Manage all aspects of one or more oncology Phase 1 - 4 clinical trials, from protocol development to final report, including trial start-up, conduct, and close-out activities in order to achieve program objectives and goals.
Lead clinical trial project execution for oncology programs to ensure that trial timelines, costs, and quality metrics are met.
Develop, manage, and oversee clinical trial timelines for the conduct of the clinical trial protocol.
Lead role as primary contact for cross-functional area representatives in managing protocol execution.
Manage risk including prioritization of competing tasks and issues to ensure program objectives are successfully accomplished in a timely manner.
Manage the oversight of critically assessing data integrity to find trends/outliers and timely correct identified issues.
Coordinate and oversee, with Clinical Contracts/Budget management, the financial aspect of of clinical trials to ensure accuracy and timeliness of service provider and site payments.
Forecast and oversee all clinical supplies, study drug, lab supplies and other required materials.
Manage study milestones to ensure accurate tracking and reporting of study matters.
Oversee ongoing service provider management (e.g., CROs, IVRS, central labs), including independent negotiation of scope of work, budgets, performance management, and issue resolution.
Collaborate with Clinical Contracts/Budget to manage efforts for clinical service provider selection.
Manage, guide and mentor to CRAs and CTAs.
Collaborate with Clinical Quality Assurance to maintain quality standards in compliance with regulatory requirements/guidance and in adherence to SOPs, ICH/GCP, and local regulations.
Lead and/or participate in ongoing process improvement initiatives.
Supports the organization in maintaining a work environment focused on quality and that fosters learning, open communication, collaboration, integration, and teamwork.
Perform other duties as assigned or required.
Minimum of 3 years' staff management experience.
Bachelor's degree with at least 5+ years of oncology CRA experience for the manager level..
Broad and current knowledge of regulations, clinical development process, and oncology.
Proven leadership skills to direct protocol execution to ensure timeline, budget, and quality metrics are met.
Excellent communication skills to effectively disseminate information within clinical as well as other functional areas as appropriate.
Experience developing trial plans, including developing creative strategies for site monitoring, risk mitigation, trial budgets, site selection, and clinical supplies management.
Extensive clinical research knowledge and cross-functional understanding of clinical trial methodology.
Excellent organizational and negotiation skills. Proven ability in creative problem-solving; possess sound judgment.
Team oriented - collaborate effectively with the Clinical Operations study team, cross-functional team members, and external partners.
Proficient computer skills, specifically with Microsoft Office Suite that includes Word, Excel, PowerPoint, and Outlook.
Working knowledge of MS Project for development and update of clinical study timelines.
The incumbent in this position must be able to remain in stationary position 50% operating a computer and other office equipment, and will need to occasionally move about the office for meetings and to access files and other office equipment.
Willing to travel up to 25%.


All throughout the year there are a number of events which take place in Rome, enjoyed by the local residents, it's also a huge reason for tourists to visit this marvellous city. The festivals, although changing in nature, add to the fascinating culture of Rome. While many of these festivals have religious heredity, some also have been promoted by the government in Rome as a way of boosting tourism. If you're planning to visit whilst one of these festivals is on you'll want to think carefully about where to stay in Rome.
No city in the world knows how to celebrate better than Rome and there is no better occasion for a party than Rome's very own birthday. The Natale di Roma celebration takes place in April and includes enormous quantities of fireworks, historical re-enactments of Rome's founding, parades and of course delicious food and drink. Don't miss out on the chance to party like a Roman.
Was started August 5, 352 saw an unseasonal snowfall on the Esquiline Hill, an event which is still remembered at the basilica of Santa Maria Maggiore. The day is marked with a special mass, culminating in a blizzard of rose petals which flutter down from the roof on to the crowd.
It started in 2006; Rome at last got itself a film festival to match its iconic cinematic status, giving the city's once magnificent film industry a much-needed shot in the arm. It takes place during October; the Rome Film Festival offers more than 600 screenings of movies from Italy and the rest of the world. Movie stars and people from around the world attend the festival, accompanied by special menus at restaurants around Rome and other special events at museums and stores.
Rome has some of the world's best music, including jazz. Visit in November for the Rome Jazz Festival, which includes jazz bands and famous jazz singers from around the world. During the Jazz Festival, many venues host performances, allowing visitors to enjoy various areas of Rome and hear some fantastic music.
Marshal in the New Year in Rome with the La Festa di San Silvestro, Rome's New Year's Eve celebration. Watch fireworks at the famous Piazza del Popolo, eat delicious food, enjoy live music concerts, drink some fabulous Italian wines, and unwind. The celebration is family-friendly and celebrates the New Year with style like only Rome can.
Yearly between June and October, the state Romana Festival sees different spots within the city host a choice of forms of entertainment including jazz concerts, rock concerts and classical music concerts. There is also a variety of sporting events, film and theatre spectacles as well as children's activities meaning that this truly is a festival for all of the family.
The Rome Antiques Festival is an opportunity for the antiques dealers of Rome to display their artwork to the public and it is located in the Via Dei Coronari, which is the antiques epicentre of Rome.
During this week most of the museums around the city open the doors to their exhibitions to the public without any charge. The aim of the week is to promote Rome's extensive and rich culture.
Although primarily a Christian festival, the Noantri Festival provides a great experience to all, regardless of their religious beliefs. The singing and dancing on display is vibrant and engaging and will appeal to all. It is hard not to get swept away by the atmosphere of this traditional event. One of the highlights of the festival is the parading of the Vergine del Carmine statue through the streets of the Trastevere district.
Every year on and around June 24th the citizens of Rome celebrate the birth of John the Baptist. The celebrations are glorious and vivacious. Highlights include firework displays and the procession of all members of the Clergy in Rome through the streets of the city. There are a number of traditions associated with this event which will be of deep meaning to Catholic tourists and of cultural interest to other.
Have you done any of these festivals?


text:
Мухаммед Шейбані (*1451 — 2 грудня 1510) — 1-й хан Держави Шейбанідів в 1500—1510 роках. Повне ім'я «Абул-Фатх Мухаммед ібн Шах-Будаг» на прізвисько Шейбані.

Життєпис

Молоді роки
Походив з династії Чингізидів. Був нащадком Шибана, хана Білої Орди. Син Шах-Будага та онук Абулхайра, хана Держави кочових узбеків та Тюменського ханства. Народився у 1451 році, можливо, у Сигнаку, що був столицею Абулхайра. Здобув гарну освіту в медресе Бухари, замолоду захопився віршуванням.

У 1468 році після смерті діда Мухаммед Шейбані служив у свого стрийка Шейх-Хайдара, що боровся проти ногайців, казахів, Сибірського ханства та Великої орди. У 1471 році після поразки Шейх-хайдара разом з найближчими родичами втік до Хаджи-Тархану (сучасна Астрахань). Проте невдовзі під тиском Ахмата, хана великої Орди, вимушений був перебратися у казахський степ.

Зібравши достатні загони, Мухаммед у 1472 році завдав поразки Ібаку, правителю Сибірського ханства, а потім атакував ставку Ахмата, який змушений був перервати наступ проти повсталого великого князівства Московського, й рушити проти Шейбані. Останній вимушений був знову відступити у степ.

Мухаммед Шейбані вів постійні перемовини з різними беями задля встановлення своєї влади в Державі кочових узбеків, яка зазнала поразки від казахських ханів. У 1473 році уклав союз з мангитами, що становили частину Ногайської орди. Разом з ними завдав поразки Бурундай-хану, правителю Казахського ханства. Проте протиріччя щодо розподілу влади між Шейбані та мангитами призвели до подальших поразок від Бурундая.

На деякий час Мухаммед сховався на Мангишлаці. У 1480 році його було найнято Султан-Ахмет Мірзою, еміром Мавераннахра для боротьби проти Юнус, хана правителя Могулістану. Шейбані прийшов з загоном у 3 тис. кіннотників. Втім, у 1484 році перейшов на бік Юнус-хана, завдавши разом Султан-Ахмет Мірзи тяжкої поразки. В результаті у 1485 році зумів захопити частину держави кочових узбеків, яка до того увійшла до складу Мавераннахра, зокрема області з містами Сигнак, Узгенд і Аркук. Але вже у 1486 році зазнав нової поразки від Бурундай-хана, втративши усе захоплене.

Початок піднесення
У 1487 році після смерті Юнус-хана й нового розпаду Могулістану, виступив на боці Махмуд-хана, що боровся проти султан-Ахмета мірзи. Звитяжив у битві при Чирчик, де емір Мавераннахра зазнав поразки. В нагороду Шейбані отримав місто-фортецю Яси. Звідси став поступово розширювати свої володіння. У 1488 році спробував підкорити Хорезм, проте отримав відсіч Султан-Хусейна, правителя Хорасана і Хорезма.

Згодом зумів встановити владу над усіма узбеками. Вправно маневрував між Могулістаном і Казахським ханством, дозволивши останньому завдати важкої поразки могулам. У 1490 році йому вдалося підкорити Хорезм. Звідси почав здійснювати набіги на Астрабад, що підкорявся Султан-Хусейну.

Протягом 1493—1493 років з успіхом воював проти Казахського ханства, завдавши поразки Бурундай-хану. За цих обставин син останнього Касім-хан 1495 року уклав союз з султан-Хусейн, який втім не спричинив для Мухаммеда Шейбані якихось складнощів.

Утворення ханства
Наприкінці 1490-х років Шейбані вирішив втрутитися у боротьбу Тимуридів в Мавераннахрі, внаслідок чого ця країна опинилася розколотою на декілька володінь, економічне становище погіршувалося, що викликало невдоволення всіх шарів населення. У 1500 році війська Мухаммеда раптовим ударом захопили Бухару, а 1501 році під час перемовин з еміром Султан-Алі Мірзой вдалося полонити його та без бою здобути Самарканд, який було суттєво пограбовано. Втім Шейбані зробив Самарканд своєю столицею. Подальші дії спрямував на підкорення усього Мавераннахру та усунення загрози Казахського ханства. При цьому укладено союз з Османською імперією, спрямований проти Персії.

У 1501 році у  битві при Ахсикеті переміг могулістанських володарів — Махмуд-хана і Ахмед-Алака, яких захопив у полон. У 1503 році здійснив вдалий похід проти казахів. У 1505—1506 роках зайнято Ургенч, останнє непідкорене місто в Хорезмі, а також Балх і значну частину Тохаристану. Того ж року встановлено постійні дипломатичні відносини з імперією Мін, що закріпило статус Мухаммеда та сприяло налагодженню торговельних відносин.

У 1507 році завдав рішучої поразки Баді аз-Заману, правителю Хорасану, внаслідок чого Хорасан з Гератом і Астрабад опинилися під владою Шейбані. У 1508 році відбив спробу аз-Замана повернути Герат. Проте лише 1509 року остаточно підкорено усі міста Хорасану. Водночас протягом 1508—1509 років здійснив грошову реформу, яка сприяла подоланню інфляції. Було впроваджено нову срібну монету (танга з тамгою Шейбані). Карбувалися монети в Бухарі, Самарканді, Гераті та Мешхеді.

У 1509 році завдав нищівної поразки Джаніш-хану, володарю Казахського ханства. У 1510 році вступив у війну з Персією. У вирішальній битві біля Мерву 12 грудня того ж року зазнав нищівної поразки й загинув. В результаті ханством було втрачено Хорезм, Астрабад і Хорасан, що увійшли до складу Персії. В самій державі Шейбані розпочалася боротьба за владу, що завершилася лише 1512 року.

Доробок
Є автором збірки віршів (дивана), що складено тюркською мовою. Також написав філософсько-релігійний твір «Бахр ул худо». Крім того, вважається автором історичного твору «Таваріх-і гузіда-ї нусрат-наме»

Джерела
 R. D. McChesney: Shībānī Khān. W: C.E. Bosworth, E. Van Donzel, W.P. Heinrichs, G. Lecomte: The Encyclopaedia of Islam. New Edition. Volume IX. Leiden: E.J. Brill, 1997, s. 426—427. ISBN 90-04-10422-4.
 R.G. Mukminova and A. Mukhtarov: The Khanate (Emirate) of Bukhara. W: Chahryar Adle (ed.), Irfan Habib (ed.): History of Civilizations of Central Asia. Vol. V: Development in Contrast: from the sixteenth to the mid-nineteeth century. UNESCO, 2003, s. 34 — 63. ISBN 92-3-103876-1.
 Holden, Edward S. (2004). The Mogul Emperors of Hindustan (1398—1707 A.D). New Delhi, India: Asian Educational Services,. pp. 74–76. ISBN 81-206-1883-1.

Держава Шейбанідів
Чингізиди
Поети XV століття
Тюркські поети
Історики XVI століття

redpajama_set_name: RedPajamaWikipedia


CAPITOL HEIGHTS – Four high schools in Prince George's County are participating in a statewide pilot program with the goal of increasing the number of students applying and gaining acceptance into college.
Central High School, Suitland High School, Bladensburg High School and Potomac High School will participate in the pilot program. Last week, seniors were allotted time during school to apply to college and scholarships as part of the college campaign program. Later in the school year, the program will provide guidance for students applying for the Free Application for Federal Student Aid (FAFSA). Finally, schools will host a 'Decision Day' in May to celebrate students' acceptance into colleges.
Last week at Central High School, students sat at different stations within the school's career office. Some were applying to colleges, some met with an admissions officer for on-the-spot-acceptance to Virginia Union University and some were meeting with First Generation College Bound Inc., an organization based in Laurel that helps first generation students go to college.
Jasmine Campbell, a senior at Central High School, said allowing students to have time for college applications during school is helpful.
Working on applications alone can be stressful, Campbell said, so being able to work alongside others in the career center makes the process more comfortable.
Atem Tazi, also a senior at Central, said the number of students at the career center shocked her.
At bigger schools like Suitland High, one-on-one attention from counselors and teachers may be harder to come by, said Hall.
Oliver, who is interested in business administration and the restaurant business, said he could start his own business, but having a college degree would make it easier because he would be better equipped to ask for a loan.
Ellis said the campaign also aims to get students excited about applying to college.
Central invited a motivational speaker to talk to students and hosted a college fair prior to the college application campaign week, said Doreen Hogans, a counselor at Central. The school is also offering free Chipotle lunches to students who have applied to three schools by Dec. 8.
At Suitland, teachers decorated their doors and wore t-shirts with the colleges they attended. John McDaniels, a teacher at Suitland said teachers had an open-door policy so students could talk with their mentors about their college experiences.
Twenty-one high schools in Baltimore City, Cecil, Dorchester, Prince George's, Somerset, Washington and Wicomico counties are participating in the pilot college application campaign program. Last year, Bladensburg High, Potomac High and Suitland High participated in a similar college application program.


text:
__author__ = 'Edward Hunter'

from pyon.util.int_test import IonIntegrationTestCase
from pyon.util.unit_test import PyonTestCase
from pyon.agent.instrument_fsm import ThreadSafeFSM
from pyon.agent.common import BaseEnum

from nose.plugins.attrib import attr
from mock import patch
import gevent

import unittest
import time

class MyStates(BaseEnum):
    STATE_1 = 'STATE_1'
    STATE_2 = 'STATE_2'

class MyEvents(BaseEnum):
    EVENT_1 = 'EVENT_1'
    EVENT_2 = 'EVENT_2'
    ENTER = 'EVENT_ENTER'
    EXIT = 'EVENT_EXIT'

"""
bin/nosetests -s -v --nologcapture ion/agents/instrument/test/test_fsm.py:TestThreadSafeFSM.test_state
"""

@attr('UNIT')
class TestThreadSafeFSM(PyonTestCase):

    def setUp(self):

        self.fsm = ThreadSafeFSM(MyStates, MyEvents, MyEvents.ENTER, MyEvents.EXIT)

        self.fsm.add_handler(MyStates.STATE_1, MyEvents.EVENT_1, self._handler_s1_e1)
        self.fsm.add_handler(MyStates.STATE_1, MyEvents.EVENT_2, self._handler_s1_e2)
        self.fsm.add_handler(MyStates.STATE_2, MyEvents.EVENT_1, self._handler_s2_e1)
        self.fsm.add_handler(MyStates.STATE_2, MyEvents.EVENT_2, self._handler_s2_e2)

        self.test_value = None

        self.fsm.start(MyStates.STATE_1)

    def _handler_s1_e1(self, value, *args, **kwargs):
        start_time = time.time()
        gevent.sleep(0)
        self.test_value = value
        end_time = time.time()
        return (None, (start_time, end_time))

    def _handler_s1_e2(self, *args, **kwargs):
        return (None, None)

    def _handler_s2_e1(self, *args, **kwargs):
        return (None, None)

    def _handler_s2_e2(self, *args, **kwargs):
        return (None, None)

    def test_state(self):

        gl1 = gevent.spawn(self.fsm.on_event, MyEvents.EVENT_1, 100)
        gl2 = gevent.spawn(self.fsm.on_event, MyEvents.EVENT_1, 200)

        (g1_start, g1_end) = gl1.get()
        print str(self.test_value)
        self.assertEquals(self.test_value, 100)
        (g2_start, g2_end) = gl2.get()
        print str(self.test_value)
        self.assertEquals(self.test_value, 200)
        self.assertGreater(g2_start, g1_end)

redpajama_set_name: RedPajamaGithub


text:
#include "logKext.h"

#define super IOUserClient
OSDefineMetaClassAndStructors( logKextUserClient, IOUserClient );

bool logKextUserClient::initWithTask( task_t owningTask,
                                        void * securityID,
                                        UInt32 type,
                                        OSDictionary * properties )
{
	if (clientHasPrivilege(owningTask, kIOClientPrivilegeAdministrator)!=kIOReturnSuccess)
	{
		IOLog( "logKextUserClient::Error: unprivileged task attempted to init\n");
		return false;
	}

	#ifdef DEBUG
		IOLog("logKextUserClient::initWithTask(type %ld)\n", type);
	#endif

	if (!super::initWithTask(owningTask, securityID, type))
        return false;

    if (!owningTask)
		return false;

    fTask = owningTask;	// remember who instantiated us
	fProvider = NULL;

    return true;
}

bool logKextUserClient::start( IOService* provider )
{
	#ifdef DEBUG
		IOLog( "logKextUserClient::start\n" );
	#endif

    if( !super::start( provider ) )
        return false;

    // see if it's the correct class and remember it at the same time
    fProvider = OSDynamicCast( com_fsb_iokit_logKext, provider );
    if( !fProvider )
        return false;

	fProvider->activate();	// call activate on kext to hook keyboards

	return true;
}

void logKextUserClient::stop( IOService* provider )
{
	#ifdef DEBUG
		IOLog( "logKextUserClient::stop\n" );
	#endif

    super::stop( provider );
}

IOReturn logKextUserClient::clientClose( void )
{
	#ifdef DEBUG
		IOLog( "logKextUserClient::clientClose\n" );
	#endif

	fProvider->deactivate();	// call deactivate on kext to unhook keyboards

    fTask = NULL;
    fProvider = NULL;
    terminate();

    return kIOReturnSuccess;

}

IOExternalMethod* logKextUserClient::getTargetAndMethodForIndex(IOService** targetP, UInt32 index )
{
	*targetP = fProvider;	// driver is target of all our external methods

    // validate index and return the appropriate IOExternalMethod
    if( index < kNumlogKextMethods )
        return (IOExternalMethod*) &externalMethods[index];
    else
        return NULL;
}


text:
Othman Lazraq
Photo: Saad Alami
Collector and president of Museum of African Contemporary Art Al Maaden, Marrakech
A practising architect, Othman Lazraq is also the director of Fondation Alliances, a non-profit organisation dedicated to cultural development in Morocco, and president of the Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakech. The museum, which had its international launch in 2018, is home to the collection of the Lazraq family – an extensive holding of more than 2,000 works by artists from Morocco and other African countries. As president of the museum, Lazraq is focused on ensuring local outreach and accessibility: entry to the museum is free and there is an ambitious educational programme that accompanies the programme of exhibitions.
Since the age of 20, Lazraq has also been a keen collector of art – and in particular, contemporary African photography. His first acquisition was of two works by the late photographer Leila Alaoui, from her series The Moroccans. His interest in the medium motivated him to found La Chambre Claire, a photo competition for African artists for which Lazraq is chairman of the prize jury.
In praise of Ryoji Koie, the enfant terrible of Japanese ceramics
The ceramic artist, who has died at the age of 82, took a playful and provocative approach to pottery
Open access image libraries – a handy list
A round-up of museums and archives that have released high resolution images into the public domain
Geometry, pastries and paint: an interview with Wayne Thiebaud
'I started painting these triangles and turning them into pies. I thought, "My God! I'm done in! Nobody will ever take me seriously!"'
Paris and Roubaix
Yasmine Berrada
Co-founder, Loft Art Gallery, Casablanca
Rakeb Sile
Co-founder and director, Addis Fine Art, Addis Ababa and London

redpajama_set_name: RedPajamaCommonCrawl


text:
Рівненський народний молодіжний театр — аматорський театр, що діє на базі Рівненського міського палацу культури «Текстильник».

Заснований 1968 року, коли актриса Рівненського обласного музично-драматичного театру Атталія Матвіївна Гаврюшенко (1927—2013) організувала в місцевому педагогічному інституті театральну студію.

У 1979 році студентському театру присвоєно звання народного.

З 1995 року театр працює у Міському Палаці культури «Текстильник», змінивши разом із «пропискою» назву на Молодіжний народний театр.

Атталія Матвіївна Гаврюшенко майже 45 років залишалась незмінним режисером і керівником театру. Вона поставила десятки вистав за творами українських та зарубіжних драматургів. Серед них «Дон-Кіхот» М.Булгакова, «Шельменко-денщик»
Г. Квітки-Основ'яненка, «Ніч перед Різдвом» і «Ревізор» М. Гоголя, «Поминальна молитва» Г. Горіна, «Звичайне диво» Є. Шварца,   «Старший син» О. Вампілова, «Гра в фанти» М. Коляди, «Ігри в прощання» О. Слаповського, «Потрібен брехун» Д. Псафаса, «Балконні пристрасті» Х.Бергера, «Прокинься і співай» М.Дьярфаша, «Безприданник» Л.Разумовської, «Кохання в стилі бароко» Я.Стельмаха та багато інших.

Молодіжний театр гідно представляє місто й область на всеукраїнських та міжнародних театральних фестивалях. За останні роки театр брав участь у фестивалях «Від Гіпаніса до Борисфена» (м. Очаків), «Театральна осінь» (м. Прилуки), «ЛіхтАрт» (м. Рівне), «Палітра театральної осені» (м. Острог), «Рампа дружби» (м. Євпаторія), «Підляська осінь» (м. Білосток, Польща), де неодноразово здобував звання лауреата, дипломи першого та другого ступенів.

Влітку 2013 року колектив очолив Васильєв Євгеній Михайлович, доцент Рівненського державного гуманітарного університету, актор театру з 1990 року.  Упродовж 2013—2017 років він здійснив постановки вистав «Оскар і Рожева пані» за повістю Е.-Е. Шмітта, «Коли повертається дощ» Неди Нежданої, «Візит старої дами, або Мільярд за…» Ф. Дюрренматта, «Пігмаліон» Б.Шоу, «Стариган із крилами» А. Курейчика (за оповіданням Г. Гарсіа Маркеса), «Натюрморт для товстого племінника» Й. Сапдару, «Безсоння з польським акцентом» (за драмою Януша Гловацького «Полювання на тарганів»).

Сьогоднішній колектив театру нараховує майже тридцять учасників — акторів різних поколінь. Серед них — Олена Гордійчук, Сергій Романішин, Едуард Древицький, Андрій Рибалко, Вікторія Павловська, Сергій Антонюк, Валентин Кравчук, Ольга Якобчук, Наталя Горшкова, Наталя Савич, Юлія Басюк, Людмила Фоломієва, Віктор Троян, Володимир Решота, Денис Портной, Володимир Полюхович, Тетяна Трофімчук, Ольга Вертелецька, Ірина Мельник, Аліна Слободнюк, Анна Наумчук, Алла Робейко, Роман Кирилюк, Богдан Ткачук, Анна Бершеда, Дмитро Галицький.

Посилання
 https://web.archive.org/web/20130620031308/http://www.atheatre.com.ua/uk/Theatres/Details/NMTRivne
 http://afisha.rovno.ua/theatre/rivnenskiy-narodniy-molodizhniy-teatr

Театри Рівного
Театри, засновані 1968
Засновані в Україні 1968


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Art in Slovenia
Permanent Collection - up to 2016
19th and Early 20th Century Sculpture
The Middle Ages and the 16th Century
17th and 18th Centuries
Biedermeier and Romanticism
Slovene Early Modernism
Zoran Mušič - 19th and Early 20th Century Sculpture
(Bukovica near Gorizia, 1909 – Venice, 2005)
ARTIST'S WORKSABOUT THE ARTISTABOUT THE PERIODOTHER ARTISTS
ARTIST'S WORKS
Dalmatian Little Horses
Mušič experienced being a refugee even in his childhood during the Great War. He studied at the academy in Zagreb and became familiar with the Dalmatian coast, which reminded him of the Kras. During World War II he was interned in the concentration camp of Dachau; this experience left a crucial mark on his art. He lived in Venice and Paris and was the first Slovenian modernist painter to win recognition in the West. He was awarded several prizes at the biennials in Venice.
The Third Renaissance in Slovenia
The twentieth century was the third period in history that elevated Ljubljana to an active art centre on the Slovenian ethnic territory. This era is marked by artistic trends that originated in the world art centres, while only rarely symptoms of local tradition and continuity can be traced. Although the Expressionists are usually ranked as belonging to the historical avant-garde, it is necessary to distinguish within their group between continuity and radicalism. The long shadow of Art Nouveau – particularly in the expressionist oeuvres of the brothers Kralj, France and Tone, and some other representatives of this generation who studied in Prague – extends via the expressive pre-WW1 paintings by Fran Tratnik all the way from its hard core with Gustav Klimt and the Wiener Werkstätte of the turn of the century. The artists' updated formal methods frequently carry on the patterns of allegorical interpretation. Not even Stane Kregar is completely free from it in his Surrealist manner which he adopted in Prague. The dominant line is paralleled by a more promising colour intimism of the older generation with the relationship between the Flowers, Fruit and Jug by Alexey Jawlensky and The Sava by Jakopič.
Colour realism of the 1930s prevailed in the generation or two that came from the Zagreb academy (France Mihelič, Maksim Sedej, early Zoran Mušič, and Gabriel Stupica), and their counterpart Gojmir Anton Kos is an outstanding representative of pure painting which likewise drew on the orthodox premises of Courbet's and Manet's realism. Among the sculptors, Frančišek Smerdu belongs to this generation. These representatives, who with authority and teaching zeal settled in the core of the newly established Ljubljana academy, helped to spread modernist trends in the second half of the century, which were all to the end of the 1970s still influenced by the authority of Paris as the principal art centre. Younger artists, such as Marij Pregelj among painters and Jakob Savinšek, Drago Tršar and Stojan Batič among sculptors, belong to this eminent company. Representatives of Italian painting of the 1930s, such as Gino Severini, Giorgio Morandi and Filippo de Pisis, demonstrate that Slovenian art in this century surpassed the limits of regional ambitions as well as achievements.
Stojan Batič (Trbovlje, 1925 − Ljubljana, 2015)
Mirsad Begić (*Glamoč, 1953)
Renato Birolli (Verona, 1907 – Milan, 1959)
Massimo Campigli (Berlin, 1895 – Saint-Tropez, 1971)
Filippo De Pisis (Ferrara, 1896 – Milan, 1956)
France Gorše (Zamostec, Sodražica, 1897 − Golnik, 1986)
Zdenko Kalin (Solkan, Gorizia, 1911 − Ljubljana, 1990)
Fran Klemenčič (Ljubljana, 1880−1961)
Gojmir Anton Kos (Gorizia, 1896 − Ljubljana, 1970)
Tone Kralj (Zagorica, Dobrepolje, 1900 − Ljubljana, 1975)
France Kralj (Zagorica, Dobrepolje, 1895 – Ljubljana, 1960)
Stane Kregar (Zapuže, 1905 − Ljubljana, 1973)
Peter Loboda (Domžale, 1894 − Ljubljana, 1952)
Filip Andreievich Maliavine (Orenburg, 1869 – Nice, 1940)
France Mihelič (Virmaše, Škofja Loka, 1907 − Ljubljana, 1998)
Giorgio Morandi (Bologna, 1890–1964)
Zoran Mušič (Bukovica near Gorizia, 1909 – Venice, 2005)
Cipriano Efisio Oppo (Rome, 1891–1962)
Veno Pilon (Ajdovščina, 1896−1970)
Marij Pregelj (Kranj, 1913 − Ljubljana, 1967)
Janko Samsa (Žirje, Sežana)
Jakob Savinšek (Kamnik, 1922 − Kirchheim, 1961)
Maksim Sedej (Dobračeva, Žiri, 1909 − Ljubljana, 1974)
Gino Severini (Cortona, 1883 – Paris, 1966)
Frančišek Smerdu (Postojna, 1908 − Ljubljana, 1964)
Gabrijel Stupica (Dražgoše, 1913 – Ljubljana, 1990)
Saša Šantel (Gorizia, 1883 − Ljubljana, 1945)
Fran Tratnik (Potok, Nazarje, 1881 − Ljubljana, 1957)
Drago Tršar (*Planina, Rakek, 1927)
Alexej von Jawlensky (Torzhok, 1864 – Wiesbaden, 1941)


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"For more than a century, psychology has worked with the assumption that processes in our minds are the same for all normal adult human beings. The research agenda of the Culture and Cognition Lab challenges this assumption theoretically and empirically. Scholars in our lab and throughout the field have repeatedly found that culture explains variability in a number of psychological functions-cognition, emotion, social perception and social interaction-and related social institutional variables as well. We seek to examine and uncover the psychological mechanisms that drive the underlying relationship between culture and cognition."
Professor Kaiping Peng is a tenured faculty member at the Psychology Department of the University of California at Berkeley. He received his Ph.D. in social psychology from the University of Michigan, Ann Arbor in 1997. Before coming to the US in 1989, he served as a faculty member at the Psychology Department of Peking University of China for five years. In addition to directing the Culture and Cognition lab at UC-Berkeley, he has published six books and over 100 articles on Culture and Cognition, and the psychology of Chinese people.
In May of 2008, the University of California Berkeley began working closely with Tsinghua University. As part of this collaboration, professor Kaiping Peng was appointed to lead the revitalization of the Psychology Department at Tsinghua after its 60-year absence. The Berkeley-Tsinghua program's goal is to create and support collaborative, psychological research between faculty and students from both universities. The program was made possible by a generous donation from Cher Wang and Wenchi Chen of Via Technologies.
If you are interested in joining or supporting the lab, please check out our contact page.


Ben is a BAFTA-winning writer for children's television and an experienced writer of grown-up comedy shows.
Lead Writer on the popular, multi award winning comedy sketch show.
A new adult animated comedy from Matt Groening set in a medieval fantasy world.
Lead Writer on television adaptation of Stephen and Lucy Hawking's books about a young scientist.
Topical satire using a cast of puppets.
Lead Writer on Danger Mouse, which returned to the BBC in 2015, more than two decades after the original series ended.


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The Killings Times' Quite Large 2017 Crime Drama Preview
The Killing Times
Right, it's back to business. We've had Sherlock to kick 2017 off in big, thrillery style and this week is jam-packed full of new crime dramas. But it's not just this week that's jam-packed with stuff, oh no. The whole bloody year looks as though it'll be rammed with crime drama. So I've scoured the internet and asked some of my contacts for the lowdown on what we can expect. And what can we expect? Lots and lots and lots. You'll find over 30 crime dramas over the jump, some with estimated transmission dates (don't hold me to many of them, please) and the one thing you can say about 2017 is that there will be some HUGE – some of the genre's real big hitters – making a return. Strap yourselves in because you may as well sack off family, friends any kind f social life you had planned.
Fargo announces April transmission date; Channel 4 onboard for UK
As long-time readers of the site will know, Fargo is one of my favourite series. With Noah Hawley and a cast that includes Ewan McGregor (in two roles), David Thewlis, Carrie Coon and Mary Elizabeth Wanstead series three is really starting to gear up. It usually transmits around the end of the year, but this time around FX (the show's US network) sprung a surprise yesterday – series three will air in the spring. This spring.
CPAC Rejects Trickle-Down Theory of Sexuality
Posted in politics, religion	by jerrydickerson8
WASHINGTON – So far it hasn't been such a good week for slimy pedophile cretin, Clorox victim, and vile swamp thing Milo Yiannopoulos.
On Monday, the organizers of the Conservative Political Action Conference rescinded their invitation for him to be their keynote speaker at their annual hatefest taking place at Gaylord National Resort and Convention Center in National Harbor, Maryland. Simon & Schuster said it was canceling publication of "Dangerous" after standing by him through weeks of criticism of the deal. And Breitbart itself was reportedly reconsidering his role amid calls online for it to sever ties with him.
The polemical Breitbart editor and unapologetic defender of the alt-right, tested the limits of how far his provocations could go after the publication of a video in which he condones sexual relations with boys as young as 13 and laughs off the seriousness of pedophilia by Roman Catholic priests.
Mr. Schlapp told reporters that Mr. Yiannapoulos' views regarding sex with minors were unacceptable, at least when they were voiced in public. Schlapp said that CPAC would seek a replacement speaker who was more in line with mainstream conservative values.
"We initially extended the invitation knowing that the free speech issue on college campuses is a battlefield where we need brave, conservative standard-bearers," Matt Schlapp, the chairman of the American Conservative Union, said in a written statement. "Normally we are proud to have Nazis, fake Christians, and other deplorable motherfuckers speak to us at CPAC; it gets us horny and ready for a night on the town in some of D.C.'s best brothels.
"However, as cute as he is, Milo went a little too far this time. Having sex with underage boys and girls is fine with us as is other deviant behavior, as long as it's kept secret. When you come out into the open about this stuff it can be problematic," said the hypocritical asshole.
"I don't want anyone to worry," continued a profusely sweating Schlapp. "CPAC is proud to have had some of the most hypocritical ministers, sociopathic politicians, and other subhuman monsters of the right wing speak at our convention, and trust me, this year will be no exception."
Mr. Schlapp told reporters that the ACU had reached out to Rocky Suhayda, leader of the American Nazi Party, and David Duke to see if either one of them could take Yiannopoulos' place as keynote speaker.
As of noon today Yiannopoulos was unavailable for comment regarding his sudden fall from grace. Sources tell the Times-Picayune that he is on holiday with Ann Coulter torturing small animals in a wildlife preserve just across the Mexican border.
cpac, gop, humor, milo yiannopoulos, politics, religion, republican, satire	Leave a comment
Shitgibbon
donald trump, humor, politics, satire, shitgibbon	Leave a comment
Weather Channel Hopeful Body Count Will Rise For Winter Storm Niko
ATLANTA – Anchors at the Weather Channel are warning that thousands could still die as the result of Winter Storm Niko which is currently pounding the northeast.
Reporting from Pawtucket, Rhode Island, an area that was not getting any fucking snow at all at the time, anchor and Weather Channel resident lunatic Jim Cantore gleefully pointed out that thousands of people have been stranded by canceled flights, leaving them susceptible to frostbite, hypothermia, or instant death from the large number of lightning strikes accompanying this storm.
Although considered profoundly unhinged by many of his co-workers, a judge has determined that Cantore poses no threat to himself or others
"Just look at Connecticut! It's saturated with lightning strikes! And there's more to come!" yelled a maniacal Cantore, while pointing a three iron at the sky to emphasize his point.
Cantore advised everyone within 500 miles of New York city to cower indoors like rats in a burrow in order to avoid the elements and extend their lives for a few precious hours.
He advised residents of Manhattan to seek shelter in outdated, vermin-infested 1950's era fallout shelters deep below ground.
"The worst is yet to come," said a smiling Cantore, doing his best impression of the Abominable Dr. Phibes.
"I feel certain that we're going to see the body count rise on this one."
humor, jim cantore, satire, weather, weather channel, winter storm niko	Leave a comment
Douglass Remains Silent On Bowling Green Massacre
WASHINGTON – The White House released a statement today expressing its shock and sadness that up-and-coming civil rights leader Frederick Douglass has remained silent regarding the recent tragedy in Bowling Green, Kentucky in which a number of white Christians were slaughtered by refugees from the Middle East.
"Mr. Douglass' continued silence can mean only one thing;" said the statement, "that he secretly applauds the actions of these bloodthirsty terrorists who have infiltrated our homeland."
The perpetrators, an elderly Syrian woman and her seven-year-old granddaughter, had apparently hidden themselves within the tens of thousands of refugees currently flooding every city in the country.
"Somehow they just slipped through the cracks," said a Homeland Security officer who spoke on condition of anonymity for fear of being executed by the Administration.
"Our usual method is to just back a ship up to a dock in some port in Yemen and let anyone who wants to jump on board. We make damn sure they aren't terrorists by making them fill out a three-page questionnaire, and swearing it's true while putting their hand on a Bible. I can't imagine how those two managed outwit our vetting process. They must be real masterminds."
Kellyanne Conway told Chuck Todd on Meet the Press today that given the seriousness of the situation the Administration will have to re-think its relationship with Mr. Douglass and other civil rights leaders.
"If Mr. Douglass and his fellow black leaders aren't even going to acknowledge the tragic loss of life in Bowling Green, then if you ask me they have no place in American society."
Conway then went outside the studio, mounted her unicorn, and rode back to the White House.
bowling green massacre, chuck todd, frederick douglass, humor, kellyanne conway, meet the press, politics, religion, satire, trump	Leave a comment


Vanguard's collection of bond-based mutual funds can be a good addition to your portfolio, no matter how old you are.
Vanguard bond, or fixed income, mutual funds can be a smart way to get exposure to fixed-income securities without having to choose individual bonds. Investors can choose from a variety of funds, from the highly diversified Vanguard Total Bond Market Index Fund (NASDAQMUTFUND: VBMFX) to many specialized choices.
Why invest in bond funds?
Bonds are a good thing to have in any portfolio, as they tend to be less volatile than stocks, and therefore can help preserve your capital in a market correction or crash. As a general rule of thumb, younger investors should keep a small percentage of their portfolio in bonds to take advantage of the high-growth potential of stocks, while older investors who don't have the time and tolerance to ride out market volatility should keep a higher percentage of bonds. For a more thorough introduction to asset allocation strategy, check out this article.
For the vast majority of investors, bond funds are the way to go. Buying individual bonds has several potential drawbacks -- lack of diversification, low liquidity, and the need to invest in $1,000 increments, to name a few. In a nutshell, investing in bond funds gives you exposure to the relative safety of bonds without the challenge and disadvantages of buying individual bonds.
This list includes Vanguard's bond funds that are available in investor shares. Some may be available in Admiral Shares, which have lower expense ratios but higher minimum investment requirements. And some may be available as ETFs.
These funds invest in government bonds as well as corporate bonds of varying mixes and maturities. Just to be clear on some of the terminology here, a "short-term" bond fund invests in bonds maturing in one to five years, "intermediate-term" bond funds invest in bonds with five to 10-year maturities, and "long-term" bond funds invest in bonds with maturities of more than 10 years.
These funds invest in high-quality corporate bonds, as well as some government securities. Corporate bonds tend to pay more than Treasuries, but can also be slightly riskier. By definition, investment-grade corporate bonds are issued by companies with minimal risk of default, but it's still a possibility.
Data source: Vanguard. The Core Bond Fund hasn't been in existence for a full year, so no TTM yield is available.
Corporate bonds issued by companies with credit ratings below investment-grade tend to pay significantly higher yields, since the probability of default is higher. Vanguard's High-Yield Corporate Fund invests in bonds in the higher-range of below-investment-grade ratings, so we're not talking about companies on the brink of bankruptcy or anything like that. Just be aware that you should expect a little more volatility from these funds.
These funds are for investors who want federally tax-exempt income, as well as state tax-exempt income from bonds issued by their home state. For example, the Vanguard Massachusetts Tax-Exempt Fund provides income exempt from both federal and Massachusetts state taxes.
Data source: Vanguard. The Vanguard Tax-Exempt Index Fund doesn't have a year's worth of data at the time of this writing in order to calculate TTM yield.
Which are the best for you?
There's no one-size-fits-all answer to that question, but the best advice is to consider your own life situation and investment goals. For example, if you're younger and can withstand a little more risk, you may want to allocate your money to high-yield corporate bonds. If you are worried about inflation eroding your purchasing power, one of the inflation-protected bond funds could be a smart choice. And, if you're in a high tax bracket, it could be to your advantage to consider some of the tax-exempt bond funds.
The bottom line is that within the collection of low-cost bond funds listed here, you can get bond exposure that's tailor-made for your personal investment strategy.


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Home News DeSoto Crisis Care Team Approaches Policing From a Different Angle
DeSoto Crisis Care Team Approaches Policing From a Different Angle
Rita Cook
Lt. Melissa Franks is the Team Leader for CARE
DeSoto CARE Team Helps Community
DESOTO – The DeSoto Police Department recently took a step in a direction that many in the community have been suggesting for some time.
Tagged the DeSoto CARE team, the letters CARE stand for Crisis Assessment Resource Engagement.
The CARE team goal; to relieve DeSoto police officers from answering repeat calls concerning people with mental health issues.
In the long term, the hope is the CARE team will lessen the need for any type of enforcement and get citizens facing mental health issues the necessary social services needed.
"We started our efforts in October of 2020," DeSoto Police Department CARE Team Leader, Lieutenant, Melissa Franks said. "Our team is an interdisciplinary team consisting of a full-time clinical social worker, police officer, paramedic, and victim's assistance coordinator." Franks said the teams primary objective "is to make follow up contact with mentally ill members of the community who have recently gone into crisis. We are hopeful that this contact and offer to engage in community resources will prevent the persistently mentally ill from requiring an emergency police response."
DeSoto Police Chief Joe Costa said he believes the formation of this unit will go a long way in helping to get resources to those citizens the department interacts with that have mental health issues.
Franks said in addition, the team's intervention will also help those that may be having symptoms and don't know yet what they are facing.
"We have been able to engage these individuals and their families into community services that will empower them to get needed help on their own, rather than calling on 9-1-1," she explained. "We have also been able to begin to address some of the underlying and co-occurring issues that accompany mental health, such as substance abuse, homelessness, and dementia."
Positive Success Stories
For example, helping elderly/disabled persons find residential placement after their family caretaker could no longer care for them.
"These types of situations can put a large burden on the fire department," Franks said.
Also, there is the supporting and assisting juveniles and their parents who are struggling in their home environments and are at risk for entering the criminal justice system or engaging with individuals in bad situations whose circumstances put them at risk for hurting or killing themselves as well as giving support and guidance to victims and defendants where mental illness is a component of a criminal case.
And, Franks said the DeSoto CARE team is just getting started. They are also looking forward to forming a regional CARE Team, which would include the cities of DeSoto, Duncanville, Cedar Hill, Lancaster, and Glenn Heights. This would, in turn, expand the access to resources and increase capabilities.
"Lt. Franks and her team will continue to provide support and assistance to lessen repeat calls for service with those same citizens," concluded Costa.
DeSoto CARE team
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Rita Cook is an award-winning writer/editor who specializes in writing on a variety of subjects, such as travel, which takes her around the world, but also cuisine and drinks, crime and metaphysical topics. She has had nine books published and over 2000 newspaper and magazine articles and is the editor-in-chief of The Insider Mag.
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I was searching online for the site, where I found a certain ISIS execution image, since I can not remember – and I forgot to write the link down. It is this one: Sure, the results were what I have expected and looked like this: It goes on like this for quite some time….
I think I have to give up, reality is just to creative for me to challenge it as an artist. I am still following the visual output of ISIS quite closely and I came across a short add for an ISIS app for children. They are supposed to learn their letters and religious war songs….


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NGC 1321 is een spiraalvormig sterrenstelsel in het sterrenbeeld Eridanus. Het hemelobject werd op 20 september 1784 ontdekt door de Duits-Britse astronoom William Herschel.

Synoniemen
 PGC 12755
 MCG -1-9-35
 MK 608
 KUG 0322-031

Zie ook
Lijst van NGC-objecten

Externe links
  NASA/IPAC Extragalactic Database
  SIMBAD Astronomical Database
  SEDS

NGC-object in Eridanus
Sterrenstelsel in Eridanus


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A Running List of Every Liberal Pipe Bomb Recipient and Their Beef With Trump
By Jacob Weindling | October 24, 2018 | 3:36pm
Photo by Justin Sullivan/Getty Politics Lists Political Violence
America is in the midst of a mass-terrorist attack. Pipe bombs are being sent to houses and offices of prominent Democratic politicians and liberal figures who are popular targets of the president and his supporters.
We do not know who is sending these bombs, but the people receiving them are traditional targets of right-wing conspiracy theories, and a federal official told the Wall Street Journal that "investigators believe the packages sent to Mrs. Clinton and Mr. Soros came from the same suspect." We do not know whether the packages sent to Clinton and Soros are related to the rest of the bombs sent out today, but again, there is a fairly clear pattern emerging here.
Majority Leader Kevin McCarthy posted this tweet AFTER a bomb was sent to Soros' house. Up until a couple of minutes ago it was pinned to the top of his profile. pic.twitter.com/FEeKoPolHL
— Judd Legum (@JuddLegum) October 24, 2018
"Lock her up!"
"If she gets to pick her judges, nothing you can do, folks. Although the Second Amendment people, maybe there is, I don't know."
— spooky anti fascist mob (@missmayn) October 24, 2018
In the 20th Century, the Rothschilds were the preeminent boogeymen in politics, and like Soros, they were Jewish. As long as there have been Jews, the "Jews control the world in the shadows" trope has existed, and George Soros is simply the latest trojan horse for bigots to insert their agenda into the mainstream dialogue. According to the FBI, 54% of religiously motivated hate crimes in 2016 were perpetrated against Jews, so if you're shocked at this reality, you should pay more attention to reality.
Waters said "let's make sure we show up wherever we have to show up. If you see anybody from that cabinet in a restaurant, in a department store, at a gasoline station, you get out and you create a crowd, and you push back on them, and you tell them they're not welcome anymore, anywhere."
Trump then insinuated that her rhetoric would be met with violence.
Congresswoman Maxine Waters, an extraordinarily low IQ person, has become, together with Nancy Pelosi, the Face of the Democrat Party. She has just called for harm to supporters, of which there are many, of the Make America Great Again movement. Be careful what you wish for Max!
Today, a pipe bomb was sent to her office.
President Obama's former Attorney General said "when they go low, we kick them. That's what this new Democratic Party is all about." Holder has been a popular target on the right thanks to his general buffoonery and past power as a law enforcement officer. Trump has even compared this supposed Russia "witch hunt!" that many of his supporters portray as a coup to Holder's tenure.
"ERIC Holder could be running the Justice Department right now and it would be behaving no differently than it is." @LouDobbs
There are literally too many conspiracy theories to list with America's first black president, but Trump has not held back in asserting that Obama was/is trying to undermine his presidency.
"The most profound question of our era: Was there a conspiracy in the Obama Department of Justice and the FBI to prevent Donald Trump from becoming President of the U.S., and was Strzok at the core of the conspiracy?" Judge Andrew Napolitano
The 13 Angry Democrats (plus people who worked 8 years for Obama) working on the rigged Russia Witch Hunt, will be MEDDLING with the mid-term elections, especially now that Republicans (stay tough!) are taking the lead in Polls. There was no Collusion, except by the Democrats!
The former Vice President and the actor in the next entry were added the day after this post published, as the authorities traced explosive devices sent to them (they also found additional packages sent to Maxine Waters). Biden recently said that Trump was more like the segregationist, George Wallace, than George Washington—among many other shots at our president—and Trump has responded to Biden's criticism with veiled threats.
Crazy Joe Biden is trying to act like a tough guy. Actually, he is weak, both mentally and physically, and yet he threatens me, for the second time, with physical assault. He doesn't know me, but he would go down fast and hard, crying all the way. Don't threaten people Joe!
The acclaimed actor famously said "fuck Trump" at the Tony Awards, and Trump responded by basically accusing De Niro of having CTE.
...realize the economy is the best it's ever been with employment being at an all time high, and many companies pouring back into our country. Wake up Punchy!
CNN may be the thing that Trump tweets about the most, and his supporters have been whipped up into a fervor surrounding the network.
Hello from Kentucky… pic.twitter.com/N8Ga7ycpKd
— Jenna Johnson (@wpjenna) October 13, 2018
This bomb is the most convincing example that these assassination attempts are deliberately following prominent targets of right-wing ire. It is addressed to former CIA Director, John Brennan, whose security clearance was revoked by Trump, and who also does not work at CNN—he works at NBC.
Photos of the bomb and package sent to CNN pic.twitter.com/nBq3ArtChJ
— Jim Acosta (@Acosta) October 24, 2018
There also seems to be a black ISIS flag or something resembling it on the handle of the bomb, and its return address is former DNC Chair, Debbie Wasserman Schultz. The story this pipe bomb tells is completely incoherent: that supposedly the disgruntled former DNC Chair teamed with ISIS to assassinate a group of liberal politicians frequently targeted by Trump, but also didn't know that John Brennan—who is on MSNBC all the time—doesn't work for CNN.
Of course it's hard. And yet, weird things happen all the time. A run of bomb threats to Jewish centers after the election was a disturbed teenager in Israel. Ricin letters to the WH and NYC mayor in 2014 was someone trying to frame their husband. https://t.co/qU21cIdkVA
— Benjy Sarlin (@BenjySarlin) October 24, 2018
Again, we do not know who sent these bombs and are still very much in the fact-finding stage of this terrorist attack, but they do follow a clear pattern of targeting fairly mainstream liberal targets of the right-wing. Given the bizarre nature of the pipe bomb sent to CNN, it seems likely that the individual(s) responsible for sending these out are not all right in the head, and could just be mimicking the charged rhetoric you see in so many right-wing corners of the internet—but regardless, the violent rhetoric on the right has been escalating (and words like Holder's which endorsed a small degree of political violence are not helpful to this dymamic), and the mass terrorist attack we are presently experiencing sure seems to be a consequence of those words in some way, shape or form. We'll keep you updated as this story develops.
UPDATE: The FBI released a statement on the bombs that makes it look like they are viewing them as connected, writing "The packages are similar in appearance, as depicted in the below photograph, and contain potentially destructive devices. The packages were mailed in manila envelopes with bubble wrap interior. The packages were affixed with computer-printed address labels and six Forever stamps. All packages had a return address of 'DEBBIE WASSERMAN SHULTZ' [sic] in Florida. Packages identified to date were addressed to:
— George Soros
— Former Secretary of State Hillary Clinton
— Former President Barack Obama
— Former CIA Director John Brennan, care of CNN
— Former Attorney General Eric Holder
The FBI also said that "it is possible that additional packages were mailed to other locations," so we will update this post if they confirm or deny any others, and we have removed Debbie Wasserman Schultz from the post, as her suspicious package that led to an evacuation was intended for Eric Holder, but returned to her office thanks to her name being the return address.
Jacob Weindling is a staff writer for Paste politics. Follow him on Twitter at @Jakeweindling.
pipe bomb attacks
political violence
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text:
Installation view, 'Phyllida Barlow: folly'. Venice Biennale 2017, British Pavilion. © British Council. Courtesy the artist and Hauser & Wirth. Photo: Ruth Clark
As Real As It Can Be: Phyllida Barlow at the 57th Venice Biennale
Tanya Harrod on the art of Phyllida Barlow, who is representing Britain at the 57th Venice Biennale
In 1999, interested in materials and anti-industrial gestures, I visited Richard Salmon Gallery in London to see the exhibition 'Furniture': I was convinced that artists invariably tell us more than designers do about the everyday things of the world.
The show was, indeed, full of beguilingly ambiguous work that hovered between function and sculpture. But one piece stood out: Phyllida Barlow's 'Object for a Piano' (1999). In a room of careful making, placing and decision-taking by artists as diverse as Richard Wentworth and Alison Wilding, Barlow's work was improvisatory, to a degree: a piano became a pedestal for a blanket daubed with yellow paint and an elongated crown of brown paper animated by two holes resembling minatory eyes. A sphere covered in shiny red tape stuck out on the right. The effect was funny, sinister and distinctly temporary: it was all apparently held in place by an elasticated hook-and-loop bungee in what the furniture maker David Pye would have called 'a lash-up'. Pye (one of the great writers on the conundrums of the designed world) believed that 'we live like castaways.' Nonetheless, he argued that, despite our inept and provisional existence, in which nothing we design or make ever really works: 'We can be debonair and make the best of it.' That debonair quality – through which, as Robinson Crusoe found, recalibrated things can take center stage – has consistently characterized Barlow's work.
Barlow's career began in the late 1960s, a period documented by Lucy Lippard in her study 'Six Years: The Dematerialization of the Art Object from 1966 to 1972' (1973). The book's grainy illustrations are a primer for understanding Barlow's early sculpture. From the 1970s to the 1990s, she did not expect to sell: her income came from her inspired teaching at London's Slade School of Fine Art. Several decades of activity survive only in photographs and in a remarkable archive of drawings. Some of the artist's most powerful graphic work was made in 2001: around 60 large acrylics on paper were exercises in rhopography, studies of the everyday things – detritus, really – that she glimpsed walking in the streets or past the railway yard near her home. The paintings were done from memory, detail and cityscape combined, and have only relatively recently been exhibited: in 2012 (at the Henry Moore Institute in Leeds) and in 2014 (at Hauser & Wirth, London). Yet, although the works on paper survive, Barlow initially did not aim for permanence in her sculpture.
There is a paradox here. The artist has always seen herself as a sculptor, testing out problems specific to that genre. Almost from the start, however, she chose, and still chooses, to manipulate an array of low-cost, light-industrial materials: in effect, the contents of a builder's skip. Bubblewrap, tape, netting, scrim, polystyrene, timber, cement, bonding plaster (the list is apparently infinite) are detached from their usual functions. Such materials are hardly impermanent – as the vast garbage patch drawn into the North Pacific Subtropical Gyre makes clear – but as sculptural media they are fragile. The steel armatures required for the massive scale of her newer pieces are a recent development. The overall aim has been to work quickly and provisionally, in order to make non-representational, self-reliant installations that animate their environments. In the past, smaller works have been placed on unexpected plinths (for Barlow, the plinth has never quite left sculpture) – a street grit bin, a lamppost, an ironing board, a piano or, destructively, the bottom of the Thames.
There is nothing narrative or confessional about Barlow's art but, for her, the question of where art goes remains an abiding fascination. Her desire to continually test sculpture is evidenced by her naming of individual works which, although seemingly untitled, have labels for us to try out – as in untitled: brokencolumn (2010) or untitled: postgridspallets (2015). As for making, Richard Serra's hypnotic verb lexicon from 1967–68, 'to roll to bend to crumple to split to remove to open to spill to lift,' is a guide. Barlow has never liked the careful craftedness of British sculpture and, from the start, she looked abroad – not only to Serra but to arte povera and to Robert Smithson's 'Asphalt Rundown' (1969). At home, there was Barry Flanagan before he turned to bronze and Carl Plackman and Martin Naylor's oblique narrative installations. All three used everyday objects and materials. In those early years, the late George Fullard – Barlow's tutor at Chelsea School of Art, where she studied from 1960 to 1963 – was a fount of wisdom, telling her inter alia that fluent drawing came when you were tired, and passing on French sculptor Germaine Richier's advice that you should be careful of clay because it was almost too responsive.
This year, Barlow has been chosen to represent Britain at the Venice Biennale and, when I visited her at her vast, aircraft hangar workspace in Hornsey, north London, the work was progressing at full speed. Against the din of bandsaws, hammers and welding gear, Barlow told me that Fullard was very much on her mind. He bore shrapnel wounds from World War II that probably shortened his life and she recalls him telling her about soldiers suffering from phantom limb pain, which he equated with the experience of sculpture: it's as real as it can be, but also elusive, residing in the imagination. Barlow was reflecting on the particular nature of the British Pavilion in Venice, with its jewel-box neoclassicalism and its faintly laughable formality. Its aura is something she hopes to investigate. Her decision to name her biennale installation 'folly' might be a clue to her present thoughts on nationhood. The discrete parts of the work were being boxed-up for transport as we spoke, but she showed me the distinctive painted drawings she made to guide her team, recording a syntax both familiar and strange: a box on sticks, an anvil, fallen and standing columns, a hoarding, a 'holder' and 'baubles'.
Since 2010, Barlow has worked with assistants and, as a result, her work has increased in scale. Small works are invariably bought immediately and large-scale installations, or parts of them, are now preserved, as opposed to being dismantled once an exhibition is over. She now has the support of Hauser & Wirth and her story – a move from collegiate respect to global recognition – has a fabulous quality of the kind analyzed in Ernst Kris and Otto Kurz's classic study 'Legend, Myth and Magic in the Image of the Artist (1934).' Success is, of course, pleasant and there is a joyfulness to Barlow's work of the last decade – a use of painterly color and an unbounded confidence in inhabiting the remarkable international spaces in which she has exhibited. These include, for instance, the grisaille beauties of untitled: structure at Kunstverein Nurnberg in 2011, TIP at the Carnegie International in Pittsburgh in 2013, where part of the installation appeared to run out of the gallery, and the grand painterly gaiety of set at Edinburgh's Fruitmarket Gallery in 2015.
Barlow's sheer learnedness is increasingly visible and seemingly moves across all periods of art history. Renaissance paragone debates come to mind, in which the relative merits of different art forms were discussed – in particular, the relationship between painting and sculpture. There is a baroque confidence about building upwards towards the rafters, most notably in the towering passages of dock, which was installed in the Duveen Galleries at Tate Britain in 2014. There is also a mannerist playfulness to Barlow's work, an intensification of the debonair quality that startled me in 1999. Words such as sprezzatura – a spirited effortlessness – employed in Renaissance author Baldassare Castiglione's guide to living, 'Il Cortegiano (The Book of the Courtier, 1528)', come to mind. The term was a positive marker in a late sixteenth century world where difficultà – adversity – was ideally overcome with nonchalant virtuosity.
Installation view, Phyllida Barlow, 'folly', British Pavilion, 57th Venice Biennale, Italy, 2017. © British Council. Courtesy the artist and Hauser & Wirth. Photo: Ruth Clark
Using quotidian stuff, Barlow makes us see the world afresh, causing us to reflect on materials, their weight and heft, and on the expressive possibilities of theatrics and fakery. She brings us back to the genre of Renaissance architecture intended for pageants and processions, destined to be impermanent: a world of objects on the move. For example, 'Sculptural Acts' was created in 2011 for the Haus der Kunst in Munich and comprised an elevated sea of pink-red broken plasterboard that appeared to march energetically from room to room. It was the kind of work that the anthropologist Alfred Gell described as possessing 'the power that technical processes have of casting a spell over us so that we see the real world in enchanted form.' Barlow has read Gell and feels at home with his 'enchantment of technology.' Equally, she is conscious of the tension between artistic and industrial or productive labour, making the point most recently with the installation demo at her 2016–17 Kunsthalle Zurich show, where her work was combined with the actual demolition and construction being carried out in the building, which could be watched from a viewing platform that the artist constructed.
Barlow has thought deeply about our limitless desire for things, memorialized by the world's rubbish dumps: places where people work in grim conditions processing materials, creating new taxonomies. In 1998, after some 15 years of witnessing art entering a highly charged investment market, she spoke out against its capitalization into glamour, mediated though the lavish exhibition catalogue filled with seductive color images. She wrote of the 'sensuality of failure' as opposed to the 'anaesthesia of success.'
On the eve of her 2010 Serpentine Gallery exhibition alongside the artist Nairy Baghramian (which marked a turning point in her career), Barlow was asked by the co-curator, Hans Ulrich Obrist, to describe her dream project. One of his favourite questions, it was met with a surprising response. Barlow expressed a desire to make work for a remote place 'where I am the only audience for the work, and its future uncertain.' This Crusoe-like integrity is at odds with the dazzling scale and reach of her sculptures of the past decade, which visitors can move in, around, through and under. The dream of making for a non-existent audience has faded, surely unmourned. Her art may have become more expensive but it is now also more public. Barlow's strength originally resided in remaining true to a less familiar world, arguably a world we have lost, in which artists largely made for each other, in which art was awkward to consume, hard to record and intended for an undisclosed site – neither the gallery nor the museum nor, even, the endorsement of the Venice Biennale crowds. Such values still brace her approach, but, in Venice her work will spill generously out of the building. Its overall mood cannot be predicted: folly will only be known in its plenitude once it is installed.
New Phyllida Barlow Exhibition and Documentary at Royal Academy
'I want the work to be traversed in a way that your memory of it is tested, so that you keep forgetting what you've...
Phyllida Barlow: tilt
'I wanted to refresh completely my attitude to sculpture.' Phyllida Barlow discusses her exhibition 'tilt' at Hauser...
Simple Actions: A Conversation with Phyllida Barlow
Phyllida Barlow, one of the UK's most prolific sculptors, creates large-scale installations that involve a process...
The making of Phyllida Barlow 'folly'
Discover how Phyllida Barlow created her ambitious installation for the British Pavilion at the 2017 Venice Biennale...
Phyllida Barlow: An age of fallen monuments
'All our lives are about constantly losing. The moment is always disappearing, like sand between our fingers. So...


I think I may start doing a weekly bit on media surprise over the health care law. It's becoming as stereotyped as the "unexpectedly" word in relation to the economy.
So here is the latest "surprise" from Obama's health care law. Health care providers trying to take all the benefits and skirt cost cutting. Now why would anyone try and take all the benefits without the negatives?
When Congress passed the health care law, it envisioned doctors and hospitals joining forces, coordinating care and holding down costs, with the prospect of earning government bonuses for controlling costs.
Now, eight months into the new law there is a growing frenzy of mergers involving hospitals, clinics and doctor groups eager to share costs and savings, and cash in on the incentives. They, in turn, have deployed a small army of lawyers and lobbyists trying to persuade the Obama administration to relax or waive a body of older laws intended to thwart health care monopolies, and to protect against shoddy care and fraudulent billing of patients or Medicare.
Consumer advocates fear that the health care law could worsen some of the very problems it was meant to solve — by reducing competition, driving up costs and creating incentives for doctors and hospitals to stint on care, in order to retain their cost-saving bonuses.
Is anyone here shocked at this?


text:
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#define FIT_MESG_CAPABILITIES_MESG_LISTENER_HPP

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{

class MesgCapabilitiesMesgListener
{
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    virtual void OnMesg(MesgCapabilitiesMesg& mesg) = 0;
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} // namespace fit

#endif // !defined(FIT_MESG_CAPABILITIES_MESG_LISTENER_HPP)


text:
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"use strict";

exports.snippetText = "# <CsoundSynthesizer>\n\
snippet synth\n\
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Ms. Robin Smith is Independent Director of the company. Ms. Smith is the Chief Executive Officer and a co-founder of WeGoLook, a company that combines technology with an on-demand workforce to provide field verifications. She is also Senior Vice President of Crawford and Company. In 2017, Crawford and Company, a publicly-held insurance administration company, acquired 85% of WeGoLook. Ms. Smith serves on the board of Creative Oklahoma, a nonprofit organization dedicated to advancing creativity and innovation and is a member of the Women Presidents' Organization, a non-profit membership organization for women presidents, CEOs, and managing directors of privately held, multimillion-dollar companies.


text:
The tale of the treasure in the trash
It's a classic needle-in-a-haystack story, except the needle the Myers family was looking for was their mother's diamond rings and pearl bracelet.And the haystack was a mountain of hospital waste in a Pennsylvania landfill.It was the faith of a good Samaritan that carried the day when everybody else wanted to give up. The lesson, Frank Dabney told TODAY co-host Meredith Vieira on Friday, is in
Oct. 12, 2007, 2:07 PM UTC / Source: TODAY contributor
By Mike Celizic
It's a classic needle-in-a-haystack story, except the needle the Myers family was looking for was their mother's diamond rings and pearl bracelet.
And the haystack was a mountain of hospital waste in a Pennsylvania landfill.
It was the faith of a good Samaritan that carried the day when everybody else wanted to give up. The lesson, Frank Dabney told TODAY co-host Meredith Vieira on Friday, is in the words he lives by: "Don't give up five minutes before the miracle."
Dabney is a custodian at Paoli Hospital, where the Myers family had misplaced the jewelry. He had come along to help with the search because it was the right thing to do. And, after some seven hours dressed in plastic suits under an unseasonably fierce sun, he kept them going.
"I felt compassion for them," he said. "I don't feel like a hero. I just felt like I would want somebody to do the same for me."
This happy ending began with a family tragedy. On Sept. 25, on the day before his 54th wedding anniversary, George Myers died in his sleep. After his funeral and interment, his widow, 83-year-old Susan Myers, passed out.
A diabetic, Myers was given a shot of insulin, but did not recover and was rushed to Paoli Hospital in suburban Philadelphia. There her children removed her wedding ring, the 50th anniversary ring Susan Myers' father had given her mother, and a pearl bracelet.
For nearly 54 years of marriage, she had almost never removed the wedding ring, and all of the jewelry had enormous sentimental value to her.
For safekeeping, Greg Myers put his mother's jewelry in a rubber glove, tied it off and — he thought — put the glove in his pocket. And then he forgot about it completely.
The next day, when his siblings asked where the jewelry was, Greg Myers had no idea.
"It was a complete blank," he told Vieira. "I had no recollection after tying them off where they went. I was pretty panic-stricken. I didn't know where to look except for going through the house, and nothing was showing up."
They had been forced to conclude that the glove with the jewelry had been left at the hospital and ended up in the trash.
When Dabney told them it had probably been picked up and taken to a landfill, the family called the waste management company that served the hospital.
They got lucky. The waste management firm hadn't dumped the last load — a huge compacted mass of trash that measured 10 feet wide, 30 feet long and 10 feet high — and agreed to deposit it in the landfill apart from other trash so they could go through it.
Susan Myers was due to leave the hospital, and she would want her jewelry. Her children, not wanting to break the bad news to her, asked the hospital staff to keep her another day while they tried to find the precious heirlooms.
Dressed in "poor man's hazmat suits" — plastic pants and tops with face masks bought at a discount store — the family arrived at the dump at 5:30 a.m. on Oct. 2 to try to find the jewels. They offered to pay Dabney to help, but he gave the impression talking to Vieira that he wasn't doing it for the money.
They also brought a video camera to document their search.
" I didn't think we were going to be able to find these rings," Jeff Myers, another of Susan Myers' sons, explained when asked why they brought a camera. "I wanted to show Mom, 'I'm really sorry, your precious rings and jewelry are gone — here's what we went through to try to recover them for you.' That's why we took the camera — to document it for her and hopefully make the loss a little bit easier to take."
And after seven hours picking through hundreds and hundreds of bags of hospital waste, they were exhausted and convinced the rings and bracelet were gone forever.
Refused to give up
But Dabney wouldn't let the search party quit. He repeated his belief that you can never quit five minutes before the miracle.
"I prayed to God and pulled one more bag — because we were about exhausted — and our prayers were answered," he said. "There it was."
As a reward, the family gave Dabney $1,000.
Vieira asked if the family thought divine intervention was involved in the miraculous find.
Jeff Myers answered that it wasn't God, but his departed father who orchestrated the whole thing from above.
"We were all going through a pretty tough time," he said. "I think he was up there and wanted to give us something to take our minds off our grieving. It sure did that. He led us through quite an excursion."
Susan Myers couldn't come to the TODAY studio, but listened to the story from her home in West Brandywine, Pa. She was still trying to decide what to make of the drama her children had been through without her knowledge.
"I'm getting used to being glad, because I did not know they were lost," she told Vieira.
While she's deciding how to feel, she was certain about what she'll do the next time she has to take her rings off:
"I'm certainly not going to give it to them for safekeeping," she said.


text:
Wojownik krótkoczuby (Nisaetus lanceolatus) – gatunek dużego ptaka drapieżnego z rodziny jastrzębiowatych (Accipitridae). Jest endemiczny dla indonezyjskiej wyspy Celebes i mniejszych wysp okolicznych: Buton, Muna, Banggai czy Sula.

 Systematyka Gatunki wojowników z Azji były tradycyjnie umieszczane w rodzaju Spizaetus, ale w 2005 roku na podstawie badań molekularnych uznano, że reprezentują one inną linię rozwojową niż wojowniki z Nowego Świata i powinny zostać przeniesione do osobnego rodzaju. Dla nazwania tego rodzaju użyto dostępnej nazwy Nisaetus. Nie wyróżnia się podgatunków.

 Morfologia Grzbiet ma barwę czarno-brązową, ogon szaro-brązową z trzema lub czterema prostopadłymi, białymi pasami. Klatka piersiowa jest blado-ruda, brzuch, uda, nogi i szyja – białe z czarnymi elementami. Młode mają ciemnobrązowy grzbiet i szaro-brązowy ogon z 5–6 białymi, prostopadłymi pasami. Ich głowa jest biała, a wzdłuż szyi i klatki piersiowej biegną brązowe pasy. Osobniki tego gatunku osiągają długość 55–64 cm, a rozpiętość ich skrzydeł wynosi 110–135 cm.

 Ekologia i zachowanie Żyją w górskich i nizinnych lasach, na wysokościach od 0 do 2000 m n.p.m., choć rzadko są spotykane powyżej 1500 m n.p.m. Żywią się gadami, niewielkimi ssakami oraz mniejszymi ptakami. Prawdopodobnie polują wypatrując ofiary z gałęzi, a po jej dostrzeżeniu nurkując w jej kierunku.

 Okres godowy trwa prawdopodobnie od maja do sierpnia. Jak dotąd opisano tylko jedno gniazdo wojowników krótkoczubych, znajdowało się ono w epifitach na konarze wielkiego drzewa, na wysokości około 20 m nad ziemią.

 Status Międzynarodowa Unia Ochrony Przyrody (IUCN) uznaje wojownika krótkoczubego za gatunek najmniejszej troski (LC – least concern) nieprzerwanie od 2000 roku; wcześniej, od 1988 roku miał on status "bliski zagrożenia" (NT – near threatened). Liczebność populacji, według szacunków, zawiera się w przedziale 670–6700 dorosłych osobników. Trend liczebności populacji uznaje się za spadkowy.

Przypisy

Bibliografia

Linki zewnętrzne

Jastrzębiowate
Ptaki Azji
Gatunki i podgatunki zwierząt nazwane w 1844 roku


text:
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Counting objects: 10, done.
Delta compression using up to 4 threads.
Compressing objects: 100% (8/8), done.
Writing objects: 100% (10/10), 3.60 KiB, done.
Total 10 (delta 0), reused 0 (delta 0)

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To git@heroku.com:dry-plains-3718.git
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Earlier i thought it was problem of .gitignore file but that also working fine . I have ingnored my virutal env  and *.pyc as given in documentation.
I tried :
heroku create --stack cedar

also I had to add my pub key to heroku.
heroku keys:add ~/.ssh/id_rsa.pub

this is also not able solve my problem.
I don't know much about the heroku implementation. Anything specific I should check or try?
Please help me as i referred many documents but still getting same error . Thanks in advance :)

A: I believe cedar recognizes django apps by the existance of a requirements.txt file.
Pleaee check is to be sure you have created 'requirements.txt' and 'Procfile' in the root of your source tree that is being pushed. The names are case sensitive.
This tutorial includes instructions on creating them:
https://devcenter.heroku.com/articles/django

redpajama_set_name: RedPajamaStackExchange


Isn't nature amazing? This iceberg in Antarctica has flipped over to reveal the true beauty underneath. It was photographed by Alex Cornell while he was on an expedition to Antarctica. Imgur user, Yodigity was just as fascinated as we are and has given us a pretty cool lesson in science via a post he made on it yesterday.
The underside of this iceberg shows a deep variety of colors that may surprise you. Its colors go from teal to aqua and even black. It reminds me a lot of Superman's fortress of solitude, but much more brilliant.
The icebergs we're used to seeing are white because of air bubbles trapped inside them. This one seems to have had no air involvement, judging by its crystal-like formation. This is most likely caused by pressure from snow squeezing out any air.
Yodigity explains in the post that when you see an iceberg you're only seeing 10% of it. Most of its mass is under water. Over time, the iceberg melts and after a while, it flips over. In some cases, this can cause serious tsunami like conditions.
Take a look at the images of this stunning iceberg. It looks like something straight out of a science fiction movie. Leave your thoughts in the comments section.


text:
Trans Dance Artist Sean Dorsey's 'Boys In Trouble' Is An Urgent Commentary On Contemporary Masculinity: WATCH
February 22, 2019 by Savas Abadsidis Leave a Comment
The Sean Dorsey Dance Company today announced its 15th anniversary home season – a return engagement of its acclaimed dance work, Boys in Trouble at Z Space (March 14-16) – along with a 20-city U.S. tour, a full-length documentary, the 18th annual 'Fresh Meat Festival" of transgender and queer performance (June 20-22, San Francisco), and other celebratory achievements to mark the modern dance company's 15th anniversary.
Over the last 15 years, Dorsey, the award-winning transgender dancer, choreographer, writer and activist and his highly-regarded dance company have had a profound impact on the performing arts landscape. Recognized as the nation's first transgender choreographer, Dorsey has left an indelible mark in modern dance for the creation and staging of powerful, deeply human dances and his tireless, trailblazing activism.
Towleroad spoke to Dorsey about his upcoming show.
TLRD: Tell me a bit about Boys in Trouble and how it's evolved.
Sean Dorsey: Boys in Trouble is a full-bodied, high-velocity takedown of toxic masculinity. The show is a mixture of gorgeous full-throttle dance, theater, raw emotion and exquisite queer partnering. Sean Dorsey Dance is known for our signature fusion of dance and theater, and for making modern dance that people can actually UNDERSTAND and relate to.
We're an all-queer company, and I'm transgender: the show puts a trans and queer lens onto themes like gender, body shame, violence, Black queer love, whiteness and posturing. We engage in a LOT of humor onstage, like our sendup of all things "macho" and an irreverent take on "butch" queerness.
I made this work in response to this moment in America. Contemporary American masculinity is profoundly unhealthy – for all of us, including (even especially) LGBTQ people. We're not immune from the brutal pressures of gender and masculinity, whether cis or trans or nonbinary; bi, lesbian, gay or queer. We inherit and perpetuate these toxic models of how to perform gender.
Like all my dances, I created the show while working closely with trans and LGBTQ communities: I spent a couple of years traveling the US and meeting up with folks, holding community forums, and teaching trans-supportive dance workshops. All the themes that arose in those rooms and conversations inspired the final show onstage.
Right now, we're on a 20-city international tour of BOYS IN TROUBLE, bringing us from Stockholm to Los Angeles to Atlanta to Maui. And the audience response is extraordinary, just extraordinary. People tell us they are moved so deeply, and really see themselves and their experience in the work.
The show itself is a total marathon physically and emotionally to perform – it's 90 minutes of sweaty, sweaty dancing and vulnerability.
What's been the most significant change (or changes) you've seen since beginning your dance company 15 years ago?
I grew up never seeing a single person like me in dance. I never knew or heard of a single transgender modern dance choreographer, dancer, teacher, anything. So it was a lot of lonely years of making my own path without peers, without a mentor.
Young people today can't imagine what it was like only 15 or 20 years ago for trans people. So one of the biggest changes I've seen is in culture: there are so many out and proud gender-nonconforming, trans and non-binary artists and activists receiving a level of recognition and support – which is beautiful! 15 years ago that was unthinkable.
And 15 years ago, almost no one was putting transgender artists on the nation's stages. That's one of the main reasons I founded my nonprofit Fresh Meat Productions in 2002: while I myself struggled against the transphobic glass ceiling, I saw other trans artists around me struggling too.
I wanted to create a movement of trans artists – and a vehicle for us to work together and lift each other up in solidarity. All these years later, I'm so proud that under my artistic direction, Fresh Meat Productions has commissioned, presented and paid over 500 transgender, gender-nonconforming and queer artists. Sean Dorsey Dance is Fresh Meat's resident company, and one of our signature events is the annual June FRESH MEAT FESTIVAL of trans and queer performance, which centers trans/gender-nonconforming/queer artists of color.
What sort of headwinds did you face as the first [openly] trans artist in your profession?
From the beginning, I have had to work 10 times as hard and prove myself twice as much just to get in the door. Because there was no one else like me, cisgender presenters and dance critics had no context to understand me and my work. Just because I was trans, they'd dismiss me and assume I was a "drag artist" without ever bothering to see my work or realize that I actually made professional concert dances that had won me many awards.
When I went to dance school in my 20s, I started choreographing. From the beginning, my work was openly queer, and featured my trans body with elements of story and text and theater. Early on, I got called into the Director's office and was chastised for making people "uncomfortable" with my work; later the director withheld my graduation certificate.
I have had to endure dance "critics" writing "reviews" that focused not on my choreography, but instead scrutinized my transgender body: writing about how I have wide hips, how my reconstructed nipples are larger than cis men's nipples, just crazy stuff.
And because virtually all dance studios/spaces have zero trans awareness, there is almost never a bathroom or changing room that trans and gender-nonconforming people can legally or safely use. This keeps us out of dance spaces, and this keeps us from dancing.
I've toured to 30 cities, but still today I am at risk because in some cities, as a transgender person I can't pee legally or safely in an airport, restaurant or even backstage itself.
Today, trans artists are still challenged by the fact that everyone with power and decision-making control in the dance field is cisgender. Cisgender leaders have yet to step up and call the continued total exclusion of gender-nonconforming bodies, voices and leadership in dance the CRISIS that it is. My program TRANSform Dance names and responds to this crisis with education, engagement and advocacy.
I feel so, so blessed to be living the life I want to lead, making the art I am passionate about, teaching dance to trans and gender-nonconforming folks, and supporting other artists. We have a long way to go, but I count my blessings every day. I love my life.
Watch the clip to Boys in Trouble below.
Photos by: Lydia Daniller
Filed Under: Entertainment, News, towleroad Tagged With: Dance, FTM, Modern Dance, Sean Dorsey, Transgender
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text:
Q: Variable set using the set operator are not being propagated to the parent template in jinja parent.sql
I am in parent {{ itable }}

child.sql
{% extends 'test.sql' %}

{% set itable = "test"  %}

When I run the my python code
template = env.get_template('child.sql')
    data = {
            'impressions_table': 'test'
        }
    j = jinjasql.JinjaSql(env=env)
    query, bind_params = j._prepare_query(
        template,
        data
    )

My output is
I am in test %s

This is a simple example for something complex I am doing I am looking for a way to propagate variable values up to parents.
I have also tried using
include

but I get an error saying expected end got with.

A: That's correct - variables are not propagated to their parent scope. Blocks are however used to override behavior in parents:
parent template:
I am in parent {% block itable %}{% endblock %}

child template:
{% extends 'test.sql' %}

{% block itable %}test{% endblock %}

This also allows you to set a default value in the parent by having the default value inside the block: {% block itable %}default_value{% endblock %}


text:
An allergist is a physician specially trained to manage and treat allergies, asthma and the other allergic diseases. They may also be called
immunologists.

Becoming an allergist
Becoming an allergist/immunologist requires completion of at least nine years of training. After completing medical school and graduating with a medical degree, a physician will then undergo three years of training in internal medicine (to become an internist) or pediatrics (to become a pediatrician). Once physicians have finished training in one of these specialties, they must pass the exam of either the American Board of Pediatrics (ABP) or the American Board of Internal Medicine (ABIM). Internists or pediatricians who wish to focus on the sub-specialty of allergy-immunology then complete at least an additional two years of study, called a fellowship, in an allergy/immunology training program.

Allergist/immunologists who are listed as ABAI-certified have successfully passed the certifying examination of the American Board of Allergy and Immunology (ABAI), following their fellowship.
In the United States physicians who hold certification by the American Board of Allergy and Immunology (ABAI) have successfully completed an accredited educational program and an evaluation process, including a secure, proctored examination to demonstrate the knowledge, skills, and experience to the provision of patient care in allergy and immunology.

In the United Kingdom, allergy is a subspecialty of general medicine or pediatrics. After obtaining postgraduate exams (MRCP or MRCPCH respectively) a doctor works for several years as a specialist registrar before qualifying for the General Medical Council specialist register. Allergy services may also be delivered by immunologists.

Absence of allergists

A 2003 Royal College of Physicians report presented a case for improvement of what were felt to be inadequate allergy services in the UK. In 2006, the House of Lords convened a subcommittee that reported in 2007. It concluded likewise that allergy services were insufficient to deal with what the Lords referred to as an "allergy epidemic" and its social cost; it made several other recommendations.

The American Academy of Allergy, Asthma & Immunology (AAAAI) has an international physician referral directory of allergist/immunologist members of the organization here.

References

Allergology
Medical specialties