Phoebe Deutsch is a ceramic artist and fine arts educator who received her BFA in Fine Arts from the Rochester Institute of Technology, School for American Craft, specializing in ceramic sculpture. She is a business owner in arts education and has managed an international artist-in-residency program at the Guttenberg Arts (Non-Profit) Organization. Phoebe has participated in both national and international exhibitions at the Dyer Arts Center, Mehu Gallery in New York, Massachusetts Audubon Society, as well as the Isabelle Percy West Gallery in Oakland California. Print publications include Carrier Pigeon Magazine featured in PS1 MOMA and Art Basel Miami. Phoebe's work reflects a vision of what she calls "alluring speculation." Her work explores life in its transitional states. Rather than directly depicting nature, Phoebe seeks to create new natural-like forms mainly inspired by various types of ancient biology. She lives and works in California, and New York.


Hire A Loo has a large, dedicated fleet of deluxe event loos suitable for all types of parties. We refresh our fleet of loos on a continuous basis, so you can be confident of getting the latest, cleanest, and best looking event loo in the market. We understand that parties can mean there is a lot to organise and you want everything to be right. Going with Hire A Loo means the quality and cleanliness of your loo, as well as delivery on time, at the location of your choice is 100% guaranteed. Booking is easy and payment is required just 7 days prior to delivery. We welcome all enquiries so if you're not sure about what you need, give us a call to see if we can help. We want your party to be remembered for everything but the loos and would love the opportunity to get the JOB DONE.


Fleet Feet works with entrepreneurs who want to own their own business and are looking for tools and support to help them succeed. It's your business with a team of people behind you. And we have your back!
Meet some of the entrepreneurs who have partnered with us over the past 40 years and helped us to create a national brand.
Previous Occupation: Julie was a Spanish professor.
Previous Occupation: Jeff was a civil engineer. Jason was a Fleet Feet employee and operating partner.
Previous Occupation: Tim was a Civil/Process Engineer who designed industrial water and wastewater treatment systems.
Previous Occupation: Molly and David were New Balance retail store and boutique owners.
Previous Occupation: Doug owns a home framing contractor company and Lori was a mortgage lender, coach and race director.
Previous Occupation: Carol was a registered dietitian specializing in sports nutrition and diabetic education.
Previous Occupation: Chris managed high end, private country clubs and Amy was in healthcare, first as a registered nurse and then in staff development, management and operations.
Previous Occupation: David was an Aerospace Engineer at McDonnell Douglas and Debby was a Senior Accountant.
Previous Occupation: Dave did outside sales then opened a Trek cycle shop which he still owns.
Previous Occupation: Bobby was an attorney and the Vice President for Business and Finance at Wilmington College. Karen was a school teacher, school administrator and cross-country coach.
Previous Occupation: Andy was in radio sales and Kathy is still a trainer.
Previous Occupation: Heather was in childcare and Jody worked at a lab focused on Epidemiology and Biostatistics.
Previous Occupation: Ellen was a Certified Project Manager for IT at EDS before becoming the Apparel Product Manager for Terry Precision Cycling. Boots has been an employee at multiple running specialty stores.
Previous Occupation: Nick was a high school teacher and coach.
Previous Occupation: Sheila owns the store and has played multiple roles in the running industry both on the retail and vendor sides.
Previous Occupation: Jim was an Assistant Controller and Director of Accounting and his son Danny was a Fleet Feet employee.


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Oakland Mompreneurs Launch New Organic Cotton Kids' Clothing Company with Reasonable Prices and Functional Design
The Mightly line meets Chief Kid Officer's do's and don't for adventurous kids: Soft organic cotton fabrics, cute illustrations, pockets for collecting treasures, and no itchy tags!
OAKLAND, Calif. - November 14, 2019 - Today marks the official launch of Mightly, a new brand of ethically sourced, organic cotton children's clothing. Mightly was founded by three moms who together have four girls, two boys, and a combined 40 years of apparel industry experience. Just in time for the holidays, Mightly's colorful collection of hoodies, leggings, tee-shirts, pajamas and dresses for boys and girls ages two to ten, is now available for sale on Amazon and Mightly.com.
With a focus on pleasing the ten-and-under crowd, the company's Chief Kid Officer (CKO) Eloise, ensures that all products are cute, comfy, and adventure proof. Some of her favorite Mightly features include tees with flat seams and no tags (goodbye itchies!), leggings with reinforced knees (goodbye holes!), and dresses with pockets (hello treasures!). Eloise is eight years old and wants to be president when she grows up, but she hopes she's not the first female president!
"To me, being Mightly means exploring new places, thinking of cool inventions and being kind of wild." said Eloise, CKO of Mightly. "But you can be your own kind of Mightly. All kids are Mightly, in their own way."
Mightly was founded by three Oakland-based moms, Barrie Brouse, Anya Marie, and Tierra Forte. The three have over 40 years of apparel industry experience and expertise in product design and development, merchandising, sourcing and production management.
Tierra Forte (CEO and Eloise's mom): When Tierra was eight, she wanted to be an Esprit model. That dream didn't last very long, but her love for fashion did. When she grew up, she founded one of the first organic denim brands, Del Forte Denim. After that, she helped develop and launch the Fair Trade standard for apparel factories. Before helping Eloise found Mightly, Tierra was the VP of Product for Pact Apparel, an organic and fair trade lifestyle brand.
Barrie Brouse(Chief Creative Officer): When Barrie was eight, she was already updating her favorite cardigans with vintage buttons, and mending holes in her treasured garments. Over her 20-year career as a children's wear designer, Barrie has brought her imaginative designs to life for brands big and small. Now she is focused on making sure Mightly's organic cotton clothes look and feel amazing, and, most importantly, can handle a kid like Eloise.
Anya Marie (COO): When Anya was eight, she dreamed of running her own business. As an adult she has helped her husband found and run various apparel and consumer products businesses over the years, while at the same time working as an attorney on behalf of abused and neglected children and their families. She keeps Mightly running in tip-top shape and is always looking for ways to support other working moms and women entrepreneurs.
"We founded Mightly to make the kind of clothes we want for our own kids," said Mightly CEO Tierra Forte. "Clothes that can handle every kind of adventure, are ethically made, and don't cost a fortune."
Mightly uses a completely transparent supply chain with visibility into where the organic cotton is grown, the factory that sews the clothing and every step in between. Mightly's clothes are made using certified organic cotton from Chetna Organic Farmers Association, a farmer-owner nonprofit that works with smallholder farming families in India to make cotton farming a sustainable and profitable occupation. Mightly's partner factory is certified to Social Accountability International's SA8000 standard for labor conditions and the Global Organic Textile Standard (GOTS).
"We are moms. We know what matters," said Barrie Brouse, CCO of Mightly. "Going organic is the right thing to do, but we know a lot of families don't want to pay premium prices for kids' clothes. Our focus is on creating affordable play-friendly clothes that kids and their parents will love."
About Mightly:
Mightly is a new brand of children's apparel that makes kid-friendly styles in earth-friendly fabrics at family-friendly prices. Mightly was founded by moms with the goal of making ethical apparel more accessible. Mightly clothing is made from certified organic cotton and features kid-friendly details like reinforced knees, itch-free labels and original kid-inspired artwork. Mightly makes high-quality affordable basics including tee-shirts, leggings, pajamas, hoodies and play-dresses.
Mightly is available on Amazon and Mightly.com and you can see what being Mightly means to us on Facebook, Instagram and Pinterest.
Video Link: http://player.vimeo.com/video/368730598
Company Name: Mightly
Contact Person: Tierra Forte
City: Oakland
Website: https://www.mightly.com/
Haute cuisine: Thai hospital rolls out cannabis-laced menu

redpajama_set_name: RedPajamaCommonCrawl


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Hands On: LG G Pro 2
LG's G Pro 2 takes an evolutionary leap forward, but is it worth the top rupee you're paying for it?
Bigger is better, at least that seems to be the case with every manufacturer pushing out supersized smartphones to counter the Samsung Galaxy Note series. But few succeed in what is clearly one of the most fiercely competitive segments in the wireless industry. Last year's LG G Pro had a lot going for it - a great display, top-notch performance and call longevity. This year's model has gotten a massive DNA infusion from the LG G2, LG's truly under-appreciated gem of a smartphone. Will the G2's magic rub off on the G Pro 2 phablet? Here's what we found out.
Design Upping the screen size from the G Pro's practical 5.5-inches to the G Pro 2's digit-stretching 5.9-inches seems like a lot on paper, but it's testament to LG's design that the 2014 spec phone doesn't feel that much larger. Sure, it's a big phone, but the slim bezel keeps the overall width down to an almost manageable 82mm, which allows most folks to handle it easily with one hand. It's also noticeably smaller and easier to manage than HTC's One Max or Oppo's N1, both of which also have 5.9-inch displays (down to the bezels, but thanks in some part to the lack of physical buttons as well). This lets LG pack a larger screen into a phone about the size of a Galaxy Note 3. It's also very thin and light, at only 8.3mm and 172 grams.
The textured design around the rear provides a firmer grip, and as with the G2, the power and volume buttons are positioned on the back panel, where in theory you would find them easier to operate than if they had been on the sides/top of the device. In use, it is a bit of stretch (quite literally!) to use these as easily as we had on the G2, or the LG G Flex for that matter.
Screen LG's got the right idea with all that bezel slimming going on, and the result is that the screen dominates almost ninety percent of the front face of the device, a stunning achievement and something we wish more phone brands focused on. The 5.9-inch full-HD IPS display packs in 373 pixels per inch, which is just as sharp as the OLED-toting Samsung Galaxy Note 3. OLED might be the darling of screen tech right now, but the G Pro 2's True IPS+ LCD isn't half bad either - rich, realistic colors, superb viewing angles and great touch sensitivity. Movies, photos and fine text all work well on this supersized display.
Camera As with the G Pro, the G Pro 2 packs in the same 13MP shooter, armed with a much-improved optical image stabilization system in the lens to combat those shaky hands and blurry late evening shots. Images do not disappoint, with clear detailed shots in good daylight and rather good night time shots, though you may occasionally face a common issue with optically image stabilized phones - the shutter remains open for a tad too long, so if the subject is moving about, as kids and pets are wont to do, the results aren't as sharp as you'd like. The usual shooting modes - dual camera, best shot - are present, but new to the G Pro 2 is the Magic Focus Mode. Think of it as a Lytro effect - focusing after the shot - what HTC calls uFocus and Samsung calls Selective Focus. It doesn't match up to the hardware based HTC system, in that it requires there to be a distinct contrast between the foreground and the background, which takes some practice to master. The clever selfie mode is what we liked the best - the phone shrinks the preview screen and surrounds it with a white border which can illuminate your face in darkly lit environments - and you can trigger the shot with either your voice (Voice Shutter) or reaching out to the conveniently placed rear volume button. Software and Performance As with many competitors, LG has been particularly guilty of wrapping Android in an excessively overbearing interface in the past, and the G Pro 2 doesn't change things. Little touches such as Slide Aside (which lets you access up to three frequently used apps easily with a three-finger swipe) are useful, but it doesn't feel as intuitive or quick as Android's default multi-task menu. There's a split-screen mode that lets you run two apps at the same time much like that on the Galaxy series, and the Knock On capability we first saw on the G2 has been expanded further with Knock Code, which lets you secure your phone with a series of taps on the display. It's an interesting take on the age-old PIN/pattern system, which is fun to use and reliable. But its Mini View, which is the most noticeable change for the G Pro 2, is as tacit an admission of the difficulty of using large screen devices as any. This view shrinks the display into the lower right or lower left corner - a slightly miniaturized interactive smartphone experience within the much larger display of the G Pro 2 - that lets you access the whole screen in just the one hand. If anything, the letdown is that LG has made no effort to add proper stylus functionality to the G Pro 2. It's one of those features that actually maximizes the use of the massive display on the Note series, and we'd have loved to see some innovation here. Under all these tweaks beats the heart of Android 4.4.2 KitKat running on a slightly older Qualcomm Snapdragon 800 processor plus a hefty 3GB reservoir of RAM. We weren't surprised to see the G Pro 2 handle menus, screen transitions and the latest games with buttery-smooth speed. HD video worked without a lag. The real icing on the cake could have been 4G-LTE capabilities, but the G Pro 2 doesn't support the frequency bands required for India (despite packing in LTE). Verdict It's a good phone, especially for folks looking for a large screen, but isn't light on the wallet. At Rs. 45,500, you could pick up any of the 2014 flagships if size wasn't that important, or wait it out till the G3 or the Note 4 which should be here in the next couple of months. Don't get us wrong - we like this device, but that sort of money can go a long way in today's phone markets. What we liked: Good camera features, fast performance, good design What we didn't: Unwieldy for some, overbearing software tweaks Killer Feature: The beautiful, expansive screen Price: Rs. 45,500
IndiaLGOppoPHONESAMSUNG
GQ Device: Huawei P30 Pro has the best camera on a smartphone right now
By Nidhi Gupta 5 July 2019
7 best camera phones to buy in 2019 (so far)
Vivo Z1 Pro launched in India - here's everything you need to know
By Sahil Bhalla 3 July 2019


Rev. Daniel Worth was a native of Guilford County, North Carolina, where, in early life, he had been a justice of the peace. Later he removed to Indiana, and at length became a member of the legislature in that State. Late in 1858 he returned to the neighborhood of his birthplace as a preacher in the Wesleyan Methodist Church. He preached the doctrine of his church, which was strongly anti-slavery, not without criticism, but, on account of the good feeling for his kinsmen, who were prominent people, without molestation. He planted a church at Sandy Ridge, near James-town, in Guilford County, and his postoffice was New Salem. His church had but few members. He aroused the opposition of many Quakers, most of whom were for non-intervention in regard to slavery. Worth thought they should be more positive in their opposition.
In December, 1859, after the Harper's Ferry affair, Mr. Worth was arrested on the charge of circulating Helper's book, and of preaching in a way "to make slaves and free negroes dissatisfied with their condition." He was required to give bond of $5000 for his appearance at the Superior Court the following spring, and of $5000 more to keep the peace. The first bond he gave. The second he thought unjust, and would not give. He was accordingly confined in the Greensboro jail throughout the winter. While there the sheriff of Randolph County arrested him on the same charge, and bound him over to the spring court. Other sheriffs waited around the place for him, fearing that he might be released and escape. While he was in prison five other men were arrested in Guilford and several more in Randolph, charged with having distributed Helper's book. One of these was Jesse Wheeler and another was an old man named Samuel Turner. All of these seem to have been natives who were converted by Mr. Worth's appeals. The Raleigh Standard bore witness to his success. It said that a few months before this occurrence only one copy of the New York Tribune came to Mr. Worth's postoffice, and that came to Mr. Worth himself. Now twelve copies were received there. To this it added: "We think it probable that one hundred to two hundred copies of the Tribune are circulated in this State, together with numerous abolition pamphlets from Indiana and Ohio." Wheeler alone was said to have distributed more than fifty copies of "The Impending Crisis." On his trial before the magistrate that committed him, Mr. Worth read from the book in order to show that it was not incendiary, a proceeding which the Raleigh Standard seems to have considered especially provoking.
1. Raleigh, N. C. Standard, Aug. 10, 1859.
2. See N C. Standard, Jan. 4, 1860. Dec. 14 and 21, 1859.
3. Copied in The Liberator, June 15, 1860.
4. See Helper's "Nojoque", p. 199.


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How Does Digital Technology Advance Landscape Photography in a Postdigital World?
This essay was the first assignment on our MA and formed the conclusion to our unit on Material, Digital and Convergent Cultures. While I'm overall happy with the essay, I got 74% for it, reading it now there are a lot of things that could have been expanded upon, and areas gone into more detail. Landscape photography theory is one area that I'll like to research in more depth, and this essay is a good starting point. It is presented is was handed in.
This essay will discuss the material, digital and convergent cultures of creative production in relation to landscape photography. To do this I will use two examples of landscape images by artists Dan Holdsworth and David Thomas Smith who use post-photography, where photographic images have been created without a camera, using readily available digital data to construct their images. I will consider the technology used and if the resultant images challenge perceptions and raise awareness of the environmental and ecological impact of humans in comparison to material landscape photography.
I will use my own positionality as an environmental landscape photographer, and those views by practitioners, critics and theorists of photography and convergent cultures such as Robert Shore, Anders Fagerjord, Anna Munster and Henry Jenkins. I will critique what impact the digital technologies of creative production have on the traditional notion of landscape photography, and what questions arise from considering landscape photography in post-photographic terms. I will also question the idea of convergence to see if there are any suitable alternatives that can be used within a Postdigital world.
Digital technology has already converged with photography, making it quicker and easier for anyone to produce and display their photos. Digital photography is now so engrained in our culture that I would class this as traditional photography: where people are actively taking and sharing photographs to document and record the world around them. Post-photography is where the image already exists, either as a digital or material image, and is used to create new artworks from found imagery. As art editor Robert Shore states: 'Given the abundance of pre-existing visual material in our hyper-documented world, it's unsurprising that an increasing amount of photographic art begins with someone else's pictures' (Shore 2014). The digital photographic convergence occurred during the 1990's, alongside other consumer technologies converging with the internet and material forms of media in an age of digitisation. This convergence of technologies with an interconnected digital world and our reliance on it to conduct our everyday lives has humanised digital technology, leading us into the Postdigital, which Mel Alexenberg defines as:
'pertaining to art forms that address the humanization of digital technologies through interplay between digital, biological, cultural, and spiritual systems, […] and artworks created with alternative media through participation, interaction, and collaboration in which the role of the artist is redefined. (Alexenberg 2011).
As Anders Fagerjord argues, 'convergence is over. The media have already converged.' (Fagerjord 2009). Fagerjord suggests that in our Postdigital age it is not convergence we experience, but remix culture:
'[…] remix is what comes after convergence. […] Digital representation has become a lingua franca; it has created a shared space where forms from different genres in different media may be combined in new ways, creating new genres' (ibid).
As Alexenberg suggests, the role of the artist has become redefined and has moved from presenting works created from traditional or converging media, to a remix of already converged media in the Postdigital world. Within photography, this proliferation of digitisation which includes that of the material image for preservation and archive, has given rise to large repositories of data, most of which is freely available over the internet. It is through these repositories, be they photo sharing sites or public archives, that artists find and remix – to use Fagerjord's term – this data to produce new forms of image production, giving rise to post-photography.
'This "found" internet content serves as a vast laboratory for major experimentation, underpinning the concept of post-photography, with endless possibilities for artists to recreate original works using avant-garde techniques drawn from both the digital and analogue eras' (Martin, 2017).
These endless possibilities within landscape photography enable artists to work with a much broader range of source material than just a natural landscape, creating images that are received as photographs and artworks in much the same way as contemporary traditional landscape photography. Post-photography allows greater freedom of expression, allowing the artist to not be limited by location or time, producing works that are not possible with traditional photographic techniques. These new data-driven works, while still relying on a landscape photography aesthetic, that is having the underlying representation and codes in line with traditional landscape photography, could be termed post-landscape photography. This means artists can explore new ways of showing a landscape with digital data and use this data to raise awareness of the human impact on the natural environment. As academics Justin Clemens and Adam Nash argue, 'Data is absolutely not a phenomenological thing. It cannot be experienced as such, […] however, we can manipulate data with ease; in fact, it is integrally available as manipulable' (Nash & Clemens 2010). It is only with this manipulation of the data through artistic expression that a remix can be produced to create new forms of creative production, and new ways of seeing or representing a landscape in a Postdigital context.
Dan Holdsworth
Dan Holdsworth's work Transmission: New Remote Earth Views (2012) uses data taken from USGS topographical laser scans which are usually used to measure changes in the land and climate. From this data, Holdsworth produces crisp, stark images that are devoid of life, giving a scientific view of his chosen landscapes.
'Stripped of surface detail there are no signifiers of a natural wilderness or picturesque aesthetic, no invoking of the Romantic Sublime; and yet at the same time what is antithetical to these visual tropes – the man-made, the artificial, the vernacular of the New Topographics photographers – is also absent' (Lewis n.d).
What we are being presented with is a rendered image, a simulation of a real, recognisable landscape, but not a photograph of one. As Jean Baudrillard writes 'Simulation […] is the generation by models of a real without origin or reality: a hyperreal' (Baudrillard 2001). This theory of simulation is illustrated by Holdsworth in the form of scientific data displayed with the aesthetics of landscape photography. However, I would argue that this isn't convergence as Henry Jenkins suggests: 'Where old and new media collide, where grassroots and corporate media intersect, where the power of the media producer and the power of the media consumer interact in unpredictable ways' (Jenkins 2008). Holdsworth's work is 'new media', but there is no old media to converge with. It's digital technology mixing with digital data. Applied to the following example, Jenkins' theory seems outdated, but remix could apply as it's taking different media forms and creating new genres. In this instance, it is an example of post-landscape photography, combining the aesthetic of landscape photography with that of scientific datasets, producing a hyperreal simulation of the real world in order to realise the artist's intent, one that couldn't be achieved through material photography.
Figure 1: Holdsworth 2012
This data-driven simulated image allows Holdsworth to position the viewpoint from any angle in his simulated world. In Yosemite: C6 (figure 1) Holdsworth has mirrored the viewpoint of Ansel Adams' Half Dome, Cottonwood Trees (figure 2). With the unlimited viewpoints that a digital rendering can offer, it's interesting that Holdsworth has used a similar view to Adams', who was famous for his Romantic views of Yosemite. It may be that because of the unlimited views available it's easier to keep to a persistent visual language, choosing views that are closer to what we would experience as a viewer within the environment in order to be less incongruous.
Figure 2: Adams 1932
The nature of Holdsworth's images mean that they are devoid of any markers such as trees or natural elements to give an idea of scale or perspective such as atmosphere, creating a distorted image that is initially hard to figure out. This has the effect of creating an other-worldly view, similar to images sent back from the moon or asteroids, but of a familiar place that we recognise from traditional landscape images. This distortion causes the viewer to consider why the work has been presented this way, rather than from a more familiar view such as Adams'.
As critic Emma Lewis writes, 'Holdsworth is working outside of the wilderness myths that render the photographic avant-garde the 'after' to Watkins and Ansel Adams' 'before'. (Lewis n.d.) This in some respect highlights the use of post-photography, or post-landscape photography, to work outside of conventional displays of a familiar landscape and reveal to us versions of them that we are unable to see in reality, presenting a critical, scientific view, free from romanticism. Tim Ingold suggests that landscape is, 'not a picture in the imagination […] nor an alien and formless substrate awaiting the imposition of the human order' (Ingold 1993). I would argue that the Postdigital has allowed us to visually construct imaginary landscapes, and that Holdsworth's images have a stronger visual impact due to the lack of natural elements, questioning how we interpret and understand such images.
David Thomas Smith
David Thomas Smith's project, Anthropocene, uses data taken from satellite photos on Google Maps of locations that have globally significant 'social, economic or political importance in the world' (Smith in Shore 2014). The term Anthropocene is recent term coined to define the next geological epoch as one that has been altered through human impact on the earth (Stromberg 2013) and Smith's images reflect this in his choice of locations.
'Anthropocene itself reflects upon the complex structures that make up the centres of global capitalism, transforming the aerial landscapes of sites associated with industries such as oil, precious metals, consumer culture, information and excess' (Smith, 2013).
To create his images, Smith combined thousands of screenshots from Google to create a high-resolution image, which is then mirrored horizontally and vertically to create a pattern that is similar in style to those of Persian carpets. Smith's other inspiration was Afghan War rugs made during the 1980's Soviet occupation, where Afghani women would document the volatile culture, creating 'objects that contained and recorded a particular history' (Smith in Shore 2014). Smith makes an interesting comparison to Persian and Afghan rugs, aulthough I wouldn't immediately make the connection. I feel Three Gorges Dam (figure 3) and Beijing Airport (figure 4) are the closet to the aesthetic of a Persian rug, especially the sinuous nature of the road system and natural forms. The process of creating the images from thousands of small screen shots to manually create a larger image, 1.8m x 1.2m, is similar to the rug weavers using individual threads to construct a rug and makes the work more labour intensive than its digital nature would otherwise suggest. Smith classes his work as documentary photography. In my opinion, I consider the work also landscape photography, as it's presenting a narrative of human impact in the landscape, but in a more aesthetically pleasing way than more hard-line documentary photography.
Figure 3: Smith 2010
Comparing Smith's Three Gorges Dam (figure 3) with Nadav Kander's Three Gorges Dam VI Yichang, Hubei Province, (figure 5) it is easy to see the main benefit of the satellite image. It shows a huge area of land giving the viewer a sense of scale that would be impossible with traditional photography. This 'God's Eye View' (Sturken and Cartwright 2009) gives a detached, remote viewpoint, but one that is also very contemporary and familiar to a Postdigital society;
'[Satellite] images are part of the history of modernity and visuality, in which an early fascination with photography was organized around a fascination with technologies for seeing things too small, too far away, or to hidden for the unaided human eye to see' (ibid).
Kander's image, while also a photograph of the Three Gorges Dam, is a lot more humanistic. Like Ansel Adams picture of Yosemite, the image conforms to our own ideas of how a picture of a landscape should look, and the inclusion of the people sat on the rock embankment makes the viewer feel more connected. Both images show the impact this hydroelectric project has had on the environment, but with Kander, we are reminded how this has impacted on the human population.
Figure 5: Kander 2007
While Donna Haraway is critical of the term Anthropocene, which 'obtained purchase in popular and scientific discourse in the context of ubiquitous urgent efforts to find ways of talking about, theorizing, modelling, and managing a Big Thing called Globalization' (Haraway 2016), I feel that Smith's project does highlight the human impact on the earth, and how humans have manipulated the natural environment for their own benefit in a global context. I would argue Smiths images do represent an understanding the Anthropocene, even if his use doesn't quite fit into contemporary academic thinking. These images are closer to traditional photography than Holdsworth's computer generated images, and as such could be better received by a wider audience looking at them from an aesthetic point of view. I would also say that they're not an example of convergence in Jenkins' sense as digital photography, satellite images and the distribution of them have already converged, but I do see it as a remix as it's using appropriated images in a way that is mixing post-photography with a material aesthetic from the materiality of Afghan and Persian rugs.
The digital technologies that Holdsworth and Smith used to create their images have only existed for a short time. In Smith's case, the freely available satellite images that can be appropriated and remixed, allow artists to explore issues such as the human impact on the environment or privacy. Satellite images allow the artist to capture views from the Middle East, Siberia, or China, without having to visit them. While this apparent democratisation of data could be the underlying foundation of post-convergent or remix culture, the data still has to be collected and distributed.
Google is a global technology giant with the resources to map the world, but this brings up important questions on the display and use of this data. However, government-level censorship may exist as Google could be obliged to manipulate sensitive areas from county to country. Maps are a powerful political tool created by governments to control their borders. Satellite photography is now available to nearly everyone with an internet connection, undermining the politics of borders and governments, except those under strict state control such as China, where private surveying and mapping is illegal.
Google watermark their satellite images to protect their IP, and this could be considered a form of ownership of the world, or at least the simulated world that exists in Google Maps. If Google own the images, then work produced from these images could be termed appropriation, such as Marcel Duchamp's L.H.O.O.Q (1919) or Sherrie Levine's series After Walker Evans (1981). Appropriation is one key aspect to post-photography but also calls into question the notion of author and copyright: who owns the rights to the work. The appropriation of digital data and the remix of it into new forms of artwork shifts power relations away from media producers such as Google, or the original content creators, towards those of the artist as the disseminator of this information, albeit curated. This changes the point of reception from those using satellite data for its intended purpose, to a new audience in the form of a material artwork that people experience.
Appropriation is nothing new in art, and remix could be considered appropriation for the postdigital era. 'Remix provides for new and interesting forms of artistry, challenges the established hierarchies of the culture industry, and demonstrates the way that creativity has always depended upon and borrowed from others' (Gunkle 2018). Despite this appropriation, which Smith has noted that Google are aware of, it is still large corporations that have ultimate control over what data is released and is allowed (or appropriated) to be used. 'Corporations – and even individuals within corporate media – still exert greater power than any individual consumer or even the aggregate of consumers' (Jenkins 2006). In our age of litigation, one would need to be very careful of appropriation or remix, as large corporations control their own IP and copyright of the data.
The Postdigital world has its foundations in the convergence of material and digital cultures. For example, the mobile phone converging with both video camera and computer which can be used to both record one's thoughts and ideas, as well as broadcast or publish them through dedicated media outlets such as YouTube, Flickr, or Facebook. This allows anyone with an internet connection to take the data from one person or agency and remix this into a new form of artistic production.
'Digital data may be copied without loss of quality, so it has become much easier for anyone to remix, recombine, and create new dependent works. […]. And as the digital network reaches anyone, the power relations have also been remixed, allowing anyone to be a creator, publisher, or broadcaster—or prod-user' (Fagerjord 2009).
This remixed data can then be uploaded, allowing artists to create their own platforms for sharing their work, free from galleries and curators. This unmoderated and un-curated art world could be an artistic free-for-all, with no authoritative voice to moderate what is put up. However, this practice becomes self-moderating, with people choosing what they want to look at with well-produced artworks becoming well-known or 'viral', allowing audiences all over the world to experience them. While everyone can be a creator or publisher, everyone is also now a curator and critic.
Post-Convergence
Post-convergence can consider the past convergence of media technologies as Jenkins proposed, alongside digitisation and remix culture in line with Fagerjord's theory. It can also explain the divergence that has come about from Jenkins' theory of convergence within our postdigital world. As Fagerjord states;
'The concept of convergence is stretched beyond what is meaningful […] rather than converging into fewer technologies, companies, or genres, we are witnessing a proliferation of media; a divergence […] the consequences of digitalization' (Fagerjord 2009).
The evidence for this, Fagerjord argues, is that there are more genres of media around, and more being created than a convergent model would dictate. For example, post-landscape photography being a remix of traditional landscape photography, or its aesthetics, and post-photography, but creating a divergence away from traditional photography. To counter this, academic Anna Munster proposes a duality where both convergence and divergence can both apply;
'We need to remind ourselves that the differential unfolding of new media — played out in this field of immersive and computer-mediated environments through the relations between the virtual propensities of information and the actualizations of information in concrete social-technical assemblages — can tend toward both convergence and divergence (Munster 2006).
I would argue that we are experiencing post-landscape photography through post-convergence. Taking into consideration the digitised nature of production, including areas such as computer science, 3D modelling, the creation of simulated worlds, and remixing these digital technologies to create new forms of landscape images. As Clemens and Nash propose; 'It is only with post-convergence that we realise that we are no longer – and therefore never have been – subject to predetermined parameters in art' (Nash & Clemens 2010). Both Holdsworth and Smith are using digital technologies that that move on from Jenkin's ideas of convergence. Using not only digital technology such as Google Maps, but scientific data such as laser scans and combing them with aesthetics that are tied to our current visual understanding of landscape photography.
Geographers Stephen Daniels and Denis Cosgrove wrote; 'A landscape is a cultural image, a pictorial way of representing, structuring, or symbolising surroundings' (Daniels and Cosgrove 1988). Landscape photography is the act of representing these surroundings through a literal photographic representation. The traditional photographic way of producing a landscape image will always have its place, certainly to depict an aesthetic and romantic point of view. But thinking of landscape photography in post-photographic terms, has to take into account post-convergence and remix. These terms are still quite new in photography discourse and have not had a chance to critically mature. Landscape photography has a long history in showing our natural environment and more recently how humans have encroached and changed it. By using digital technologies through post-photography to show landscapes, we are more able to re-structure our view of them within the Postdigital world, offering new perspectives, both literally in the form of satellite views and through the interpretation of scientific data such as Dan Holdsworth's images.
How landscape photography moves forward within post-photography and post-convergence depends on the artists ideas and technologies available, but these are constantly changing. The digital data used calls into question ownership and appropriation, but while there is precedent for appropriation in art, artists do tread a fine line. If the technology is available, then should this be viewed as a data free-for-all? If too many people start to use this, then this data could become monetized, making the idea of post-landscape photography only available to those who can afford it. Landscape photography has always been a genre that can bring aesthetic pleasure to many, but it also raises important questions on ecology and the environment in an ever more globalised world.
In order to be relevant, landscape photographers and artists need to embrace a transdisciplinary approach to technology and search out new ways of highlighting contemporary issues, using data that illustrates more than can be seen with our own eyes. 'Photography is above all else a medium of witness, a self-effacing window onto the world which is primarily concerned with recording that thing to which we breezily refer as 'reality'' (Shore 2014). This notion of reality depends greatly on the artist and what they are presenting to us as a 'reality'. There are many realities and many issues. One single reality isn't enough. Landscapes seen through post-photography allow construction of new realities, those that we are unable to experience, but that we need to know about in order understand our material world. As Anna Munster states:
'It will be up to artists, designers, technicians and new media activists of all shapes and sizes to create these with an eye for not simply new perceptual experiences but the production of new forms of social, political and ethical relationships' (Munster 2006).
As post-photography is new, its future use within the genre of landscape photography can only be suggested at by what has gone before. Some may argue that it can't be classed as photography, certainly not in the traditional sense, but through remix the genres will overlap and quite often the result is a material photographic image. But post-photography may be the outlet that allows creative landscape practitioners, rather than landscape photographers, to create works of political and ecological importance though remixing digital technologies that have yet to be realised. I personally think that to highlight global problems in the future, post-landscape photography will move further away from traditional photography into the realms of Augmented Reality. This will allow individuals to experience, rather than view, landscapes using data remixed from many different disciplines and technologies to construct simulations rather than images of landscapes. These may keep to the visual cues and signs that we are used to, although in a Postdigital culture even these may end up being remixed.
ADAMS, A., 1932. Half Dome, Cottonwood Trees [online] Available from http://www.museumsyndicate.com/item.php?item=34479 [accessed 18/11/2019]
HOLDSWORTH, D., 2012. Yosemite: C6 [online] available from https://www.danholdsworth.com/works/transmission/yosemite/9/ [accessed 18/11/2019
KANDER, N., 2007.Three Gorges Dam VI Yichang, Hubei Province [online] available from https://www.nadavkander.com/works-in-series/yangtze-the-long-river/single#42 [accessed 19/11/2019]
SMITH, D. T., 2010. Three Gorges Dam [online] available from https://www.david-thomas-smith.com/anthropocene [accessed 18/11/2019]
SMITH, D. T, 2010. Beijing Airport [online] https://www.david-thomas-smith.com/anthropocene [accessed 18/11/2019]
ALEXENBERG, M., 2011. The Future of Art in a Postdigital Age: From Hellenistic to Hebraic Consciousness. Bristol: Intellect Books Ltd
COSGROVE, D., & S. DANIELS, 1988. The Iconography of Landscape. Cambridge: Cambridge University Press
FAGERJORD, A., 2010. After Convergence: Youtube and Remix Culture. in J. HUNSINGER et al, International Handbook of Internet Research. Netherlands: Springer
GUNKEL, D.J., 2018. Remixology: An Axiology for the 21st Century and Beyond. Found Footage Magazine, (4), pp. 52-59.
HARAWAY, D., 2016. Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene. e-flux journal. 75
INGOLD, T., 1993. The Temporality of the Landscape. World Archaeology, 25(2), 152-174
JENKINS, H., 2008. Convergence Culture: Were Old and New Media Collide. New York: New York University Press
LEWIS, E., nd. Transmission: New Remote Earth Views. Dan Holdsworth [online] available from: https://www.danholdsworth.com/texts/transmissionnewremoteearthviews/ [accessed 18/11/2019]
MARTIN, F., 2017. Post-Photography: The Artist with a Camera. Aesthetica Magazine [online] available from: https://www.aestheticamagazine.com/post-photography/ [accessed 23/11/2019]
MUNSTER, A., 2006. Materializing New Media: Embodiment in Information Aesthetics. Dartmouth: University Press of New England
NASH, A., and J. CLEMENS, 2010. Seven Theses on the Concept of 'Post-Convergence' [online] available from https://www.academia.edu/27057333/Seven_theses_on_the_concept_of_post-convergence [accessed 26/11/2012]
SHORE, R., 2014. Post-photography: The Artist with a Camera. London: Laurence King Publishing
SMITH, D. T., 2013. Anthropocene. [online] available from: https://www.thecopperhousegallery.com/usr/library/documents/main/anthropocene-works.pdf [accessed 23/11/2012]
STROMBERG, J., 2013. What Is the Anthropocene and Are We in It? [online] available from: https://www.smithsonianmag.com/science-nature/what-is-the-anthropocene-and-are-we-in-it-164801414/ [accessed 27/11/2019]
STURKEN, M. and L. CARTWRIGHT, 2009. Practices of Looking: An Introduction to Visual Culture. 2nd ed. New York: Oxford University Press


text:
package de.schwedt.weightlifting.app.service;

public class GCMPreferences {
    public static final String SENT_TOKEN_TO_SERVER = "sentTokenToServer";
    public static final String TOKEN = "gcmToken";
    public static final String RESULT_KEY = "result";
    public static final String RESULT_SUCCESS = "success";
    public static final String RESULT_FAILURE = "failure";
}

redpajama_set_name: RedPajamaGithub


text:
Animals Fine Arts Language Arts Places Plants and Other Living Things Science and Mathematics Social Studies Sports and Hobbies World Religions
Amphibians and Reptiles Birds Extinct Animals Fish Insects and Other Arthropods Mammals Mollusks Other Sea Animals
Activities Biographies Dictionary Compare Countries World Atlas Podcast
Plants and Other Living Things
Featured Animal
Insects and Other Arthropods
Other Sea Animals
K - 2
Elizabeth Blackwell
Elizabeth Blackwell was the first woman to become a doctor in the United States. During Blackwell's life few people would accept the idea of a woman doctor. As a result Blackwell had to struggle all her life to practice medicine.
Elizabeth Blackwell was born on February 3, 1821, in Bristol, England. Her family moved to the United States when she was 11 years old. When she was about 24 years old she decided she wanted to become a doctor.
Blackwell applied to many medical colleges, but none of them would allow a woman to study there. Finally, in 1847, Blackwell was accepted by Geneva Medical College in Geneva, New York. She graduated two years later at the top of her class. Blackwell then traveled to Paris, France, where she worked at a hospital for women. She continued her medical studies in England.
In 1851 Blackwell traveled back to the United States, but no hospital would hire her. She started a small clinic for the poor in New York City. In 1857 the clinic became the New York Infirmary for Women and Children. In 1868 Blackwell opened the Woman's Medical College at the New York Infirmary.
In 1869 Blackwell moved to England. She helped to set up the National Health Society. She also served as a professor at the London School of Medicine for Women from 1875 to 1907. Blackwell died in England on May 31, 1910.
The University of Bristol is home to the Elizabeth Blackwell Institute for Health Research.


text:
HomeHaircut IdeasShort Shag Haircut Ideas in 2022
Haircut Ideas
Short Shag Haircut Ideas in 2022
Deliberately careless, crumbling waves and "torn" textured tips create artistic chaos on the head, permeated with a daring mood and sexuality. Let's figure out what the phenomenon of a haircut is.
Shag – the most fashionable haircut of the season – got its name from the translation of the English word shaggy ("shaggy"). It may seem that shag is just a twisted, carefully disheveled, and "varnished" mop of hair, a kind of artistic mess on the head. No, a shag is still a haircut with soft layers of "torn" strands around the entire perimeter of the head, which, however, look very natural. Visually, it looks more voluminous and airy than classic beans and squares, so it is believed that the step is ideal for owners of fine hair.
The length of the hair for a haircut can be any, but the average is optimal. In general, stylists believe that all modifications of a haircut below the collarbone are no longer a genuine step. There is one caveat: if the hair is curly, you can make the layers playful and shorter (start almost from the level of the bangs), and if straight, it is better to leave the strands longer (from the level of the lips and below). The main rule of the shag is no tight cuts and heavy lines, but maximum lightness and mobility, which means thinning and "torn" tips.
A shag is a good option for an oval and slightly square face. Softly falling, asymmetrical strands naturally frame the face, hiding the elongation and angularity.
Do not forget that the step, with all its naturalness and versatility, is still not styling, but a haircut. This means that you will have to update the shape as the length increases and the airiness is lost, which gives the haircut charm (this is about once every 2-3 months).
Alas, getting out of bed, running a brush through your hair a couple of times, and running errands will not work. Shag is a haircut for those who know their hair well, their problems, and understand what products they need. Don't worry, it sounds complicated, but it's much easier than you think.
To date, many styling products will help emphasize the natural texture of the hair (this is always advantageous, unlike tons of styling), add where necessary, volume, airiness and, of course, shine. Each type of hair-thin, coarse and naughty, capricious curly ─ needs its own set of styling products. Ask the stylist to choose the ones that will be necessary for styling your particular hair type. Sea salt spray, volumizing spray, curling agent, texturizer, dry shampoo, lacquer – at least a couple of products from this list you will need. You will also need tongs to create curls – they will help add texture and volume. If you do not have the necessary skills, do not hesitate to ask how to use the styler correctly so that the waves are light and natural.
shag haircut
Short Shag Hairstyles
Quick Weave Bob Hairstyles in 2022
Short Choppy Bob Hairstyles for Women in 2022
V Haircut Ideas for Women in 2023
Modern Caesar Haircuts for All Hair Types in 2023
Daniella Wilson - September 26, 2022
15 Aesthetic Blue Short Hair 2021


text:
The production and utilization of GDP-glucose in the biosynthesis of trehalose-6-phosphate by Streptomyces venezuelae
Gold open access
Trehalose-6-phosphate synthase OtsA from streptomycetes is unusual in that it uses GDP-glucose as the donor substrate rather than the more commonly used UDP-glucose. We now confirm that OtsA from Streptomyces venezuelae has such a preference for GDP-glucose and can utilise ADP-glucose to some extent too. A crystal structure of the enzyme shows that it shares twin Rossmann-like domains with the UDP-glucose-specific OtsA from Escherichia coli However, it is structurally more similar to Streptomyces hygroscopicus VldE, a GDP-valienol-dependent pseudo-glycosyltransferase enzyme. Comparison of the donor binding sites reveals that the amino acids associated with the binding of diphosphoribose are almost all identical in these three enzymes. By contrast, the amino acids associated with binding guanine in VldE (Asn, Thr and Val) are similar in S. venezuelae OtsA (Asp, Ser and Phe, respectively) but not conserved in E. coli OtsA (His, Leu and Asp, respectively), providing a rationale for the purine base-specificity of S. venezuelae OtsA. To establish which donor is used in vivo, we generated an otsA null mutant in S. venezuelae The mutant had a cell-density-dependent growth phenotype and accumulated galactose-1-phosphate, glucose-1-phosphate and GDP-glucose when grown on galactose. To determine how the GDP-glucose is generated, we characterised three candidate GDP-glucose pyrophosphorylases. SVEN_3027 is a UDP-glucose pyrophosphorylase, SVEN_3972 is an unusual ITP-mannose pyrophosphorylase, and SVEN_2781 is a pyrophosphorylase that is capable of generating GDP-glucose as well as GDP-mannose. We have therefore established how S. venezuelae can make and utilise GDP-glucose in the biosynthesis of trehalose-6-phosphate.
Journal of Biological Chemistry (292)
10.1074/jbc.M116.758664
Asencion Diez M. D., Miah F., Stevenson C. E., Lawson D. M., Iglesias A. A., Bornemann S.


text:
Toto je almanach nejdůležitějších židovských svátků od roku 2000 do roku 2050. Všechny židovské svátky začínají soumrakem, tzn. večer před datem, jež je uvedeno. Během svátků, označených hvězdičkou (*) jsou zakázány určité druhy práce. Díky fixaci židovského kalendáře je možné určit na které datum v gregoriánském kalendáři jaký svátek připadne v dohledné budoucnosti.

5760 (2000)

5760 (1999–2000)
Sobota, 11. září – Roš ha-šana*
Pondělí, 20. září – Jom kipur*
Sobota, 25. září – Sukot*
Sobota, 2. října – Šmini aceret*
Neděle, 3. října – Simchat Tóra*
Sobota, 4. prosince – Chanuka
Sobota, 22. ledna – Tu bi-švat
Úterý, 21. března – Purim
Čtvrtek, 20. dubna – Pesach*
Úterý, 2. května – Jom ha-šo'a
Středa, 10. května – Jom ha-acma'ut
Úterý, 23. května – Lag ba-omer
Pátek, 9. června – Šavu'ot*
Čtvrtek, 10. srpna – Tiš'a be-av

5761 (2000–2001)
Sobota, 30. září – Roš ha-šana*
Pondělí, 9. října – Jom kipur*
Sobota, 14. října – Sukot*
Sobota, 21. října – Šmini aceret*
Neděle, 22. října – Simchat Tóra*
Pátek, 22. prosince – Chanuka
Čtvrtek, 8. února – Tu bi-švat
Pátek, 9. března – Purim
Neděle, 8. dubna – Pesach*
Pátek, 20. dubna – Jom ha-šo'a
Čtvrtek, 26. dubna – Jom ha-acma'ut
Pátek, 11. května – Lag ba-omer
Pondělí, 28. května – Šavu'ot*
Neděle, 29. července – Tiš'a be-av

5762 (2001–2002)
Úterý, 18. září – Roš ha-šana*
Čtvrtek, 27. září – Jom kipur*
Úterý, 2. října – Sukot*
Úterý, 9. října – Šmini aceret*
Středa, 10. října – Simchat Tóra*
Pondělí, 10. prosince – Chanuka
Pondělí, 28. ledna – Tu bi-švat
Úterý, 26. února – Purim
Čtvrtek, 28. března – Pesach*
Úterý, 9. dubna – Jom ha-šo'a
Středa, 17. dubna – Jom ha-acma'ut
Úterý, 30. dubna – Lag ba-omer
Pátek, 17. května – Šavu'ot*
Čtvrtek, 18. července – Tiš'a be-av

5763 (2002–2003)
Sobota, 7. září – Roš ha-šana*
Pondělí, 16. září – Jom kipur*
Sobota, 21. září – Sukot*
Sobota, 28. září – Šmini aceret*
Neděle, 29. září – Simchat Tóra*
Sobota, 30. listopadu – Chanuka
Sobota, 18. ledna – Tu bi-švat
Úterý, 18. března – Purim
Čtvrtek, 17. dubna – Pesach*
Úterý, 29. dubna – Jom ha-šo'a
Středa, 7. května – Jom ha-acma'ut
Úterý, 20. května – Lag ba-omer
Pátek, 6. června – Šavu'ot*
Čtvrtek, 7. srpna – Tiš'a be-av

5764 (2003–2004)
Sobota, 27. září – Roš ha-šana*
Pondělí, 6. října – Jom kipur*
Sobota, 11. října – Sukot*
Sobota, 18. října – Šmini aceret*
Neděle, 19. října – Simchat Tóra*
Sobota, 20. prosince – Chanuka
Sobota, 7. února – Tu bi-švat
Neděle, 7. března – Purim
Úterý, 6. dubna – Pesach*
Neděle, 18. dubna – Jom ha-šo'a
Pondělí, 26. dubna – Jom ha-acma'ut
Neděle, 9. května – Lag ba-omer
Středa, 26. května – Šavu'ot*
Úterý, 27. července – Tiš'a be-av

5765 (2004–2005)
Čtvrtek, 16. září – Roš ha-šana*
Sobota, 25. září – Jom kipur*
Čtvrtek, 30. září – Sukot*
Čtvrtek, 7. října – Šmini aceret*
Pátek, 8. října – Simchat Tóra*
Středa, 8. prosince – Chanuka
Úterý, 25. ledna – Tu bi-švat
Pátek, 25. března – Purim
Neděle, 24. dubna – Pesach*
Pátek, 6. května – Jom ha-šo'a
Čtvrtek, 12. května – Jom ha-acma'ut
Pátek, 27. května – Lag ba-omer
Pondělí, 13. června – Šavu'ot*
Neděle, 14. srpna – Tiš'a be-av

5766 (2005–2006)
Úterý, 4. října – Roš ha-šana*
Čtvrtek, 13. října – Jom kipur*
Úterý, 18. října – Sukot*
Úterý, 25. října – Šmini aceret*
Středa, 26. října – Simchat Tóra*
Pondělí, 26. prosince – Chanuka
Pondělí, 13. února – Tu bi-švat
Úterý, 14. března – Purim
Čtvrtek, 13. dubna – Pesach*
Úterý, 25. dubna – Jom ha-šo'a
Středa, 3. května – Jom ha-acma'ut
Úterý, 16. května – Lag ba-omer
Pátek, 2. června – Šavu'ot*
Čtvrtek, 3. srpna – Tiš'a be-av

5767 (2006–2007)
Sobota, 23. září – Roš ha-šana*
Pondělí, 2. října – Jom kipur*
Sobota, 7. října – Sukot*
Sobota, 14. října – Šmini aceret*
Neděle, 15. října – Simchat Tóra*
Sobota, 16. prosince – Chanuka
Sobota, 3. února – Tu bi-švat
Neděle, 4. března – Purim
Úterý, 3. dubna – Pesach*
Neděle, 15. dubna – Jom ha-šo'a
Pondělí, 23. dubna – Jom ha-acma'ut
Neděle, 6. května – Lag ba-omer
Středa, 23. května – Šavu'ot*
Úterý, 24. července – Tiš'a be-av

5768 (2007–2008)
Čtvrtek, 13. září – Roš ha-šana*
Sobota, 22. září – Jom kipur*
Čtvrtek, 27. září – Sukot*
Čtvrtek, 4. října – Šmini aceret*
Pátek, 5. října – Simchat Tóra*
Středa, 5. prosince – Chanuka
Úterý, 22. ledna – Tu bi-švat
Pátek, 21. března – Purim
Neděle, 20. dubna – Pesach*
Pátek, 2. května – Jom ha-šo'a
Čtvrtek, 8. května – Jom ha-acma'ut
Pátek, 23. května – Lag ba-omer
Pondělí, 9. června – Šavu'ot*
Neděle, 10. srpna – Tiš'a be-av

5769 (2008–2009)
Úterý, 30. září – Roš ha-šana*
Čtvrtek, 9. října – Jom kipur*
Úterý, 14. října – Sukot*
Úterý, 21. října – Šmini aceret*
Středa, 22. října – Simchat Tóra*
Pondělí, 22. prosince – Chanuka
Pondělí, 9. února – Tu bi-švat
Úterý, 10. března – Purim
Čtvrtek, 9. dubna – Pesach*
Úterý, 21. dubna – Jom ha-šo'a
Středa, 29. dubna – Jom ha-acma'ut
Úterý, 12. května – Lag ba-omer
Pátek, 29. května – Šavu'ot*
Čtvrtek, 30. července – Tiš'a be-av

5770 (2010)

5770 (2009–2010)
Sobota, 19. září – Roš ha-šana*
Pondělí, 28. září – Jom kipur*
Sobota, 3. října – Sukot*
Sobota, 10. října – Šmini aceret*
Neděle, 11. října – Simchat Tóra*
Sobota, 12. prosince – Chanuka
Sobota, 30. ledna – Tu bi-švat
Neděle, 28. února – Purim
Úterý, 30. března – Pesach*
Neděle, 11. dubna – Jom ha-šo'a
Pondělí, 19. dubna – Jom ha-acma'ut
Neděle, 2. května – Lag ba-omer
Středa, 19. května – Šavu'ot*
Úterý, 20. července – Tiš'a be-av

5771 (2010–2011)
Čtvrtek, 9. září – Roš ha-šana*
Sobota, 18. září – Jom kipur*
Čtvrtek, 23. září – Sukot*
Čtvrtek, 30. září – Šmini aceret*
Pátek, 1. října – Simchat Tóra*
Čtvrtek, 2. prosince – Chanuka
Čtvrtek, 20. ledna – Tu bi-švat
Neděle, 20. března – Purim
Úterý, 19. dubna – Pesach*
Neděle, 1. května – Jom ha-šo'a
Pondělí, 9. května – Jom ha-acma'ut
Neděle, 22. května – Lag ba-omer
Středa, 8. června – Šavu'ot*
Úterý, 9. srpna – Tiš'a be-av

5772 (2011–2012)
Čtvrtek, 29. září – Roš ha-šana*
Sobota, 8. října – Jom kipur*
Čtvrtek, 13. října – Sukot*
Čtvrtek, 20. října – Šmini aceret*
Pátek, 21. října – Simchat Tóra*
Středa, 21. prosince – Chanuka
Středa, 8. února – Tu bi-švat
Čtvrtek, 8. března – Purim
Sobota, 7. dubna – Pesach*
Čtvrtek, 19. dubna – Jom ha-šo'a
Čtvrtek, 26. dubna – Jom ha-acma'ut
Čtvrtek, 10. května – Lag ba-omer
Neděle, 27. května – Šavu'ot*
Neděle, 29. července – Tiš'a be-av

5773 (2012–2013)
Pondělí, 17. září – Roš ha-šana*
Středa, 26. září – Jom kipur*
Pondělí, 1. října – Sukot*
Pondělí, 8. října – Šmini aceret*
Úterý, 9. října – Simchat Tóra*
Neděle, 9. prosince – Chanuka
Sobota, 26. ledna – Tu bi-švat
Neděle, 24. února – Purim
Úterý, 26. března – Pesach*
Neděle, 7. dubna – Jom ha-šo'a
Pondělí, 15. dubna – Jom ha-acma'ut
Neděle, 28. dubna – Lag ba-omer
Středa, 15. května – Šavu'ot*
Úterý, 16. července – Tiš'a be-av

5774 (2013–2014)
Čtvrtek, 5. září – Roš ha-šana*
Sobota, 14. září – Jom kipur*
Čtvrtek, 19. září – Sukot*
Čtvrtek, 26. září – Šmini aceret*
Pátek, 27. září – Simchat Tóra*
Čtvrtek, 28. listopadu – Chanuka
Čtvrtek, 26. ledna – Tu bi-švat
Neděle, 16. března – Purim
Úterý, 15. dubna – Pesach*
Neděle, 27. dubna – Jom ha-šo'a
Pondělí, 5. května – Jom ha-acma'ut
Neděle, 18. května – Lag ba-omer
Středa, 4. června – Šavu'ot*
Úterý, 5. srpna – Tiš'a be-av

5775 (2014–2015)
Čtvrtek, 25. září – Roš ha-šana*
Sobota, 4. října – Jom kipur*
Čtvrtek, 9. října – Sukot*
Čtvrtek, 16. října – Šmini aceret*
Pátek, 17. října – Simchat Tóra*
Středa, 17. prosince – Chanuka
Středa, 4. února – Tu bi-švat
Čtvrtek, 5. března – Purim
Sobota, 4. dubna – Pesach*
Čtvrtek, 16. dubna – Jom ha-šo'a
Čtvrtek, 23. dubna – Jom ha-acma'ut
Čtvrtek, 7. května – Lag ba-omer
Neděle, 24. května – Šavu'ot*
Neděle, 26. července – Tiš'a be-av

5776 (2015–2016)
Pondělí, 14. září – Roš ha-šana*
Středa, 23. září – Jom kipur*
Pondělí, 28. září – Sukot*
Pondělí, 5. října – Šmini aceret*
Úterý, 6. října – Simchat Tóra*
Pondělí, 7. prosince – Chanuka
Pondělí, 25. ledna – Tu bi-švat
Čtvrtek, 24. března – Purim
Sobota, 23. dubna – Pesach*
Čtvrtek, 5. května – Jom ha-šo'a
Čtvrtek, 12. května – Jom ha-acma'ut
Čtvrtek, 26. května – Lag ba-omer
Neděle, 12. června – Šavu'ot*
Neděle, 14. srpna – Tiš'a be-av

5777 (2016–2017)
Pondělí, 3. října – Roš ha-šana*
Středa, 12. října – Jom kipur*
Pondělí, 17. října – Sukot*
Pondělí, 24. října – Šmini aceret*
Úterý, 25. října – Simchat Tóra*
Neděle, 25. prosince – Chanuka
Sobota, 11. února – Tu bi-švat
Neděle, 12. března – Purim
Úterý, 11. dubna – Pesach*
Neděle, 23. dubna – Jom ha-šo'a
Pondělí, 1. května – Jom ha-acma'ut
Neděle, 14. května – Lag ba-omer
Středa, 31. května – Šavu'ot*
Úterý, 1. srpna – Tiš'a be-av

5778 (2017–2018)
Čtvrtek, 21. září – Roš ha-šana*
Sobota, 30. září – Jom kipur*
Čtvrtek, 5. října – Sukot*
Čtvrtek, 12. října – Šmini aceret*
Pátek, 13. října – Simchat Tóra*
Středa, 13. prosince – Chanuka
Středa, 31. ledna – Tu bi-švat
Čtvrtek, 1. března – Purim
Sobota, 31. března – Pesach*
Čtvrtek, 12. dubna – Jom ha-šo'a
Čtvrtek, 19. dubna – Jom ha-acma'ut
Čtvrtek, 3. května – Lag ba-omer
Neděle, 20. května – Šavu'ot*
Neděle, 22. července – Tiš'a be-av

5779 (2018–2019)
Pondělí, 10. září – Roš ha-šana*
Středa, 19. září – Jom kipur*
Pondělí, 24. září – Sukot*
Pondělí, 1. října – Šmini aceret*
Úterý, 2. října – Simchat Tóra*
Pondělí, 3. prosince – Chanuka
Pondělí, 21. ledna – Tu bi-švat
Čtvrtek, 21. března – Purim
Sobota, 20. dubna – Pesach*
Čtvrtek, 2. května – Jom ha-šo'a
Čtvrtek, 9. května – Jom ha-acma'ut
Čtvrtek, 23. května – Lag ba-omer
Neděle, 9. června – Šavu'ot*
Neděle, 11. srpna – Tiš'a be-av

5780 (2020)

5780 (2019–2020)
Pondělí, 30. září – Roš ha-šana*
Středa, 9. října – Jom kipur*
Pondělí, 14. října – Sukot*
Pondělí, 21. října – Šmini aceret*
Úterý, 22. října – Simchat Tóra*
Pondělí, 23. prosince – Chanuka
Pondělí, 10. února – Tu bi-švat
Úterý, 10. března – Purim
Čtvrtek, 9. dubna – Pesach*
Úterý, 21. dubna – Jom ha-šo'a
Středa, 29. dubna – Jom ha-acma'ut
Úterý, 12. května – Lag ba-omer
Pátek, 29. května – Šavu'ot*
Čtvrtek, 30. července – Tiš'a be-av

5781 (2020–2021)
Sobota, 19. září – Roš ha-šana*
Pondělí, 28. září – Jom kipur*
Sobota, 3. října – Sukot*
Sobota, 10. října – Šmini aceret*
Neděle, 11. října – Simchat Tóra*
Pátek, 11. prosince – Chanuka
Čtvrtek, 28. ledna – Tu bi-švat
Pátek, 26. února – Purim
Neděle, 28. března – Pesach*
Pátek, 9. dubna – Jom ha-šo'a
Čtvrtek, 15. dubna – Jom ha-acma'ut
Pátek, 30. dubna – Lag ba-omer
Pondělí, 17. května – Šavu'ot*
Neděle, 18. července – Tiš'a be-av

5782 (2021–2022)
Úterý, 7. září – Roš ha-šana*
Čtvrtek, 16. září – Jom kipur*
Úterý, 21. září – Sukot*
Úterý, 28. září – Šmini aceret*
Středa, 29. září – Simchat Tóra*
Pondělí, 29. listopadu – Chanuka
Pondělí, 17. ledna – Tu bi-švat
Čtvrtek, 17. března – Purim
Sobota, 16. dubna – Pesach*
Čtvrtek, 28. dubna – Jom ha-šo'a
Čtvrtek, 5. května – Jom ha-acma'ut
Čtvrtek, 19. května – Lag ba-omer
Neděle, 5. června – Šavu'ot*
Neděle, 7. srpna – Tiš'a be-av

5783 (2022–2023)
Pondělí, 26. září – Roš ha-šana*
Středa, 5. října – Jom kipur*
Pondělí, 10. října – Sukot*
Pondělí, 17. října – Šmini aceret*
Úterý, 18. října – Simchat Tóra*
Pondělí, 19. prosince – Chanuka
Pondělí, 6. února – Tu bi-švat
Úterý, 7. března – Purim
Čtvrtek, 6. dubna – Pesach*
Úterý, 18. dubna – Jom ha-šo'a
Středa, 26. dubna – Jom ha-acma'ut
Úterý, 9. května – Lag ba-omer
Pátek, 26. května – Šavu'ot*
Čtvrtek, 27. července – Tiš'a be-av

5784 (2023–2024)
Sobota, 16. září – Roš ha-šana*
Pondělí, 25. září – Jom kipur*
Sobota, 30. září – Sukot*
Sobota, 7. října – Šmini aceret*
Neděle, 8. října – Simchat Tóra*
Pátek, 8. prosince – Chanuka
Čtvrtek, 25. ledna – Tu bi-švat
Neděle, 24. března – Purim
Úterý, 23. dubna – Pesach*
Neděle, 5. května – Jom ha-šo'a
Pondělí, 13. května – Jom ha-acma'ut
Neděle, 26. května – Lag ba-omer
Středa, 12. června – Šavu'ot*
Úterý, 13. srpna – Tiš'a be-av

5785 (2024–2025)
Čtvrtek, 3. října – Roš ha-šana*
Sobota, 12. října – Jom kipur*
Čtvrtek, 17. října – Sukot*
Čtvrtek, 24. října – Šmini aceret*
Pátek, 25. října – Simchat Tóra*
Čtvrtek, 26. prosince – Chanuka
Čtvrtek, 13. února – Tu bi-švat
Pátek, 14. března – Purim
Neděle, 13. dubna – Pesach*
Pátek, 25. dubna – Jom ha-šo'a
Čtvrtek, 1. května – Jom ha-acma'ut
Pátek, 6. května – Lag ba-omer
Pondělí, 2. června – Šavu'ot*
Neděle, 3. srpna – Tiš'a be-av

5786 (2025–2026)
Úterý, 23. září – Roš ha-šana*
Čtvrtek, 2. října – Jom kipur*
Úterý, 7. října – Sukot*
Úterý, 14. října – Šmini aceret*
Středa, 15. října – Simchat Tóra*
Pondělí, 15. prosince – Chanuka
Pondělí, 2. února – Tu bi-švat
Úterý, 3. března – Purim
Čtvrtek, 2. dubna – Pesach*
Úterý, 14. dubna – Jom ha-šo'a
Středa, 22. dubna – Jom ha-acma'ut
Úterý, 5. května – Lag ba-omer
Pátek, 22. května – Šavu'ot*
Čtvrtek, 23. července – Tiš'a be-av

5787 (2026–2027)
Sobota, 12. září – Roš ha-šana*
Pondělí, 21. září – Jom kipur*
Sobota, 26. září – Sukot*
Sobota, 3. října – Šmini aceret*
Neděle, 4. října – Simchat Tóra*
Sobota, 5. prosince – Chanuka
Sobota, 23. ledna – Tu bi-švat
Úterý, 23. března – Purim
Čtvrtek, 22. dubna – Pesach*
Úterý, 4. května – Jom ha-šo'a
Středa, 12. května – Jom ha-acma'ut
Úterý, 25. května – Lag ba-omer
Pátek, 11. června – Šavu'ot*
Čtvrtek, 12. srpna – Tiš'a be-av

5788 (2027–2028)
Sobota, 2. října – Roš ha-šana*
Pondělí, 11. října – Jom kipur*
Sobota, 16. října – Sukot*
Sobota, 23. října – Šmini aceret*
Neděle, 24. října – Simchat Tóra*
Sobota, 25. prosince – Chanuka
Sobota, 12. února – Tu bi-švat
Neděle, 12. března – Purim
Úterý, 11. dubna – Pesach*
Neděle, 23. dubna – Jom ha-šo'a
Pondělí, 1. května – Jom ha-acma'ut
Neděle, 14. května – Lag ba-omer
Středa, 31. května – Šavu'ot*
Úterý, 1. srpna – Tiš'a be-av

5789 (2028–2029)
Čtvrtek, 21. září – Roš ha-šana*
Sobota, 30. září – Jom kipur*
Čtvrtek, 5. října – Sukot*
Čtvrtek, 12. října – Šmini aceret*
Pátek, 13. října – Simchat Tóra*
Středa, 13. prosince – Chanuka
Středa, 31. ledna – Tu bi-švat
Čtvrtek, 1. března – Purim
Sobota, 31. března – Pesach*
Čtvrtek, 12. dubna – Jom ha-šo'a
Čtvrtek, 19. dubna – Jom ha-acma'ut
Čtvrtek, 3. května – Lag ba-omer
Neděle, 20. května – Šavu'ot*
Neděle, 22. července – Tiš'a be-av

5790 (2030)

5790 (2029–2030)
Pondělí, 10. září – Roš ha-šana*
Středa, 19. září – Jom kipur*
Pondělí, 24. září – Sukot*
Pondělí, 1. října – Šmini aceret*
Úterý, 2. října – Simchat Tóra*
Neděle, 2. prosince – Chanuka
Sobota, 19. ledna – Tu bi-švat
Úterý, 19. března – Purim
Čtvrtek, 18. dubna – Pesach*
Úterý, 30. dubna – Jom ha-šo'a
Středa, 8. května – Jom ha-acma'ut
Úterý, 21. května – Lag ba-omer
Pátek, 7. června – Šavu'ot*
Čtvrtek, 8. srpna – Tiš'a be-av

5791 (2030–2031)
Sobota, 28. září – Roš ha-šana*
Pondělí, 7. října – Jom kipur*
Sobota, 12. října – Sukot*
Sobota, 19. října – Šmini aceret*
Neděle, 20. října – Simchat Tóra*
Sobota, 21. prosince – Chanuka
Sobota, 8. února – Tu bi-švat
Neděle, 9. března – Purim
Úterý, 8. dubna – Pesach*
Neděle, 20. dubna – Jom ha-šo'a
Pondělí, 28. dubna – Jom ha-acma'ut
Neděle, 11. května – Lag ba-omer
Středa, 28. května – Šavu'ot*
Úterý, 29. července – Tiš'a be-av

5792 (2031–2032)
Čtvrtek, 18. září – Roš ha-šana*
Sobota, 27. září – Jom kipur*
Čtvrtek, 2. října – Sukot*
Čtvrtek, 9. října – Šmini aceret*
Pátek, 10. října – Simchat Tóra*
Středa, 10. prosince – Chanuka
Středa, 28. ledna – Tu bi-švat
Čtvrtek, 26. února – Purim
Sobota, 27. března – Pesach*
Čtvrtek, 8. dubna – Jom ha-šo'a
Čtvrtek, 15. dubna – Jom ha-acma'ut
Čtvrtek, 29. dubna – Lag ba-omer
Neděle, 16. května – Šavu'ot*
Neděle, 18. července – Tiš'a be-av

5793 (2032–2033)
Pondělí, 6. září – Roš ha-šana*
Středa, 15. září – Jom kipur*
Pondělí, 20. září – Sukot*
Pondělí, 27. září – Šmini aceret*
Úterý, 28. září – Simchat Tóra*
Neděle, 28. listopadu – Chanuka
Sobota, 15. ledna – Tu bi-švat
Úterý, 15. března – Purim
Čtvrtek, 14. dubna – Pesach*
Úterý, 26. dubna – Jom ha-šo'a
Středa, 4. května – Jom ha-acma'ut
Úterý, 17. května – Lag ba-omer
Pátek, 3. června – Šavu'ot*
Čtvrtek, 4. srpna – Tiš'a be-av

5794 (2033–2034)
Sobota, 24. září – Roš ha-šana*
Pondělí, 3. října – Jom kipur*
Sobota, 8. října – Sukot*
Sobota, 15. října – Šmini aceret*
Neděle, 16. října – Simchat Tóra*
Sobota, 17. prosince – Chanuka
Sobota, 4. února – Tu bi-švat
Neděle, 5. března – Purim
Úterý, 4. dubna – Pesach*
Neděle, 6. dubna – Jom ha-šo'a
Pondělí, 24. dubna – Jom ha-acma'ut
Neděle, 7. května – Lag ba-omer
Středa, 24. května – Šavu'ot*
Úterý, 25. července – Tiš'a be-av

5795 (2034–2035)
Čtvrtek, 14. září – Roš ha-šana*
Sobota, 23. září – Jom kipur*
Čtvrtek, 28. září – Sukot*
Čtvrtek, 5. října – Šmini aceret*
Pátek, 6. října – Simchat Tóra*
Čtvrtek, 7. prosince – Chanuka
Čtvrtek, 25. ledna – Tu bi-švat
Neděle, 25. března – Purim
Úterý, 24. dubna – Pesach*
Neděle, 6. května – Jom ha-šo'a
Pondělí, 14. května – Jom ha-acma'ut
Neděle, 27. května – Lag ba-omer
Středa, 13. června – Šavu'ot*
Úterý, 14. srpna – Tiš'a be-av

5796 (2035–2036)
Čtvrtek, 4. října – Roš ha-šana*
Sobota, 13. října – Jom kipur*
Čtvrtek, 18. října – Sukot*
Čtvrtek, 25. října – Šmini aceret*
Pátek, 26. října – Simchat Tóra*
Středa, 26. prosince – Chanuka
Středa, 13. února – Tu bi-švat
Čtvrtek, 13. března – Purim
Sobota, 12. dubna – Pesach*
Čtvrtek, 24. dubna – Jom ha-šo'a
Čtvrtek, 1. května – Jom ha-acma'ut
Čtvrtek, 15. května – Lag ba-omer
Neděle, 1. června – Šavu'ot*
Neděle, 3. srpna – Tiš'a be-av

5797 (2036–2037)
Pondělí, 22. září – Roš ha-šana*
Středa, 1. října – Jom kipur*
Pondělí, 6. října – Sukot*
Pondělí, 13. října – Šmini aceret*
Úterý, 14. října – Simchat Tóra*
Neděle, 14. prosince – Chanuka
Sobota, 31. ledna – Tu bi-švat
Neděle, 1. března – Purim
Úterý, 31. března – Pesach*
Neděle, 12. dubna – Jom ha-šo'a
Pondělí, 20. dubna – Jom ha-acma'ut
Neděle, 3. května – Lag ba-omer
Středa, 20. května – Šavu'ot*
Úterý, 21. července – Tiš'a be-av

5798 (2037–2038)
Čtvrtek, 10. září – Roš ha-šana*
Sobota, 19. září – Jom kipur*
Čtvrtek, 24. září – Sukot*
Čtvrtek, 1. října – Šmini aceret*
Pátek, 2. října – Simchat Tóra*
Čtvrtek, 3. prosince – Chanuka
Čtvrtek, 21. ledna – Tu bi-švat
Neděle, 21. března – Purim
Úterý, 20. dubna – Pesach*
Neděle, 2. května – Jom ha-šo'a
Pondělí, 10. května – Jom ha-acma'ut
Neděle, 23. května – Lag ba-omer
Středa, 9. června – Šavu'ot*
Úterý, 10. srpna – Tiš'a be-av

5799 (2038–2039)
Čtvrtek, 30. září – Roš ha-šana*
Sobota, 9. října – Jom kipur*
Čtvrtek, 14. října – Sukot*
Čtvrtek, 21. října – Šmini aceret*
Pátek, 22. října – Simchat Tóra*
Středa, 22. prosince – Chanuka
Středa, 9. února – Tu bi-švat
Čtvrtek, 10. března – Purim
Sobota, 9. dubna – Pesach*
Čtvrtek, 21. dubna – Jom ha-šo'a
Čtvrtek, 28. dubna – Jom ha-acma'ut
Čtvrtek, 12. května – Lag ba-omer
Neděle, 29. května – Šavu'ot*
Neděle, 31. července – Tiš'a be-av

5800 (2040)

5800 (2039–2040)
Pondělí, 19. září – Roš ha-šana*
Středa, 28. září – Jom kipur*
Pondělí, 3. října – Sukot*
Pondělí, 10. října – Šmini aceret*
Úterý, 11. října – Simchat Tóra*
Pondělí, 12. prosince – Chanuka
Pondělí, 30. ledna – Tu bi-švat
Úterý, 28. února – Purim
Čtvrtek, 29. března – Pesach*
Úterý, 10. dubna – Jom ha-šo'a
Středa, 18. dubna – Jom ha-acma'ut
Úterý, 1. května – Lag ba-omer
Pátek, 18. května – Šavu'ot*
Čtvrtek, 19. července – Tiš'a be-av

5801 (2040–2041)
Sobota, 8. září – Roš ha-šana*
Pondělí, 17. září – Jom kipur*
Sobota, 22. září – Sukot*
Sobota, 29. září – Šmini aceret*
Neděle, 30. září – Simchat Tóra*
Pátek, 30. listopadu – Chanuka
Čtvrtek, 17. ledna – Tu bi-švat
Neděle, 17. března – Purim
Úterý, 16. dubna – Pesach*
Neděle, 28. dubna – Jom ha-šo'a
Pondělí, 6. května – Jom ha-acma'ut
Neděle, 19. května – Lag ba-omer
Středa, 5. června – Šavu'ot*
Úterý, 6. srpna – Tiš'a be-av

5802 (2041–2042)
Čtvrtek, 26. září – Roš ha-šana*
Sobota, 5. října – Jom kipur*
Čtvrtek, 10. října – Sukot*
Čtvrtek, 17. října – Šmini aceret*
Pátek, 18. října – Simchat Tóra*
Středa, 18. prosince – Chanuka
Středa, 5. února – Tu bi-švat
Čtvrtek, 6. března – Purim
Sobota, 5. dubna – Pesach*
Čtvrtek, 17. dubna – Jom ha-šo'a
Čtvrtek, 24. dubna – Jom ha-acma'ut
Čtvrtek, 8. května – Lag ba-omer
Neděle, 25. května – Šavu'ot*
Neděle, 27. července – Tiš'a be-av

5803 (2042–2043)
Pondělí, 15. září – Roš ha-šana*
Středa, 24. září – Jom kipur*
Pondělí, 29. září – Sukot*
Pondělí, 6. října – Šmini aceret*
Úterý, 7. října – Simchat Tóra*
Pondělí, 8. prosince – Chanuka
Pondělí, 26. ledna – Tu bi-švat
Čtvrtek, 26. března – Purim
Sobota, 25. dubna – Pesach*
Čtvrtek, 7. května – Jom ha-šo'a
Čtvrtek, 14. května – Jom ha-acma'ut
Čtvrtek, 28. května – Lag ba-omer
Neděle, 14. června – Šavu'ot*
Neděle, 16. srpna – Tiš'a be-av

5804 (2043–2044)
Pondělí, 5. října – Roš ha-šana*
Středa, 14. října – Jom kipur*
Pondělí, 19. října – Sukot*
Pondělí, 26. října – Šmini aceret*
Úterý, 27. října – Simchat Tóra*
Neděle, 27. prosince – Chanuka
Sobota, 13. února – Tu bi-švat
Neděle, 13. března – Purim
Úterý, 12. dubna – Pesach*
Neděle, 24. dubna – Jom ha-šo'a
Pondělí, 2. května – Jom ha-acma'ut
Neděle, 15. května – Lag ba-omer
Středa, 1. června – Šavu'ot*
Úterý, 2. srpna – Tiš'a be-av

5805 (2044–2045)
Čtvrtek, 22. září – Roš ha-šana*
Sobota, 1. října – Jom kipur*
Čtvrtek, 6. října – Sukot*
Čtvrtek, 13. října – Šmini aceret*
Pátek, 14. října – Simchat Tóra*
Čtvrtek, 15. prosince – Chanuka
Čtvrtek, 2. února – Tu bi-švat
Pátek, 3. března – Purim
Neděle, 2. dubna – Pesach*
Pátek, 14. dubna – Jom ha-šo'a
Čtvrtek, 20. dubna – Jom ha-acma'ut
Pátek, 5. května – Lag ba-omer
Pondělí, 22. května – Šavu'ot*
Neděle, 23. července – Tiš'a be-av

5806 (2045–2046)
Úterý, 12. září – Roš ha-šana*
Čtvrtek, 21. září – Jom kipur*
Úterý, 26. září – Sukot*
Úterý, 3. října – Šmini aceret*
Středa, 4. října – Simchat Tóra*
Pondělí, 4. prosince – Chanuka
Pondělí, 22. ledna – Tu bi-švat
Čtvrtek, 22. března – Purim
Sobota, 21. dubna – Pesach*
Čtvrtek, 3. května – Jom ha-šo'a
Čtvrtek, 10. května – Jom ha-acma'ut
Čtvrtek, 24. května – Lag ba-omer
Neděle, 10. června – Šavu'ot*
Neděle, 12. srpna – Tiš'a be-av

5807 (2046–2047)
Pondělí, 1. října – Roš ha-šana*
Středa, 10. října – Jom kipur*
Pondělí, 15. října – Sukot*
Pondělí, 22. října – Šmini aceret*
Úterý, 23. října – Simchat Tóra*
Pondělí, 24. prosince – Chanuka
Pondělí, 11. února – Tu bi-švat
Úterý, 12. března – Purim
Čtvrtek, 11. dubna – Pesach*
Úterý, 23. dubna – Jom ha-šo'a
Středa, 1. května – Jom ha-acma'ut
Úterý, 14. května – Lag ba-omer
Pátek, 31. května – Šavu'ot*
Čtvrtek, 1. srpna – Tiš'a be-av

5808 (2047–2048)
Sobota, 21. září – Roš ha-šana*
Pondělí, 30. září – Jom kipur*
Sobota, 5. října – Sukot*
Sobota, 12. října – Šmini aceret*
Neděle, 13. října – Simchat Tóra*
Pátek, 13. prosince – Chanuka
Čtvrtek, 30. ledna – Tu bi-švat
Pátek, 28. února – Purim
Neděle, 29. března – Pesach*
Pátek, 10. dubna – Jom ha-šo'a
Čtvrtek, 16. dubna – Jom ha-acma'ut
Pátek, 1. května – Lag ba-omer
Pondělí, 18. května – Šavu'ot*
Neděle, 19. července – Tiš'a be-av

5809 (2048–2049)
Úterý, 8. září – Roš ha-šana*
Čtvrtek, 17. září – Jom kipur*
Úterý, 22. září – Sukot*
Úterý, 29. září – Šmini aceret*
Středa, 30. září – Simchat Tóra*
Pondělí, 30. listopadu – Chanuka
Pondělí, 18. ledna – Tu bi-švat
Čtvrtek, 18. března – Purim
Sobota, 17. dubna – Pesach*
Čtvrtek, 29. dubna – Jom ha-šo'a
Čtvrtek, 6. května – Jom ha-acma'ut
Čtvrtek, 20. května – Lag ba-omer
Neděle, 6. června – Šavu'ot*
Neděle, 8. srpna – Tiš'a be-av

5810 (2050)

5810 (2049–2050)
Pondělí, 27. září – Roš ha-šana*
Středa, 6. října – Jom kipur*
Pondělí, 11. října – Sukot*
Pondělí, 18. října – Šmini aceret*
Úterý, 19. října – Simchat Tóra*
Pondělí, 20. prosince – Chanuka
Pondělí, 7. února – Tu bi-švat
Úterý, 8. března – Purim
Čtvrtek, 7. dubna – Pesach*
Úterý, 19. dubna – Jom ha-šo'a
Středa, 27. dubna – Jom ha-acma'ut
Úterý, 10. května – Lag ba-omer
Pátek, 27. května – Šavu'ot*
Čtvrtek, 28. července – Tiš'a be-av

redpajama_set_name: RedPajamaWikipedia