. It brings forth comfort and joy as well as a place to de-stress after a long day or week. It becomes your place of peace and tranquility.
Anything can be done! Whether your yard is sloped, flat or almost nonexistent! Adding an outdoor living area will increase the value of your home and will add the extra WOW factor! Review our social media sites like our Facebook Business Page - or - our HOUZZ Business Page. Review our company's WEBSITE as well as our PHOTO GALLERIES. We have brought a lot of happiness and satisfaction to our clients as you can tell from our many REVIEWS. Now it's just a matter of contacting us for a consultation. We look forward to hearing from you as well as creating your new outdoor living area. CLICK HERE to contact us .
Preview our HOUZZ page below. Winner once more of the 2018 "Best Designs" as well as " Best in Service" awards!


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Premier League: Liverpool midfielder Alex Oxlade-Chamberlain sidelined for upcoming games in busy festive period with ankle injury
Sports Reuters Dec 24, 2019 17:54:34 IST
The midfielder landed awkwardly on his ankle during the 1-0 win over Flamengo and was substituted in the 75th minute
Klopp confirmed the 26-year-old would not play during the busy festive period when Liverpool play three times in eight days
Klopp also said midfielder Fabinho and centre backs Dejan Lovren and Joel Matip were recovering well but not fit for the upcoming games
Liverpool's Alex Oxlade-Chamberlain is set for a spell on the sidelines after sustaining an ankle ligament injury in Saturday's Club World Cup final, manager Juergen Klopp said on Tuesday.
Liverpool's Alex Oxlade-Chamberlain celebrates after winning the Club World Cup final match against Flamengo at Khalifa International Stadium in Doha, Qatar. AP
The midfielder landed awkwardly on his ankle during the 1-0 win over Flamengo and was substituted in the 75th minute. Klopp confirmed the 26-year-old would not play during the busy festive period when Liverpool play three times in eight days.
"You have three ligaments on the outside of the ankle, one of them is damaged," Klopp told reporters ahead of Thursday's top-of-the-table clash at Leicester City.
"Now we have to see how quickly we can fix that. I don't know exactly. I had that injury myself, but it was years ago and it can take a while or can be quick."
"No chance for Thursday and no chance for this year. Oxlade will not play anymore (in 2019), that's clear."
Klopp also said midfielder Fabinho and centre backs Dejan Lovren and Joel Matip were recovering well but not fit for the upcoming games.
"There is no news on anyone else, which is good news," Klopp added.
Liverpool played two games in Qatar last week as they lifted their third trophy of the year following their Champions League and UEFA Super Cup triumphs. But Klopp said fatigue would not be a factor when they prepare for the trip to Leicester.
"The way to Qatar was difficult sleeping-wise but on the way back it was completely normal," Klopp said. "Yesterday we had the day off, and I'm pretty sure the boys slept as much as they could."
Tags : Alex Oxlade-Chamberlain, Dejan Lovren, FIFA Club World Cup 2019, Football, Joel Matip, Juergen Klopp, KickingAround, Leicester City, Liverpool, Qatar
Premier League: Liverpool's Joel Matip, Fabinho in line for return from injury against Manchester United
Premier League: 'Thank you for that evening', says Southampton boss Ralph Hasenhüttl on 9-0 loss to Leicester City, ahead of reverse fixture
Premier League: Virgil van Dijk, Mohamed Salah extend Liverpool's unbeaten record with thumping win over Manchester United
Premier League: 'Somehow it doesn't feel special,' says Jurgen Klopp after Liverpool's record-breaking win
SC Hearing on CAA LIVE Updates: Amit Shah says protest all you can but won't roll back law; Congress wishes him luck, says arrogance always backfires
Hacking of Jeff Bezos' cellphone linked to WhatsApp account of Saudi crown prince Mohammed bin Salman
1Premier League: Liverpool midfielder Alex Oxlade-Chamberlain sidelined for upcoming games in busy festive period with ankle injury
2Australian Open 2020: Sania Mirza back to 'special' place where it all started, with new challenge
3French League Cup: Lyon win penalty shootout after 2-2 draw against Lille to register place in final
4Australian Open 2020: Coco Gauff wins tie after losing first set, will meet Naomi Osaka in third round; Ashleigh Barty breezes through second round
5Investigators search home, gym of gymnastics coach with links to disgraced sports doctor and convicted sex-offender Larry Nassar


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FAN Meat Menu
FAN Meat Guide
Download - FAN Meat Pocket Guide
The FAN Meat Scheme was declared a National Scheme in September 1999, and is a scheme which aims to assure the quality and safety of meat to the consumer. The scheme aims to give this assurance by means of prescribed farm management practices, a traceability system in conjunction with NamLITS and lately by means of prescribed transport, auction, feed-manufacturer and abattoir standards.
The standards prescribed by the FAN Meat Scheme are based on Namibian legislation, meaning that these are standards to which all producers in Namibia already have to comply with. These standards contain and describe the legislation in a nutshell, giving the producer clear guidelines of what must be complied with.
The standards also contain basic principles of animal welfare, veld management and storing of chemicals, making the scheme both attractive and necessary for international trade.
The success of the FAN Meat Scheme is apparent through maintained international markets as well as the recent obtaining of ISO 9001 certification. This certification is internationally acknowledged, and gives the FAN Meat Scheme even more leverage for international trade.
In short: the FAN Meat Logo means that the meat bought by the consumer is healthy and safe and comes from animals that were kept in good conditions, were vaccinated as prescribed by law, were transported in an acceptable manner and was slaughtered humanely.
Why must I register with FAN Meat?
The FAN Meat Scheme is an effort to promote the interests of the meat industry and to develop market opportunities. Consumers worldwide are asking the question: where does the meat that I buy come from, and how do I know it is safe? The FAN Meat Scheme is an answer to this question, and each producer of livestock in Namibia should aim to participate and comply with this scheme in order to build a good reputation in our international markets. The demand for safe meat of high quality is growing, and Namibia can proudly say that we can supply such a product.
The success and credibility of the scheme relies on the co-operation of all Namibians, and each producer registered with and complying with the FAN Meat Scheme is making a contribution towards the wellbeing of the Namibian livestock industry.
How can I register as a FAN Meat member?
According to the Stock Brands Act of Namibia, every person keeping/ owning cattle, MUST register for a stock brand. Once you register for a stock brand, you automatically become a FAN Meat Member. No extra cost involved!
In order to maintain your FAN Meat membership, you need to complete and submit an Animal Health Self-declaration form which is distributed by the Directorate of Veterinary Services twice a year. The Directorate of Veterinary Services also conducts farm inspections and community visits once a year. During these inspections, the inspector will check whether your records are up to date, whether you vaccinated your cattle as prescribed by law, whether your livestock is in good condition, is branded and whether they all have ear-tags. The inspector will also check that animal handling facilities are constructed in such a way that the animals cannot be injured during handling. Non-producer FAN Meat members, (export abattoirs, auctioneers/agents, transporters and feed manufacturers) are inspected by the Meat Board annually. Farm inspections are also conducted annually.
The records that need to be kept as well as the FAN Meat Producer Manual are obtainable from the Stock Brands office at the Meat Board of Namibia.
The future of FAN Meat
The FAN Meat Scheme aims to adopt a farm to abattoir approach. Each link in the chain can now register as a FAN Meat member and must comply with basic standards.
It is important to emphasise that these standards are based on legislation and good practices. By adopting a farm to abattoir approach, the credibility of the FAN Meat Scheme will improve even more, leading up to the goal of marketing the scheme as an international trademark.
Thus, each ear-tag placed, each record completed and kept up to date, each self-declaration submitted and each farm inspection or community visit conducted contributes to the health and development of the Namibian livestock sector, which is our most valuable commodity.