text:
Gisela Weimann (* 1943 in Bad Blankenburg) ist eine deutsche Künstlerin, die in Berlin lebt. Ihre Arbeiten werden international gezeigt und umfassen Ausstellungen, Klanginstallationen und multimediale Performances. Außerdem verfasst sie künstlerische und kunstwissenschaftliche Texte, die sie bereits in Magazinen und eigenen Buchbänden veröffentlicht hat. In ihren Werken standen vor allem in der Vergangenheit explizit politische und feministische Themen im Vordergrund.

2002 erhielt sie den Kritikerpreis für Bildende Kunst des Verbandes der Deutschen Kritiker e.V.
Neben ihren Reisen und Arbeitsaufenthalten im Ausland hat Gisela Weimann zahlreiche Kollaborationen mit anderen Künstlerinnen und Künstlern durchgeführt.
Sie ist mit ihren Arbeiten im Sculpture network vertreten.

Leben und Werk

Zahlreiche Reisen sowie Studien- und Lehraufenthalte im Ausland prägen den Lebensweg der Künstlerin.

Nach ihrer künstlerischen Grundausbildung an den Kunstschulen in Münster und Bremen und einer Ausbildung zur Fremdsprachenkorrespondentin studierte Gisela Weimann ab 1965 Malerei an der Universität der Künste Berlin, wo sie ihr Studium 1971 als Meisterschülerin abschloss. Im Anschluss daran erhielt sie ein Stipendium des DAAD und studierte bis 1972 freie Grafik und experimentelle Fotografie am Royal College of Art in London. Von 1972 bis 1976 war sie Dozentin für freie Grafik am Medway College of Design Rochester, Kent, und am Gloucestershire College of Art and Design Cheltenham. Danach lebte sie von 1976 bis 1978 als freischaffende Malerin in Berlin. 1978 erhielt sie Luftbrücken- und Fulbright-Stipendien für ein Studium am San Francisco Art Institute, San Francisco/USA (Bachelor of Art), wo sie bis 1979 Film und Fotografie studierte. Nach ihrem Studium lebte sie bis 1981 in Tepoztlán, Mexiko und unterhielt dort ein eigenes Atelier. Zurück in Berlin, arbeitete sie weiter als freischaffende Künstlerin. Sie bezog mit zwei anderen Kunstschaffenden die Räume einer aufgegebenen Zweigstelle der Weddinger Stadtbücherei am Schillerpark. Mit dieser Nutzungsumwandlung zum ersten bezirklichen Gemeinschaftsatelier sollte eine Aufwertung des als amusisch geltenden Wedding erfolgen und gleichzeitig billiger Atelierraum geschaffen werden. Die Künstlergruppe handelte – obwohl ein Mieterwechsel alle zwei bis drei Jahre vorgesehen war – ein Dauerwohnrecht aus. Da die Künstler nicht vom Bilderverkauf leben konnten, übten sie zeitweise ihre erlernten Berufe aus: Weimann dolmetschte auf internationalen Veranstaltungen. 1982 übernahm sie eine Anstellung bei der Volkshochschule Berlin-Wedding, wo sie bis 1987 als Leiterin des Fachbereichs Kunst und Kreativität tätig war. Ihr Engagement in der dezentralen kulturellen Bildung setzte sie von 1990 bis 1993 mit der Projektleitung der Galerie Lebendiges Museum der Volkshochschule Wedding fort. Ab 1996 bis 2004 lehrte sie als DAAD-Gastdozentin an den Kunstfakultäten der Universitäten in Salamanca und Madrid/Spanien, in Klausenburg/Rumänien und an der Universidad Autónoma Metropolitana in Mexiko-Stadt.

1997 erhielt sie ein Residenzstipendium der Villa Aurora in Los Angeles und 2009 Residenzstipendien der Emily Harvey Foundation in Venedig/Italien und des Kunstvereins Frankfurt-Oder. Für ihr europäisches Musiktheaterprojekt Oper für 4 Busse wurde ihr 2000 eine Förderung durch die Stiftung Kulturfonds und den Hauptstadtkulturfonds Berlin zugestanden. 2002 wurde ihr der Deutsche Kritikerpreis für Bildende Kunst verliehen. 2011, 2012 und 2013 arbeitete sie im Centre d'Art Contemporain d'Essaouira/Marokko und 2014 im Maison d'Art Contemporain in Asilah/Marokko.

Gisela Weimann setzt bei ihrer Arbeit zahlreiche unterschiedliche Ausdrucksmedien ein. Stefanie Endlich sagte in ihrer Laudatio über Gisela Weimann:
 " […] Breite und Vielfalt ihrer künstlerischen Ausdrucksform und Arbeitsweise reichen von Malerei und Grafik, Fotografie und Film, Mail Art, Installationen und Environments bis zu multimedialen Projekten, Aktionen, Performances und Kunst im öffentlichen Raum. Und spartenspezifische Grenzen überwindet sie durch interkulturelle und interdisziplinäre Zusammenarbeit mit Künstlerinnen und Künstlern aus dem Theater-, Musik- und Filmbereich sowie mit Wissenschaftlerinnen und Wissenschaftlern unterschiedlicher Disziplinen […]"

Ausstellungen (Auswahl)
 1977: Erste Einzelausstellung, Europäische Akademie Berlin
 1978: Frauen aus einem Mietshaus in Wedding, erste thematische Einzelausstellung, Happ Galerie Berlin
 1989: Referenzen I–VII, sieben Ausstellungen der Künstlergruppe Sieben / 87, Karo Galerie Berlin
 2001: Oper für 4 Busse, Museumsinsel Festival Berlin
 2005: Transatlantische Impulse, Martin-Gropius-Bau, Berlin
 2007: Frida a los 100 años, Haus am Kleistpark, Berlin, Gemeinschaftsausstellung zum 100. Geburtstag von Frida Kahlo
 2008: Espacios Mediterraneos, Casa de las Conchas, Salamanca, Spanien
 2008: Bläserballett I / Aurora, "Body Navigation Festival", St. Petersburg, Russland
 2010: La Notte Blu, Teatro Fondamenta Nuove, Venedig, Italien und Galerie futura, Berlin
 2011: Memorias, Palacio de la Mosquera, Arenas de San Pedro, Spanien
 2011/2012: Zeitgedanken, Berlin 1981–2007 in: Keine Zeit, G.A.S-station Berlin, Gruppenausstellung
 2012: Welt in Flammen, Casablanca Biennale, Marokko
 2013: Anfang Ende Hier Jetzt, Einzelausstellung, Kunsthalle Brennabor, Brandenburg an der Havel
 2013/2014: Evas aktuelles Angebot: Geklonte Äpfel in: Die Perfektheit und das Fehler, G.A.S-station Berlin
 2014: Mein Schatten bleibt, Einzelausstellung, Haus der Kunst Brünn, Tschechische Republik: In dieser Arbeit bezieht sie sich auf Peter Schlemihls wundersame Geschichte über den Schatten von Adelbert von Chamisso
 2014/15: Une mer deux rivages. MAC.A, Asilah, Marokko
 2015: Fragments of the Other. Performance mit Andor Kömives im Kunstmuseum in Cluj-Napoca, Rumänien
 2016: Welcome to Futuristan. Multimediale Ausstellung der galerie futura, Berlin
 2020: Die Wand / KONJUGATIONEN / Über das Irren, G.A.S-station Berlin

Veröffentlichungen (Auswahl)
 Werkstattbesuche bei Künstlern in Berlin-Wedding, Band I und II, herausgegeben von Ursula Diehl und Gisela Weimann, FAB Verlag, Berlin 1988 und 1989, ISBN 3-9801875-9-4 und ISBN 3-927551-03-1.
 Werkwechsel I, GEDOK, 1989, ISBN 3-927551-10-4.
 Ein Paradox zieht Kreise – Das Lebendige Museum wird zur Institution, Galerie Lebendiges Museum, Berlin 1990.
 Von Asien nach Europa, Selbstverlag, 1995
 Reflexionen / Reflections dt./engl., VDG Weimar, 2002, ISBN 3-89739-302-6.
 Cow School: Guidelines for Classes. In: n.paradoxa international feminist art journal, Vol. 15, Jan. 2005, S. 13–17
 Jerzy Olek "Ujezdzanie muzyki" (Riding the Music) in: Rita Baum, No. 10, 2006, Seite 220–221,
 Geteilte Zeit: Fragen und Antworten, VDG Weimar, 2007, ISBN 3-89739-566-5.
 Shared and/or Divided Times: Questions and Answers. In: n.paradoxa international feminist art journal, issue no.20, April/2008, KT press, .
 Europe in Exile. In: n.paradoxa international feminist art journal, issue no.20, April/2008, KT press, .
 La Notte Blu in: n.paradoxa international feminist art journal, Vol. 24, Juli 2009, S. 45–48,
 Ave Maria – Die Verkündigung an Maria in modernen Kunstwerken in: Perspektivenwechsel, Diözesan-Museum Bamberg 2013, Seite 170–171, ISBN 978-3-931432-32-4.
 Culture and Cosmos in: Culture and Cosmos, Vol. 16, 2012, S. 429–437, .

Rezeption
Im feministischen Kunstmagazin n.paradoxa – international feminist art magazin wurde 2016 ein ausführliches Interview mit Gisela Weimann von der Kunstwissenschaftlerin Sarah Frost über Klang und Stille ihrer Arbeiten veröffentlicht.

Stefanie Endlich sagte in ihrer Laudatio: "Gisela Weimanns besondere Arbeitsweise ist charakterisiert von einem Spannungsfeld zwischen ihrer individuellen künstlerischen Handschrift auf der einen Seite und einem durch ihre Initiativen entstandenen umfassenden Netzwerk mit weitreichenden Wechselwirkungen auf der anderen."

Die Kunstwissenschaftlerin Brigitte Hammer schrieb im Projekt-Buch Referenzen Sieben/87: "Gisela Weimanns künstlerisches Werk entwickelt sich in miteinander verbundenen thematischen Zyklen, deren Elemente aus dem Bewußtsein der Endlichkeit des Lebens, der Erfahrung der Begrenztheit menschlichen Seins und von der Sehnsucht nach Vollkommenheit und Ganzheit bestimmt werden. Ob sie thematische Essen mit Künstlerkollegen und anderen Menschen gestaltet oder 1988 jeden Tag ein Selbstportrait malt, immer sind ihre Aktionen von der Suche nach Bleibendem in der Veränderung, nach Ergänzung durch Austausch bestimmt, sind ein permanenter Versuch der Integration und Verbindung von Kunst und Leben."

Weblinks
 Website von Gisela Weimann
 Gisela Weiman bei sculpture network
 Gisela Weiman bei Vimeo

Einzelnachweise

Bildender Künstler (Berlin)
Darstellender Künstler (Berlin)
Deutscher
Geboren 1943
Frau


text:
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// Fixme: Move to own file (like run-bench.hh et al.)
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    std::cout <<(TEST_FAILED ? "FAIL" : "ok") << std::endl;
  }

  if (TEST_FAILED){
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      std::cout << name << ": FAIL" << std::endl;
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    std::cout << "Error: " << numFailed << " " <<
      (numFailed == 1 ? "test" : "tests") << " failed!" << std::endl;
    return 1;
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  if (NUM_KNOWN_ERRORS > 0){
    std::cout << "Known errors: " << NUM_KNOWN_ERRORS << std::endl;
  }
  return 0;
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#endif

redpajama_set_name: RedPajamaGithub


text:
Heinrich Damisch (* 4. Dezember 1872 in Wien; † 8. Juni 1961 in Salzburg) war ein österreichischer Musikschriftsteller.

Ausbildung
Heinrich Damisch wurde als Sohn eines Generals geboren. Er absolvierte die Theresianische Militärakademie, die geodätische Schule am k.u.k. Militärgeographischen Institut und die Exportakademie. Anschließend studierte er Klavier, Musiktheorie und Komposition. Seine Offizierslaufbahn musste er aufgrund eines Augenleidens aufgeben. Von 1904 an war er Mitglied einer deutschnational-antisemitischen Studentenverbindung.

Laufbahn
Ab 1907 war er als Musikredakteur und Musikreferent tätig. Im Jahr 1913 gründete er die Wiener akademische Mozartgemeinde als Verein und gehörte ihr bis 1945 als Vorsteher (Eigenbezeichnung) an. Es gelang ihm relativ rasch, die Profilierung dieser Vereinigung zu einer allseits anerkannten Wiener Musikinstitution zu erreichen. Unter Damisch entfaltete die Mozartgemeinde eine rege Konzerttätigkeit; man bemühte sich u. a. um die Aufführung selten gespielter Mozartwerke.

Salzburger Festspiele
Damisch entwickelte gemeinsam mit Friedrich Gehmacher den Plan für die am 1. August 1917 in Wien gegründete Salzburger Festspielhausgemeinde und leitete diese als geschäftsführendes Direktionsmitglied bis zu ihrer Übersiedlung nach Salzburg 1925. Damisch "gab damit den Anstoß zur Gründung der Salzburger Festspiele". Er war Fachberater für Musik im nationalsozialistischen Deutschen Kulturbund.

Im Jahr 1923 war er völlig erblindet.

Internationale Gesellschaft für Neue Musik
Er gründete 1922/23 mit Rudolph Reti die Internationale Gesellschaft für Neue Musik und war bis zu ihrer Übersiedlung nach London deren Präsident.

Damisch war Herausgeber des Allgemeinen Deutschen Sängerkalenders in den Jahren 1926 bis 1932 und des Wiener Mozart-Almanachs für 1931 und 1941. Zum 1. Mai 1933 trat Damisch der NSDAP bei (Mitgliedsnummer 1.515.003). Seine "Beiträge gegen 'die jüdische Korruption alles Musikalischen' machen ihn zu einem Wegbereiter nationalsozialistischen Gedankenguts".

1939/40 passte Damisch die Statuten der Wiener akademischen Mozartgemeinde an die Wünsche der NS-Machthaber an. 1941 fand in Wien mit Joseph Goebbels als Festredner die 'Mozart-Woche des Deutschen Reiches' statt.

Nachkriegszeit
1945 floh Damisch vor dem Einmarsch der Roten Armee nach Salzburg, wo er sein weiteres Leben verbrachte. Der Verein Wiener akademische Mozartgemeinde bestand bis 1948, als Hans Pemmer als Vorstandsmitglied seine freiwillige Auflösung bekanntgab. Parallel dazu hatte sich 1947 mit Erik Werba als Vorsteher ein neuer Verein namens Mozartgemeinde Wien gebildet, der bis heute besteht.

Ehrungen

Nach den Untersuchungen von Kretschmer wurde Heinrich Damisch vor und nach 1945 geehrt. Im Salzburger Stadtteil Parsch ist seit 1963 eine Straße nach ihm benannt.

 1943 Nicolai-Medaille der Wiener Philharmoniker
 1952 Mozartmedaille der Mozartgemeinde Wien
 1957 Goldenes Ehrenzeichen für Verdienste um die Republik Österreich

Literatur
 Robert Hoffmann: Wer war Heinrich Damisch? Versuch einer biographischen Annäherung. In: Cornelia Szabó-Knotik, Barbara Boisits (Hrsg.): Musicologica Austriaca 27 (2008). Jahresschrift der Österreichischen Gesellschaft für Musikwissenschaft 2009, S. 181–209.
 Robert Hoffmann (Hg.): Festspiele in Salzburg. Quellen und Materialien zur Gründungsgeschichte. Band 1: 1913–1920, Böhlau Verlag, Wien, Köln, Weimar 1920. ISBN 978-3-205-21031-3
 Helmut Kretschmer: Ein Verein im Dienste Mozarts. 100 Jahre Mozartgemeinde in Wien, in: Wiener Geschichtsblätter. Hrsg. Verein für Geschichte der Stadt Wien, Beiheft 1 / 2013, , 24 Seiten

Weblinks

 Heinrich Damisch und die Wiener akademische Mozartgemeinde (1913–1945) (abgerufen am 15. Juni 2022)

Einzelnachweise

Musikjournalist
Journalist (Österreich)
Mitglied des Deutschen Klubs (Verein)
Träger des Goldenen Ehrenzeichens für Verdienste um die Republik Österreich (1952)
Österreicher
NSDAP-Mitglied
Geboren 1872
Gestorben 1961
Mann

redpajama_set_name: RedPajamaWikipedia


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text:
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Crane, Inc., is a leading manufacturer of sporting equipment. The company is in the process of evaluating the best use of its Plastics Division, which is currently manufacturing molded fishing tackle boxes. The company manufactures and sells 8,000...
Bo Vonderweidt, the production manager for Sportway Corporation Bo Vonderweidt, the production...
Bo Vonderweidt, the production manager for Sportway Corporation Bo Vonderweidt, the production manager for Sportway Corporation, had requested to have lunch with the company president. Vonderweidt wanted to put forward his suggestion to add a...
Sportway CorporationContribution margin calculationsSelling priceLess:MaterialDiirect laborManufactu
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The management of Sewell Company asks you, as the company accountant, to explain (a) the concept of reasonable assurance in internal control and (b) the importance of the human factor in internal control
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A company purchased a weaving machine for $190,000. The machine has a useful life of 8 years and a residual value of $10,000. It is estimated that the machine could produce 75,000 bolts of woven fabric over its useful life. In the first year, 15,000...
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redpajama_set_name: RedPajamaCommonCrawl


text:
Home Straight Rails Incident with Peltier Derails Impressive Performance for Diaz
Mason Diaz (24) and Preston Peltier (33) run side-by-side at Southern National Motorsports Park. (Jaden Austin photo)
Incident with Peltier Derails Impressive Performance for Diaz
LUCAMA, NC – A strong run for Mason Diaz in Saturday's Solid Rock Carriers 300 at Southern National Motorsports Park ended with a disappointing result after a late race incident with eventual runner-up Preston Peltier.
In the closing laps of the race, Pollard, Diaz and Peltier were mired in a three way battle for the win as they raced each other and lapped traffic. With seven laps to go, Diaz got loose entering turn three and then ended up going around off the front bumper of Peltier – ending what could have been a first career CARS Tour victory for the 18-year-old from Manassas, Virginia.
"Kind of heartbreaking but this is still less than 15 races in a Super Late Model for me. Live and learn," Diaz said after the race. "Every race I'm going to, I'm learning more and more every time. The K&N race, I figured out how to save more tires. We got to the end there, Bubba got caught behind some lapped cars and I was catching him and running faster than him. Next thing I know, I'm there, then my spotter's telling me the 33's in the rear-view mirror. In my head, I was going harder and harder. Got loose in, thought I saved it, then the 33 hit me."
Peltier, who went on to finish second to Pollard, said the contact was not intentional.
"He drove in and got loose," Peltier said. "I got underneath him and he must not have gathered it all the way back up because it's like he corrected and started to spin some more. It just came down and got me on the right front. I hate that for Mason. Man. It is what it is. There was nothing I could do. Late in the race going for the win, it is what it is."
After the race, Diaz said Peltier apologized to him for the incident that relegated him from a podium finish, at worst, to a 13th place result.
"It is what it is," Diaz stated. "It's a racing incident, most likely. I don't know. All I know is I had it saved and, all of a sudden, once I'm straight, I'm turned around. Anything could have happened. He came down and apologized to me."
After the incident, Peltier was allowed to keep the second position – a decision that contradicts the CARS Tour's otherwise consistent decisions to penalize every driver involved in an incident. Series director Chris Ragle, who also serves as the race director, addressed the decision not to penalize Peltier.
"We looked at the replay and [Diaz] bobbled and [Peltier] was just on him and got into him," Ragle told Race22.com. "I thought he got dumped at first, but then I saw the replay."
While the result did not do Diaz justice, he left Southern National with plenty of confidence after being in the mix for the win against Super Late Model greats Bubba Pollard and Preston Peltier. He is racing regularly in the NASCAR K&N Pro Series East and he hopes the confidence from Saturday night's performance will translate into success at Bristol Motor Speedway on Saturday, April 6th.
"That was the closest I've ever come to winning a Super Late Model race," Diaz commented. "I was just trying to set him up. I finally got to his bumper. He pulled away a little bit but I was just better through the center. He had a little more drive off, he saved the right rear tire a little more than me."
Mason Diaz
Preston Peltier
Solid Rock Carriers 300
Southern National Motorsports Park
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Mikveh: A mikveh is a ritual bath used for immersion.
Mishnah: Grouped into six major sections, the Mishnah is the first major record of the Oral Torah, containing discussions by the early rabbis regarding interpretation and tradition.
Minyan: A minyan is a group of at least ten men needed to recite specific portions of each of the various daily prayer services.
Mitzvah: A mitzvah is a commandment proscribed in the Torah, which form the foundation of Jewish obligation, and serve as avenues to reveal the Divine presence in physical life.
Great to see you doing the Hebrew alphabet! Sorry I haven't been by lately, have been busy. Thanks for your comment!


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Registration is limited to 40 ICCA Members and 20 Association Executives. Due to the popularity of the event ICCA Members are limited to one participant per company.
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It is strongly recommended that participants take out insurance to cover loss (including registration fees) incurred in case of cancellation, medical expenses and damage to or loss of personal effects. ICCA will not be responsible for any medical costs incurred by participants. ICCA and the Local Hosts will not accept liability for personal injuries or for loss or damage to property belonging to participants, either during or as a result of the programme.


text:
Petronella Juliëtte Elisabeth Maria (Petra) van Dam (Utrecht, 18 februari 1963) is een Nederlandse hoogleraar water- en milieugeschiedenis aan de Vrije Universiteit Amsterdam.

Loopbaan
Van Dam studeerde na haar Haagse middelbareschooltijd Middeleeuwse geschiedenis in Leiden (1982-1989). Vervolgens promoveerde ze in Leiden (1997) op Vissen in veenmeren. De sluisvisserij bij de Spaarndamse dijk en de ecologische transformatie in Rijnland 1440-1530 en was als onderzoeker verbonden aan verschillende instituten. Ze was onder meer KNAW-onderzoeker voor het project 'An Ecological Transformation at the Northsea Coast. Ecosystems, Trading Networks and Institutions in Holland, Zeeland and Northern Germany, 1300-1700.' Ook was ze projectleider van een groot onderzoeksproject over de geschiedenis van het hoogheemraadschap van Rijnland.

In 1998 kreeg ze een aanstelling aan de VU. In 2009 werd ze bijzonder hoogleraar waterstaatsgeschiedenis, gefinancierd door het Schilthuisfonds en Onderzoeksinstituut CLUE. Haar oratie (2010) droeg als titel 'De amfibische cultuur: een visie op watersnoodrampen'. In 2019 werd ze benoemd tot gewoon hoogleraar Water- en Milieugeschiedenis aan de Vrije Universiteit. Haar onderwijs en onderzoek omvat waterstaatsgeschiedenis, ecologische of milieugeschiedenis en sociaal-economische geschiedenis over de periode 1000-2000.

Onderzoek
Een groot deel van het onderzoek van Van Dam richt zich op de vraag hoe in de loop van de geschiedenis Nederlanders zich hebben beschermd tegen water. Veel aandacht besteedde ze aan de historie van de Nederlandse waterschappen en de rol van  bepaalde dieren in de omgang van mens en natuur, onder andere de paling en het konijn (in de duinen).

Publicaties (selectie)
 Petra van Dam: Van Amsterdams Peil naar Europees referentievlak. De geschiedenis van het NAP tot 2018. Hilversum, Verloren, 2018.
 Dam, P.J.E.M. van (2016) 'An Amphibious Culture. Coping with floods in the Netherlands,' in: Peter Coates, David Moon, Paul Warde (eds.) Local Places, Global Processes. Oxford: Oxbow Books, .
Gerrit R. Boomsma &  Dam, P.J.E.M. van (2014) 'Voor de ongelukkigen van de watersnood.' Historisch onderzoek naar de donormotieven bij watersnoden in de negentiende eeuw,' Tijdschrift voor Waterstaatsgeschiedenis 23 (2), 68-81.
 Dam, P.J.E.M. van  (2012) 'Denken over overstromingen, natuurrampen en het idee van de amfibische cultuur', Tijdschrift voor Waterstaatsgeschiedenis 22(1-2), 1-10.
 Dam, P.J.E.M. van (2012) 'Overstromingen en culturele aanpassingen in historisch perspectief,' Water Governance 5, 10-17.
 Dam, P.J.E.M. van  (2010) 'Leidse professoren eisen hofkonijnen. Een nieuw betekenis voor een oud emolument in vroeg-modern Holland,' in: L. Sicking, M. Damen (red.) Bourgondië voorbij. De Nederlanden 1250-1650. Liber alumnorum Wim Blockmans. Leiden, 288-302.
 Dam, P.J.E.M. van  (2012) 'Rabbits Swimming Across Borders. Micro-Environmental Infrastructures and Macro-Environmental Change in Early Modern Holland' in: Economies and Ecologies in Medieval and Early Modern Europe, B. Scott (ed.), Brill's Series in the History of the Environment vol.1 (Aleks Pluskowski ed.), Leiden, 63-92.
 Dam, P.J.E.M. van  (2010) De amfibische cultuur. Een visie op watersnoodrampen , oratie, Vrije Universiteit, Amsterdam, 29 oktober 2010, 26 p. Ook gepubliceerd op: www.DARE.nl: http://hdl.handle.net/1871/18457

Overige  activiteiten
 Bestuurslid van het Amsterdam Sustainability Institute, VU, 2019- .
 Bestuurslid van het Environmental Humanities Center, VU, 2017- .
 Redacteur boekserie Water, cultuur en geschiedenis (Verloren, Hilversum). 2011-
 Editor book series 'The environment in history: international perspectives' (Berghahn, Oxford/New York) 2009-2019.
 Lid Adviesraad Water History (Springer, Dordrecht etc.). 2009-2019.
 Bestuurslid Society for Agricultural History of the Netherlands (VLG) 2008-2012.
 Vice-President European Society for Environmental History (ESEH) 2007-2011.
 Lid Editorial Board Environment and History (Cambridge) 2007- .
 Hoofdredacteur Jaarboek voor Ecologische Geschiedenis (Verloren) 1998-2005.
 Lid De Jonge Akademie 2005-2010.

Externe links

 Narcis

Hoogleraar aan de Vrije Universiteit Amsterdam
Nederlands historicus
Lid van De Jonge Akademie


I'd like to continue my conversation with veteran teacher David Farkas. We have been discussing the sustainability of teaching as a career. In Part 1, we had just started talking about teacher burnout, and how it might start. Dave let us know, that even when things in his classroom were at their best, bureaucracy posed a challenge.
What impact will it have on our school culture?
How does it benefit our student population directly?
Does the effort equal the reward?
How much time will it take and is the scope and sequence achievable?
Is this another task or will it actually do good?
Nick: Wow Dave, I've been a classroom teacher for over a decade myself and can definitely say that my professional development experiences have been a mixed bag. However, despite the varied nature of my trainings I have had some that are quite memorable, practical, and still applicable to my current teaching. I have been a charter school teacher for my entire career, and perhaps with less district influence, my employers were able to design, or find, more targeted and pertinent trainings.
Dave: I am now working in a Charter School where I see burnout happening for other reasons. Our school is EL-based (expedition learning) and project-based which requires an enormous amount of energy and time to make the classes operate with integrity and fidelity. I am in my classroom ten hours a day and even on weekends most months of the year. I also grade work and work on classroom content one to two hours a night. I have to do this in order to provide the best education I can to my students. I do not hand out worksheets, ask students to read textbooks, and bore them with mindless pursuits. I engage students, provide guiding rubrics that they can refer to, and create and supervise exciting projects that require them and myself to commit energy to. None of this is scripted, none of this cookie cutter. It requires creativity and constant evolution. This doesn't happen easily.
Nick: It seems like more targeted trainings can be chosen in charter schools because of the greater autonomy. This can have a positive effect on teacher sustainability. The other side of the progressive education coin however seems to be an inordinate amount of work to get things to work well. Thanks again Dave. Let's continue this conversation about the time crunch many of the best teachers are facing, and how it affects the sustainability of the profession.
More than anything else I have found that public schools, which is where most students are educated, prefer people they know socially and admire or at least accept to hire as teachers. Personnel officers don't really want those moving in from out of state or people they have no real experience with. They almost always want women to be married and there are many single women who have been discriminated against by these conservative personnel people. The principals even say they want to hire "someone like my wife" because they really are not sophisticated or really "thinkers." Because of this, children, especially boys, always call their teacher Mrs. this or that, whatever the female teacher's last name is. They can't conceive of a single female being their teacher. I find this interesting also that the general public doesn't seem to know anything about it. Also, as I had mostly single, female teachers myself as student, this is something that evolved relatively recently, in the last 30 to 40 years; it hasn't always been that way. It's something that came about when women's lib got going in the 70's and the men could see that if they married a teacher, then they'd have a secure second income to pump up their lifestyle. With the unions backing them there wasn't that much risk that the married female teacher would be fired because we know how hard it is to fire some union-backed teacher. However, the younger teachers aren't staying in the profession that long, so it's going to be interesting to see who actually will last in the profession. I anticipate there will be many changes to the teaching profession.
Interesting perspective Mary. I agree with you, the future of the teaching profession raises many questions. It seems that we are making it very difficult for young teachers to stay in the profession. It is a shame that so much focus is placed on testing and national standards. Anxiety in the teacher leads to anxiety in the classroom. Stress curtails the ability to breath, to focus, and ultimately to learn. Eventually, stress leads to burn out and illness. So much seems to be happening, that it is difficult to get a sense of where things will end up. For me, I wish the focus would shift back to the student and what I see as the real goals of education, and that is to help students learn to think, acquire useful skills, inspire a love for life long leaning, encourage creativity, promote physical fitness, help students acquire the tools they will need so they will be able to choose their destiny. The teacher regardless of gender should be the guide that helps the student find their way to success, health, and happiness. Tall order! No doubt, but where else will students get this training, aside from their family, schools and their teachers have a tremendous responsibility.


It wasn't quite up there with the mother mallard and brood crossing Division in the annals of blog fluff but a beaver made its way through the intersection at 4th and Division this morning on its way across Bridge Square. Some pedestrians were evidently unsure who had the right-of-way. Photos courtesy of Rick Estenson, First National Bank downtown. Click to enlarge.


text:
Q: Is there a way to hide and Show Algolia Facets/Refinements values based on user roles? Hi guys am integrating Algolia to an NopCommerce store . I want to know if is there any way to hide or show a facet value based on  user whose logged in. For example i have a hierarchical menu that displays product categories for filtering  , some categories are mapped to certain customer roles which means only a customer assigned to those roles should see those categories  . I there way to implement such functionality using instantsearch.js.

A: Yes, you can hide facet just get current customer from workcontext and check their role and through that you can hide or show Algolia Facet/Refinements.

redpajama_set_name: RedPajamaStackExchange


"make money while you sleep"
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Feel free to ask us any questions you might have in regards to vending machines and our range of products. I will be more then happy to assist you where I can.


For decades, the Bolton Ice Palace has been a place where young and old can participate in learn to skate programs, ice hockey, figure skating, and open skating sessions.
Lesser known is that it is home to Theatre on Ice (TOI), a competitive theatrical skating troupe. It is the first of its kind in Connecticut.
"TOI is part of U.S. figure skating and is similar to synchronized skating," said Anita Carrano, director of figure skating and learn to skate programs at the Palace.
She described it as a form of competitive figure skating that combines the grace and athleticism of figure skating with the excitement and artistry of theater and dance. Originating in Europe as "Ballet on Ice," TOI is one of the newest disciplines in U.S. Figure Skating and consists of teams of eight to 30 skaters that compete in front of an audience and judging panel on various levels across the country.
U.S. Figure Skating judges evaluate the performances on technical merit and presentation, emphasizing originality, costuming, artistry, and music.
The Bolton Ice Palace has had a troupe for approximately 15 years - one for children called Open Troupe, and another for adults.
To make the troupe, skaters must meet certain testing requirements set forth by U.S. Figure Skating. Bolton's 2019 Open Troupe has 12 skaters.
The production this year is called Acceptance, and focuses on bullying and inspiring people to be the change. This year, they will be performing March 2 at the Whale Game at the XL Center, March 23 at the Northeast TOI Festival in Burlington, Vermont, and June 1 and2 at the Northshore Open Competition in Reading, Massachusetts.
"Sometimes we go to a national competition, depending on where it is," said Carrano.
Last year, she said the troupe placed second in the Northshore competition in Massachusetts.
This year, there were not enough members to meet the minimum requirements for an adult troupe, so those on the team are pursuing another avenue, called Showcase, a competition that includes smaller ensembles. Their performance, The Power of Pink, celebrates women's empowerment, independence, and confidence. That troupe is scheduled to perform at the New York Showcase Competition in New York City on Feb. 16.
Additionally, both the children and adult troupes will perform at the Bolton Ice Palace's annual Spring Ice Show on Saturday, May 18 at 2 p.m. and 6 p.m.
"TOI is a wonderful venue for skaters to skate as a group. It's a nice complement to all the programs Bolton Ice Palace offers, and a wonderful avenue for families to come together," said Carrano.


Because of the way our farm is tucked into this little valley, we never get much in the way of sunsets. Most evenings the sun simply dips below the ridgetop without so much as a wave goodbye. Sunrises can be very nice, though, and once in a while at dusk the entire sky will turn some gorgeous shade of pink or orange. On a clear night there are more stars twinkling above than many people have probably ever seen. It wasn't until I'd moved to the middle of nowhere that I finally realized why they call it The Milky Way. Out here it's one big swath of white across the sky.
We may not be on the wide open prairie where the horizon stretches on forever, but we do get some pretty big glimpses of the weather as it heads this way. The spectacular displays will often stop me in my tracks, but it isn't easy watching storm clouds blow right by, knowing they're off to shower water on someone else when we so desperately need it.
You know it's dry when a cat kicks up a cloud of dust as it trots down the driveway. The storm in this photo passed overhead without leaving a drop, but thankfully we've had a little rain lately--enough to at least settle the dust. It's probably due to the fact that despite overcast skies, humidity at 80% or higher, and not a breeze to speak of, I've been dutifully hanging laundry out on the line. This trick has worked before, and it seems to be sort of working now. By the time I hung up the last sock other day, there were raindrops tapping on my big straw hat.
Three days later, I'm afraid to break the spell by bringing all that still-slightly-damp laundry in, especially since there's an awful lot of sunshine outside considering the 60% chance of rain in the forecast. Because we have no neighbors, I don't have to worry about word getting around town that I leave my laundry hanging on the line for days at a time because I'm either lazy or crazy or both. But reputations aside, I may have to give in anyway. I'm just about out of clean socks.
I love echinacea. It flourishes in our crazy climate, blooms for weeks, never needs watering, attracts all sorts of pollinators, spreads like mad, and is pretty much impossible to kill. That's my kind of plant.
Want to learn more about echinacea? Check out this kitchen garden blog post: My Favorite Easy To Grow, No Maintenance, Heat Loving, Drought Tolerant, Long Blooming Flowering Perennial? Echinacea!
Did I mention it's a joy to photograph?
© 2007 FarmgirlFare.com, the perennial foodie farm blog where Farmgirl Susan shares photos & stories of her crazy country life on 240 remote Missouri acres.
There won't be any strawberries in the garden this year. After several years and many pounds of gorgeous, sweet bounty, my original plot finally petered out. And the raised bed I filled two years ago with locally grown Super Strawberry plants from the Garden Club's plant sale is history, too.
I do have 27 new Cavendish strawberry plants flourishing in another 4' x 8' raised bed, but one of the secrets to growing strawberries is that you need to pinch off all the blossoms that appear the first year. This allows the plant to expend more energy on itself rather than on making fruit for you. It's not easy, but in the long run it's worth it. I think.
You might think that there isn't a bright side to having a strawberryless garden, but you would be wrong. No strawberries for me also means no strawberries for all the ravaging, ravenous turtles. It's turtle season in the garden again, and for once I couldn't care less.
--6/25/06: Weekend Baby Turtle Blogging?
Mother Goose has nothing on Whitey. She's no spring chicken, but this old girl has taken to her new role like a duck to water. According to my research, Whitey, who is over seven years old, should technically be dead. Instead she's having the time of her life raising seven darling baby chicks.
At two weeks of age, her inquisitive brood has become quite a handful, and they're growing up faster than you can say "Oh my god are they cute!" The last few days they've been taking flying lessons. I've caught a couple of them stretching out their new little wings in a "Hey! Look what I've got!" way.
We've had baby chicks on the farm before, but they arrived by mail without a mother hen in sight, so this is a whole new experience for us, too. My friend was thoughtful enough to bring Whitey a variety of eggs to hatch out, and it looks like we ended up with six different types of chickens, including an adorable little black one.
There are lots more photos and baby chick tidbits to share. In the meantime, cross your fingers that they don't all turn out to be roosters!
© 2007 FarmgirlFare.com, the peep peep peeping foodie farm blog where Farmgirl Susan shares photos & stories of her crazy country life on 240 remote Missouri acres.
We're in the middle of a scorching heatwave, also known as summer, and farm cats can be counted on to find the coolest places around. In this case that means under the 100+ year-old half of The Shack. If we had a basement I'd be sleeping in it every night until at least the middle of September.
Heatwave or not, I'm just happy J2 was out and about. Today was the first time I'd seen him leave the cat cabin since his pal New Cat died unexpectedly last week. I was afraid J2 would go off in search of his buddy, but instead he's been staying in the cat cabin so he wouldn't miss New Cat's return.
I miss New Cat something fierce, but my loss is nothing compared to J2's. Those two were the best of friends who spent nearly every waking moment together, then slept curled up side by side each night on their silly pink wool bed. Tell me animals don't have real feelings, and I'll show you a heartbroken cat.
"It's a bad time of year to chuck a kitten in there with him," Joe said the other day when I mentioned how bad I felt for J2. He meant that in the kindest possible way, but sometimes the things that guy says crack me up. He was right, though. Life on a farm is risky enough for a cat, and snake season is especially dangerous if you're an innocent kitten.
J2 is a friendly guy, but because he was so close to New Cat he didn't want much attention from us. Now several times a day he jumps over to his feeding perch in the cat cabin and cries out for affection. This afternoon I was out in the yard hanging laundry on the line and was thrilled to see him heading toward me and loudly meowing hello. I could hear his purr box running on high from several feet away.
As I pet and he purred, I explained to J2 that I understand how lonely he is and assured him that a new feline friend would be bunking with him soon. I have no doubt that another cat in need of a home will find us. They always do.
"How many cat years are in a human year?" Joe asked me as we lay in bed yesterday morning. He knew I was thinking about Gretel.
"Some people say seven, but there are plenty of cats who live to be at least 20, so some people say five."
"Well even at five years, that would make Gretel, wow, really old."
About an hour later, with a little cry of goodbye, the last of my four transplanted California cats passed away. She was 20 years old. Her death wasn't entirely unexpected, though I didn't think I'd be out in the garden digging another grave less than a week after the sudden loss of New Cat.
Apart from being periodically terrorized by the 4-1/2 pound Doodle Monster during the past decade, I don't think Gretel could have asked for a better cat life.
She spent her last day laying in the shade on the front step, taking in the fresh air and the farm. She waited for me to wake up the next morning and was wrapped in my arms when she took her final breath.
We were gone much of yesterday, and when I opened the front door late last night I caught myself automatically checking Gretel's favorite spots to see where she was, to make sure she was okay. I was surprised her absence hit me so hard. A little while later I realized that I've lived with Gretel longer than I've lived with anyone else in the world--more than half my life.
I'm not sad for Gretel, but a hundred years is a long time to be together. It's no wonder my heart and my home feel so empty. The memories, of course, will live on as long as I do, and for that I will always be grateful.
Hold life in your hand. . .
I bet you are overwhelmed with the number of responses to your post about New Cat, my mother wrote to me the other day. I've been in tears several times reading them.
I know there aren't words to accurately describe just how touched I am by the outpouring of comments regarding my tribute to New Cat, so I'm not going to try to find them.
Nearly 100 of you took the time to write. Twice I sat down to individually reply to each comment, but I simply couldn't do it. Yes, I am indeed overwhelmed. Your kindness is truly amazing.
All I can say is this. If you're looking for a smile, or if, as Joe likes to put it, you could use a good eyeball washing, I urge you to make your way through the comments. They are full of thoughtful words, wonderful quotes, beautiful images, and personal stories about cherished feline friends.
Farmgirl, your beloved cat is surely safe with my beloved daughter who was an animal lover without equal. Today would have been her 28th birthday, and I am so glad I came to your site today to learn of your loss. I came to your site today because it comforts me to read about the small things which turn into the great things that make up our lives.
I know that my girl has your New Cat in her arms right now. Her birthday gift today just might be your New Cat. I continue to take the most tender care of my daughter's 5 horses, 2 goats, 4 cats, and her remaining and much loved dog. I am comforted to know that your cat is safe in her arms. I am sorry that your heart is so sad.
Thank you for sharing your daughter with us, and for the marvelous thought that New Cat went off to be a warm and fluffy birthday gift for her. Thank you, Bridgett, for the smiling idea that "New Cat was a concept bigger than just a cat." Thank you, Jessica.
Bean said, "May the love you give come back to you 10-fold." And as you can clearly see it already has--and then some.
The top photo is one of Whitey's new chicks (which I'll write more about soon), taken not long after it hatched. A small miracle that popped out from inside an everyday egg. But that's what all of life is, isn't it? An everyday miracle.
© FarmgirlFare.com, the peeping foodie farm blog where Farmgirl Susan shares photos & stories of her crazy country life on 240 remote Missouri acres.
New Cat was huddled in a dark corner of the cat cabin crying. Something was very wrong.
My guess is that he was bitten by a snake. The farm is thick with copperheads, and a bite to a small animal is deadly.
"He's not gonna make it, honey," Joe said softly.
"That's what I'm afraid of."
"He had a good run."
"He left a place where he obviously wasn't happy and came to live with us. That was what, five years ago?"
New Cat appeared one day out beyond the hayfield, but it was nearly a week before he made his way up to the house, having apparently decided that life here looked pretty good.
He moved into the cat cabin with J2, who had shown up years ago at Windridge Farm in much the same way, and the two quickly became inseparable. I've never known two cats who were better friends.
In the 17 years that Joe has lived on this farm, which is miles from the nearest neighbor, he is the only cat to have simply turned up. New cat.
He wore a gorgeous superfluff suit each winter and shed it for a sleek look in summer. New cat.
He was terrified of Bear and Robin and spent most of his life above dog level. He seldom allowed me to pet him, and I can't remember ever picking him up.
"He may not have been all that friendly," said Joe, "but it sure was nice to look around the farm and see him."
My most recent memory of New Cat is from a week or so ago. It was early evening and he was in the garden, presiding over a large rabbit he had obviously just caught.
My favorite memory of New Cat took place one morning a few years ago. He and J2 were hanging out in the sunshine next to the cat cabin on a little table that Joe had once slapped together from scraps of wood. J2 was grooming himself, and New Cat wanted to play. He kept rolling around on the table, batting at J2 and trying to get his attention, but J2 ignored him. New Cat wouldn't give up, though, and after a couple minutes J2 stopped what he was doing, lifted his two front paws high in the air, and tackled New Cat with a massive hug.
New Cat died very early this morning while I slept fitfully next to him, my hand resting on the side of his curled-up body. I wanted to comfort him. I wanted him to know he wasn't alone. And this cat who rarely liked to be touched would start to cry if I took my hand away.
I buried New Cat in the garden next to Hansel cat and Lindy The Chicken, not far from the spot where he caught that rabbit. In early spring I planted a small clump of spiderwort there, and it has flourished. Today I addded some more.
He was a magnificent creature who was a joy to watch and photograph. He was our New Cat. He left us in his prime, but he had a good run. He is already missed.
More about Whitey and her new brood soon. The circle of farm life always continues.
© 2007 FarmgirlFare.com, the full on, fur loving foodie farm blog where Farmgirl Susan shares recipes, stories, and photos from her crazy country life on 240 remote Missouri acres.
There'll be more photos and details tomorrow, but right now we all need a little shuteye. It's been quite a day!
Just seconds after I took this photo. . .
They may look a bit scraggly at first. . .
But they cute up real quick!
More details & cuteness to come.
This is Day 22 of Whitey Watch.
More To Be Revealed Soon. . .
Note: If you're just tuning in, read this first.
We've been off the farm most of the day (couldn't be helped), and I was sure I'd miss all the hatching action. I had horrifying visions of fluffy newborn chicks accidentally flinging themselves off the edge of the nesting box and thudding onto the ground four feet below, but fortunately they went unfounded. I arrived home a few hours ago to find Whitey looking much the same as she did when I left this morning, but I was too curious to simply leave her be. I wanted to see what, if anything, was going on underneath all that puffed up plumage.
The second I reached my hand toward Whitey she began pecking me to death, but I had outsmarted her by donning enormous protective fireplace/welding gloves in preparation of her attack. Okay, it was really Joe who outsmarted her, as the gloves were his idea, but he has a lot more experience with chickens than I do. Remember he's the one who taught me that the best way to catch a wayward chicken is with a net.
Anyway, the gloves worked beautifully, and I was able to pick up Whitey and have a quick peek at the eggs without losing any blood in the process. Boy was she pissed off. That girl has got glaring down to an art.
There were at least two eggs that showed signs of cracking, but nothing had actually hatched. So it looks like the only thing I'll be missing out on is a good night's sleep. I wonder if Whitey wants coffee. Oh yeah, and there are now two white eggs in with the rest.
This is Day 21 of Whitey Watch.
Farm Photo 6/1/07: Whitey Gets Her Wish!
Two days after I posted these photos of Whitey The Chicken and announced that she was trying to hatch an unfertilized egg, I wangled a friend (who happens to read my blog) into leaving the craziness at her farm to come work the 91 sheep on mine. Okay, so I may have bribed her with the promise of large quantities of garden bounty and homemade baked goods. Whatever works is what I say.
She pulled up in a shiny red pickup truck and immediately started rummaging around the front seat, announcing that she had brought me some "genuine, certified, bonafide, honest-to-goodness, all natural, farm fresh, super duper, fantastic fertilized eggs for your poor chicken!" Then she triumphantly held out an egg carton, lifting the lid so I could see the gorgeous colored eggs inside. What a wonderful surprise gift.
"Okay, so how many do you think I should give Whitey, two?"
"The whole dozen of course."
"Well how big is she?"
As we tramped over to the henhouse, my friend explained that the first thing we needed to do was get the unfertilized egg out from underneath Whitey and throw it away because it was probably rotten. I explained that Whitey had recently switched nesting boxes and currently didn't actually have any eggs underneath her. But she was still spending all her time just sitting around as if she did.
Whitey glared at us. My friend, who makes fun of me for kissing my lambs and naming my sheep ("I got over that years ago") started cooing at Whitey in this sweet little voice, telling her how she was going to be so happy, how she would be able to arrange her eggs just the way she wanted them and then settle herself down on top of them. She said some other things that were really funny, but I was too nervous to remember them.
"I think you should be the one to put the eggs under Whitey," I told her. "She pecks. And it hurts."
"She's not just a chicken. She's Whitey. She's, um, unique. Do you want gloves?"
"I don't need gloves." And then she had the nerve to laugh at me.
"Don't say I didn't warn you."
But I am a wimp, and my friend is not. She carefully wrapped her hand around an egg and gently tucked it under Whitey. Peck!Peck!Peck!
"She's just a chicken!" There may have been a little eye-rolling and head shaking, too, but I try not to pay attention to that stuff when I know I'm the cause of it. She tucked a couple more eggs under Whitey. Peck!Peck!Peck!Peck!PECK!
"Oh shoot. I knew I should have brought my camera."
She sighed, stopped tucking, and told me to go get my camera.
"Are you bleeding from all that pecking? Do you need peroxide?"
"Of course I'm not bleeding. She's just a chicken!"
I returned with my camera and attempted to capture the perfect action shot.
"Can you hold your hand there a little longer? I really want to get one of Whitey pecking you." Yes, I actually said that out loud. I still can't believe it.
"So how long does it take for the eggs to hatch?"
"Twenty-one days. Mark your calendar."
"But she's already been sitting in there like a week."
"Doesn't matter. She'll be able to feel the chicks moving inside the eggs, and she'll stay."
I know nothing about hatching baby chicks, but apparently Whitey does. She's been faithfully sitting on those eggs all this time, only hopping down every once in a while to load up on food and water and terrorize her two coopmates. For a small chicken, Whitey is looking very big. She has puffed herself up in order to cover all of her eggs.
She spends her days in some sort of a mother-to-be trance that appears to be part zen, part coma. She is still fully alert on some level, though, because any time I put my hand near her she snaps out and tries to peck me.
Whitey broke two of her eggs early on (hey, it happens), so the official count is now ten. This morning, however, I happened to show up while Whitey was having breakfast, and when I counted to make sure there were still ten eggs I kept coming up with eleven. A bright white egg was staring up at me from the middle of the pile--and it was definitely too big to be Whitey's, as she lays itty bitty eggs.
This means either one of the other two hens jumped into Whitey's nesting box instead of one of the three other empty ones and laid an egg when Whitey was off stretching her legs, or Whitey somehow stole an egg out of another nesting box and moved it into hers.
Things have been hectic around here lately, and today was the first chance I've had to look through our copy of Chickens In Your Backyard. We usually order newborn chicks through the mail from a large hatchery, so (and this is pretty embarrassing to admit) I never thought that Whitey would be doing any actual mothering once the eggs hatched. I just figured that the babies would be on their own. But the book informs me that when deciding how many eggs to put under a hen, you must remember that once the chicks hatch they all have to be able to fit under the mother at night because that is where they sleep.
Whitey has been living with us for seven years, and in all that time I must admit that I've never ever thought of her as even remotely being the motherly type. This ought to be interesting. And I don't have much longer to find out.
This is Day 19 of Whitey Watch.
© 2007 FarmgirlFare.com, the fine feathered foodie farm blog where Farmgirl Susan shares photos & stories of her crazy country life on 240 remote Missouri acres.


HomeHow ToHow to Download YouTube Videos for Free?
How to Download YouTube Videos for Free?
Getting your favorite videos downloaded from YouTube means you can watch them later without having an Internet connection. It's much easier to learn how to download YouTube videos and we're going to take you through it no matter if you want to download a music video or a NASA archive.
It's fully safe to share or embed YouTube videos on the Internet, but downloading for your offline use isn't always permitted as YouTube doesn't allow anyone to download and it's against the YouTube Terms and Conditions.
Right here on this single page, we have mentioned different steps and ways to guide you How to Download YouTube Videos with ease and watch later on the go without the need of an Internet connection. So, let's keep going!
First and foremost in order to Download YouTube Videos For Free, head over to 4K Video Downloader official site and download "4K Video Downloader". Once it's downloaded into your PC, execute it to get an app installed.
Don't you have a 4K display? Don't then be put off by a name. This 4K Video Downloader is one of the most multipurpose and easy-to-use download tools available. Interestingly, it works with all types of files regardless of your PC's display resolution.
This software isn't free – however, you can download their free version which is capable enough to download all YouTube videos at customizable qualities all the way up to 4K. Importantly, it has support for 3D and 360-degree videos as well as well can download subtitles and is even able to do so through embedded links.
If you don't mind spending around $20, you can get your hands on a paid version. But, if you are looking for How to Download YouTube Videos in Laptop for free, you better go for a free version.
Has it installed to your PC? The next step is quite easy. Head over to YouTube video you want to download and simply copy the URL from the address bar at the top of your browser window. Once it's copied, you can now close the window or tab of the video.
Now, open up 4K Video Downloader application you have downloaded. You can either paste the URL manually or you have an option to click on "Paste Link" button in the top-left corner of the menu bar. Just click and it'll automatically grab the URL from your PC's clipboard.
Right after pasting the URL, it'll start checking a video, you will be given quite a few video options for formats, video quality, and conversions. Moreover, you can adjust a download location of that video and 4K Video Downloader will create a folder which contains all the videos you have already downloaded.
Be mindful that the video which 4K Video Downloader grabs is based on your IP address instead of URL you input. Therefore, users who use proxy may need to change their location to download the right version.
Once you have selected your desired option, click on a download button. It'll show a progress page that details download size as well as download speed and estimated timing remaining. You will have an option to cancel or pause the download at any time.
Once you have a hang of it, it can configure to download videos with a single click using Smart Mode or Subscriptions or automatically.
Not comfortable with 4K Video Downloader? Well, there is an extensive amount of web-based options you can find online. As it's much easier to not have to download separate software to download a YouTube video, these sites often use conventional moneymaking practices such as crypto mining or pop-up ads. That makes your downloading quite difficult and you need to be extra sharp to avoid all these ads. So, it's recommended to use the method above.
Not only this, but there are so many desktop alternatives to 4K Video Downloader – for instance, a VLC Media Player. Everyone loves VLC over Classic Media Player, but it's not nearly as straightforward for getting videos downloaded from YouTube. Moreover, you aren't able to convert a video to any other resolution or format you prefer.
Be patient while using 4K Video Downloader as most of the times, one minute video takes two or three minutes to download – depends on your Internet speed.
Trying to download a music video as a .mp3 will result in a music file. Chances are audio quality wouldn't be as great as it is from a video – not a high-quality audio format.
Downloading specific videos or music from YouTube may be a breach of Intellectual Property laws as there are some companies own the rights to the music and videos you download. In order to stay safe, you are better downloading those YouTube videos with the explicit permission of the content creator.


About The Aphorist: Technical Death Metal Outfit From Virginia Beach Virginia. THE APHORIST was founded in Virginia Beach, Virginia in early 2008 under the name Amidst The Bloodshed. Founding member/guitarist Braulio Almeida recruited Mike Greene (Vox) Mike Cole (Drums) and Frank Corso (Guitar) to complete a lineup. After numerous try-outs on bass we decided to proceed with vigorous writing without a bassist. Several songs were completed then thrown away in attempts to not sound like your average band. After playing only a few shows guitarist Frank Corso left the band.


The findings have important implications for labelling regulations and packaging designs, the authors said.
The research, carried out by experts at three universities in Uruguay, involved labels designed around three variables – cartoon characters, nutrition claims and the traffic-light system – for two products, a sponge cake and a yoghurt. The nutrient claim considered in the yogurt labels was 'Calcium + Vitamin D', whereas the claim ''Enriched with Iron and Folic Acid' was used for the sponge cake labels.
The researchers divided 238 children into two groups. In one group, they were asked to rate eight different labels on a hedonic scale. In the other, they had to choose the label they liked most in each of eight pairs.
The relative importance of cartoon characters and nutrient claims depended on the specific product being considered and age of the children.
The cartoon character and nutrient profile combo in action.
For yoghurt labels, for instance, the relative importance of nutrient claim to children's choice of their preferred label was higher than that of cartoon character. Meanwhile, the relative importance given to the cartoon character tended to be higher for six- to nine-year-olds than for the older children – 42% versus 27%. This trend was more evident for sponge cake labels.
"The cartoon character was clearly the most important variable for the choices of [six- to nine-year-olds], whereas the opposite trend was found for [ten- to twelve-year olds]," they concluded.
Nutrient claims also tended to resonate more than the front-of-pack nutritional information. The claims therefore needed to be closely regulated, the authors said.
"The choice-based conjoint proved to be easily understood by children and enabled to identify design variables that influenced children's preferences for two snack foods," they said. The finding is important in terms of designing labels for healthy food that will appeal to children.
The study, published in the Journal Food Quality and Preference, also suggested that the best method of assessing children's label preferences is to use a 'choice-based conjoint' rather than a 'ratings-based conjoint'.
do you have link of study?