text:
Tina on Somewhere Between Now and Then: Shane Berkery
Tina on The Human Subject and Painting:Tajh Rust
Elaine on Perception, and Experience: Ruth Le Gear
Tina on Perception, and Experience: Ruth Le Gear
Tina on Impure Things: Ronnie Hughes
Primary Colours/Realm
Radiant Attention: Yvette Monahan
Dannielle Tegeder: Utopian Spaces
Róisín Power Hackett: Interdisciplinary
Organic Alchemy: Kari Cahill
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Painting In Text
Somewhere Between Now and Then: Shane Berkery
Movement, Lines, Shapes: Karolina Albricht
The Human Subject and Painting:Tajh Rust
Perception, and Experience: Ruth Le Gear
Dialogs: Pablo Helguera
Putting Them Together:Yasmine Nasser Diaz
Impure Things: Ronnie Hughes
Constructed Wilderness: Cecilia Danell
Eye of the Beholder: Lucy Tevlin
A Lingering Question: Harry Walsh Foreman
How Something Works: Jamie Cross
Growth Through Art: Darren Nixon
Organising Chaos: Diana Coppperwhite
Past and Present: Mick O'Dea
Every Piece in its Place: Anishta Chooramun
Place is Paramount: Sophie Foster
Ways of Communicating : Moza Almatrooshi
Art in Algorithms: Mattis Kuhn
Mouth Actions: Sáerlaith Molloy
The Naked Camera: Fionna Murray
Shouting Out Loud: Olivia Furey
Filling In The Gaps: Blaise Drummond
Taking The Right-hand Path: Ann Maria Healy
Looking In: Dragana Jurisic
Real & Imagined: Cléa van der Grijn
Looking Back, Moving Forward: Marcus Cope
The Space Between: Mark Garry
What Paint Can Do: Eileen O'Sullivan
Making History: Jennifer Walshe
Making a Point: Nasan Tur
Sound Off: Steve Maher
Organic Evolution: Laura Mc Morrow
Lead By The Process: Craig Mcleod
Playful Experimentation: Anna Spearman
Re-Defining an Artist: Tricia O Connor
A Modern Day Renaissance Woman: Tracey Moberly
Impermanence and its Lasting Impact: Shane Finan
Ways of Showing: Andy Parsons
Painting in Text Newsletter
Tag Archives: music
Installation, Interview, Video
December 19, 2018 paintingintextculture, landscape, music 1 Comment
Mark Garry
Mullingar native, Mark Garry is a talented artist that I have respected and looked up to for a long time. I met him first when his show A Winter Light was being shown in The Model. At the time I was not even a year out of college, and my job was to sit and watch over parts (and make sure nothing got broken) of the exhibition. 'But regardless Mark was still genuine and friendly, answering questions, even complimenting my choice of reading material while on the job' (Stillness and Speed by Dennis Bergkamp, if you were curious). I will always be grateful for the generosity and respect he demonstrated towards me as someone starting out in the art world I hope you enjoy this interview as he is a great artist with some great ideas.
Let's start first with North of the West, which recently became part of the IMMA collection.
North of the West was part of a series of works that kind of looks at the sea – its cultural impact and its social impact. I suppose it stems from a project called Drift, which ended up being a performance and film project which was played out in Detroit and Sherken Island off West Cork. I worked on Drift with a composer called Sean Carpio, we have collaborated a lot. We agree on a lot of things, but disagree on enough things for the creative relationship to be interesting for us both. We don't really recognise a divisions in cultural genres.
Drift (2012)
With Drift, I was interested in the way that our cultural, historical and day to day relationship with nature. Since the beginning of the Industrial age we have felt the need to dominate nature both philosophically and physically, but when you live on an island you have a much more respectful reciprocal relationship with nature. Nature also dictated the aesthetic/performative encounter with this work . We attached an Aeolian harp,(a harp played by the wind) on to a traditional wooden sailboat and located this instrument in the centre of a space called horseshoe bay , which is a beautiful natural amphitheatre, we located a brass quartet and a solo saxophone player on the shore and these instruments performed with the wind harp using a form of improvised orchestration. The piece itself was based on a series of translations of a Sumerian hymn, the first documented song, and they again relate to nature. Sean and I were also commissioned to release a 10" vinyl from this project.
North of the West was a film work that was also concerned with island life – the ways in which living on an island and this isolation makes it easy to control your surrounding environment, and I guess that's what the Catholic Church did in Ireland for sixty, seventy years. That work was about my relationship with religion as a kid: something being majestic and beautiful, but also terrifying. So the sea acts as an analogy for that.
There are some really direct references to Japanese culture, which I'm really interested in, and in particular in a movement called Mono-ha, which is a short-lived 1960's Japanese land art movement. It was really interesting to me, the idea of something that was deeply embedded within thinking, and craft, and nationhood. How they all become kind of intertwined. I've never been, but Japanese culture is definitely had a significant impact on my work.
Sean and I tried to compose a new musical soundtrack for piece for North of the West, and while Sean and I were trying to figure out the composition for it, Sean suggested that we try Drift, and they both just seemed to work together. It just seemed to make sense in the end, and it was kind of a nice way to revisit an old work.
North of the West (2017)
It's interesting how interactive the piece is.
Yes with this work there is a record player with a record located close to the film and the audience gets to decide whether to have a soundtrack or not. I suppose I was trying to encourage a less passive encounter. That's why I'm interested in installation art, as an opportunity to interact with spaces in a non-passive way. Essentially, where you as an audience member are the activator of an artwork. With North of the West, we literally become an activator of the work – you make the decision of whether you listen to the accompanying music or not, you decide when the music comes in… That one decision adds complexity to how we experience things. it is a very open work in that sense.
Music is a recurring aspect of your work – can you touch on that a bit more, what are you listening to ?
Music and listening play a large part of how I think, in some ways a bigger part than visual art.
I'm listening to a lot of Donald Bird at the moment. I'm also listening to Frank Ocean, and Ithink the things currently happening in hip-hop are very interesting! Then there's this Scottish classical composer that I really like called Anna Meredith, who is making really beautiful, interesting music. And a guy from another island, Jersey! He's called Mura Masas – beat-driven music.
I have an extensive vinyl collection, and am a bit fetishistic about music. The way we listen to recorded music has change quite dramatically over the past twenty years. The quality is very different, we listen to stuff on our phones through tinny speakers at a compressed rate, and you don't get the nuance or the particularities where you hear something on vinyl… you get a much more visceral physical encounter. When you listen to something on your phone, it is wholly separated from the initial idea that created the music. You have this 'removed' kind of digital experience, whereas with a record you can actually see and hear from an acoustic perspective how it's actually happening, and how the sound is created.
Let's talk about some of your collaborative work, as that often has musical elements to it.
I have made a whole series of collaborative music projects with a small core group of people – Eileen Carpio, Sean Carpio, Nina Hinds, Karl Burk, Fabien Leseure, and myself. We started as a group called A= Apple. Nina and Karl and myself were the starting point, and then Fabien joined.
We as a group respond to different sets of conceptual criteria/material with each new project; it's quite a simple setup, in a sense that we go to a gallery space or a non-conventional studio space, and convert it to become a studio for a short amount of time. Each person brings a number of their own responses to that conceptual material, and then as a group, we basically expand on those responses. It really requires an awful lot of generosity from one participant to the other. Depending on the location, we also usually invite musicians from the local community to come and collaborate with us.
A Winters Light was recently released as a record – would you like to talk about that?
A Winter Light Album cover (2018)
A Winter Light was kind of different, in the sense that it was responding to a show of mine rather than something outside of the group. With that show while I was developing the exhibition I sent the participants small sections of pieces I was reading, or pieces I was developing, or things I was thinking about and this may have subtly impacted there responses.
With A Winter Light, we invited Claudia Shwab, Oliver Acorn, Robert Stillman, and Pádraig and Cillian Murphy to come become participants. We invite other people to become part of it, and it's kind of amazing how people are just so generous with their time and energy. And their talents! It got released by Blue Stack Records, which is a small label in Sligo as well. So, it was very northwest based.
A Winter Light (2014)
Research seems to drive a lot of your work. Can you go into that a bit more?
My practice is both research-driven and process-driven. While there are consistent methodologies in the work each particular exhibition responds to a new set of conceptual criteria. This is often site responsive, in the sense that I will be invited to make an exhibition somewhere in the world and will try and respond to some political, social, historical element of that local society. But the outcome of the work is never dictated before the exhibition – there are always things left open, and elements are developed throughout the installation.
I did a project in Charleston South Carolina called "We Cast Shadows", Charleston and integrated a number of historical and socio political elements such as its relationship with the slave trade.
That being said they are not always overtly site/situation responsive , other than being architecturally responsive. I am doing a project in The Mac in Belfast next year called "Songs of the soil" that broadly has to do with the relationship between Landscape and Song.
Let's talk about your string works.
So, my string works are constructed to suit each space, and it depends on the
The Permanent Present
architecture of that space or the light of the space, or just the place that space is in, within the country or the world. So for example, in a bright spot I make darker work, and with darker areas I do lighter work. It's just finding how to activate that specific space at that particular time. But also, to kind of activate the higher spaces in a gallery which we aren't usually interested in. Those spaces that aren't the walls, the spaces in between. The space that you don't really notice because they are generally not activated. I suppose the way the string works are set up optically, they transform as you move around them so you again can't have a passive relationship with them.You're a participant in the work. And I hope they act as a marriage of spectacle and empathy. I recognise a strength is subtlety and quietness.
You can find out more about Marks's work through the website links below
http://www.kerlingallery.com/artists/mark-garry/artist_works
you can buy/stream A Winter Light below
http://www.bluestackrecords.com/a-winter-light-1/
thank you Adrian Mc Hugh for your work editing
You can support Painting in Text through Patreon, link below
https://www.patreon.com/PaintinginText
Installation, Interview, Performance
October 18, 2018 paintingintexthistory, music, mythology Leave a comment
Jennifer is an extremely talented Irish artist/vocalist/curator/anything you can name! I was lucky to get to know her through the exhibition Aisteach when I helped with its installation in The Model. the depth of thought that goes into all her work is remarkable. It rewards the viewers that take the time and effort to look. There are clear lines of thought that go through a lot of her work even when she is using different mediums, and I hope you all take the time to check out the exhibition when you finish reading the Interview.
(this interview was recoded in September Prior to Culture Night 2018)
Let's talk about your current show Aisteach is on in the model at the moment.
Well, to talk about Aisteach I feel we must first talk about Grupat. I feel the two are linked in a way. Back in 2007 up to 2009, I had a commission from South Dublin County Council – I applied for that commission in 2006. It was at the height of the Celtic Tiger boom, they were giving out public art funding to do very, very big public art projects, and I would probably say maybe more progressive and more experimental work than ever before. Simply because they had more money. Microsoft and Facebook had built campuses, and the 'Percent for Art Scheme' generated a lot of money for the South Dublin County Council… the council is Tallaght, and it crawls through sort of west Dublin, so it's not a posh area of Dublin like Dún Laoghaire and Rathdown. They really wanted to do something that they felt that would put them on the map as public art commissioners, so they commissioned me and four other people, and we all did projects for two years. The project, it was the kind of art that county councils might not usually be interested in – a lot of the time with public art, it might be a sculpture that you have at a motorway roundabout or something like a poetry writing project that you might do with the library.
Grupat (2009)
I was a kid we lived Lough Line which falls into South Dublin County Council, and I had this feeling that there were loads of interesting people, but there wasn't really an experimental art scene out there. So I thought 'what if I just made one up?' With the hope that kids growing up could feel, yeah I can do that. That is within my capabilities. So, I made up this sound art collective called Grupat, all born within five years of me. I was thinking, these were sort of my people – my team, you know? I could have worked with these people. If I can put it this way, for me, Grupat are alter egos. We're very used to the idea in pop music that people will have alter egos, like David Bowie will also go by Aladdin Sane or the Thin White Duke. We're very used to that idea.
Turf Boon: The Softest Music in the World (2009) (Jennifer Walshe)
For me with Grupat, it felt very natural that it could be me in the same way. And for two years we did the project, and with lots of exhibitions, performances, we had two books published as well as two CDs released, and the culmination of it was in 2009 – we had a retrospective in the Project Arts Centre in Dublin, as if Grupat had existed for years and years.
From that I then had an exhibition in the Chelsea Art Museum in New York in 2010, it was a solo show called Irish Need Not Apply. I decided that I would put some Grupat works in that show, but it was also in that show when I started exhibiting works that played with the idea of created history. I claimed that some of the work was on loan from the National Museum of Ireland. The Robert Boyle alchemical ceramics that are in the current Aisteach show in The Model, they also saw the light of day for the first time in this Chelsea art show.
Alchemical Vessels (unknown)(Ed Walshe)
The other thing I showed in this show was the DORDÁN piece. It has these fake Ellis Island immigration records that claim that this is this early drone music, this idea of making historical stuff that sort of started happening like within a year of Grupat. My interest was drifting from contemporary, living alter egos. I think it's notable that it began in New York, because I was very good friends with a drone musician called Tony Conrad – he's sadly dead now, but he was a close friend, and he was involved in the discussions about who invented drone music and who invented minimalism. Was it La Monte Young? Was it Dennis Johnston? Steve Reich, Phil Glass? And that DORDÁN project was a way of saying 'no no, none of you invented it! It was invented by an Irish trad musician who was doing this weird sort of music!' For me, that was a different of way of intervening compared to having a contemporary alter ego, because it was it was a way to go back and actually question history – how we told stories about music.
Padraig Mc Giolla Mjuire: DORDÁN (1952) (Jennifer Walshe/Toney Conrad)
When I started working with the idea of imaginary people who are dead I didn't think of them as alter egos, I thought of them as personae. That might seem like a technical difference but for me it was important, because I felt these aren't me acting in the world right now. These are people, and I really have to imagine what they were like now that they are dead. They are a way to hack my brain to try and do something differently. I guess it's the classic artistic way that you set yourself constraints. So in a way, all the backstories… they're just a way of making a score, and then I have to make the music from that score. So the first person that I came up with was Caoimhím Breathnach. And that was completely organic. I had just bought a house in Knockvicer in Roscommon, and I had felt very strongly attached to that part of the country. Buying the house really made me I feel so privileged and so lucky that I could buy that house, and it sort of rooted me in a way I had never felt before. And so Caoimhím Breathnach sort of started happening in my head. He was the first person to come along, and I would have done the first exhibition of Caoimhím's work in the 'Roscommon Arts Centre' in 2011. Around that time I also had this idea of this making a series of pieces called Historical Documents of the Irish Avant-Garde, which was driven by me and just my interests. I knew I wanted to start off with Dada. So by 2012, I had made this piece called Historical Documents in The Irish Avant-Garde Vol 1: Dada.
Aisteach actually has contributions from other artists – how did that work?
Aisteach (2018)
I think of it as something like Marvel or DC Comics. I'm open to others using my characters or introducing new characters to Aisteach. It really depends on the person/people so, for example, Alice Maher said to me, 'I don't have any time to make something new', and I said to her 'well, do you have something you have never shown before? We can use it and I'll fit it into Aisteach for you.' So she gave me this bronze cast of the mouth, and it's fantastic because we already have this idea that Steven Graham had come up with for Aisteach called the Keening Women's Alliance and so it was a perfect fit for that! I had to curate the piece and create a history for it.
It was the same with Vivian Dick. She had this film, Images: Ireland. I thought 'ok great, can we say that some of the people in it are part of the Kilkenny Engageists?' She was great and let us go for it. And on the other hand, we have people like Mark Garry, who's like 'right, it's Sister Hellen Brown and she makes these collages of her bullfinch Susan', and he just ran with it. I do in a way have to give it over to other people. Like, when Mark Garry says he wants to do a nun who teaches a bird how to sing I have to think – okay, well, we already have a Sister Anselme who does these drone organ compositions, should they have any relation? Or do we need more nuns?
Vivian Dick: Images Ireland (1988)
Sr Hellen Brown Susan (Mark Garry)
Then we have Kevin Barry who made this character Benji the Rant, where I went over and recorded him to make a sound piece. And probably the two most involved in the whole exhibition Doireann Ní Ghríofa and Jack Fennell who both wrote three thousand word essays about their personae that they came up with. Jack mocked up a fictional notebook, Doireann created a suitcase. For me that is the scale. On one side we have Doireann and Jack, then close to them is Mark Garry and Kevin Barry, and down the other end, we have Alice and Vivian. I'm really happy with all those contributions – I just try and keep an eye on things. And I try and edit it well. So my role becomes curator and editor and dramaturge, just trying to make sure that Aisteach still makes sense. Something I'm really happy with is that we have loads of women involved in every level – we have the female artists and we have queer artists and it's not just a roll call of dead white men. I had never given anyone that brief, but I think it is quite deliberate. Because people want to write into being the type of Ireland that they want to be in and the one that we hope that we will be, and that is an Ireland that's very pluralistic.
I think a product, I think it is really interesting and one of the things about Aisteach is that every single person who becomes involved in it becomes part of the project – it's not me. Grupat felt like me, whereas Aisteach feels like a much more collaborative effort. So everyone that worked on the project in any way becomes part of it, whether it is technicians preparing the rooms or the artist who contributed to it and all the performers. And what I love about that is it feels open. It feels that other people could step in. I kind of feel like the editor or the dramaturge. I watch what people are throwing in and I'm trying to balance the universe.
What I love about this model is that it creates fresh openings. One thing that was really sweet that happened last year: there are these sound artists based New Zealand, called Sisters Acumatica, and they just decided one of the Aisteach personae – her name is Róisín Madigan O'Riley – that they wanted to do a performance of Róisín Madigan O'Riley in New Zealand. And so they emailed me, and I was like, 'go for it'. And I thought how beautiful Róisín Madigan O'Riley was, and Felix Ford [English sound artist who studied in Ireland] who invented Róisín Madigan O'Riley, and these New Zealand women the other side of the planet – laying out all these stones and radios on the beach doing this performance of this imaginary Irish persona.
So I'm quite happy because I think Aisteach first and foremost is an idea, that a lot of Irish and non-Irish people are very invested in, which is the idea there is a bunch of weirdos out there that we want to show a lot of love and support for. We want to find those weirdos and lift them up and let people see that there are weirdos who do weird, cool and interesting music, and isn't that beautiful? And that idea is bigger than me.
There is more to Aisteach that just the exhibition itself. Would you like to touch on the performative element, specifically your plans for Culture Night?
I think that in Ireland it is changing, but certainly a lot of Irish people feel very conscious about their body and they feel shy – they feel like they can't dance, or they shouldn't dance. That shyness about our bodies is everywhere, even in the changing rooms in swimming pools!
I'm currently doing a lot of hip-hop dance classes at the moment, and I was working with the dancers who were part of the Worlding performance at the opening. They were always teaching us new tools like warmups, we did a lot that has made me enjoy life more. Everyone does two things when they're drunk, they dance and they sing. When they feel that horrible voice in their head observing them is gone, they dance and they sing, and so the thing that we want to do is for Culture Night in The Model is try and make that space for people. And to say to people, come along and do some vocal warmups and learn just a little bit about how to use your voice. Instead of saying 'I can't sing', people will think everybody can sing and people can try so many little dance things. There's a lot of joy to be had with that.
It's interesting to see how Aisteach plays with false history, as at the moment we have a lot of people editing their own versions of history on Facebook.
I think that you're totally right. The thing is, with social media, even if you just think of Facebook – people are creating curated versions of themselves on Facebook. I read an article about teenagers on Instagram lately, and it mentioned how everybody has a Finsta, which is their account which is just visible to their small group friends, and then they have their 'real' Instagram where they're projecting this idea of
Timeline of the Historical Documents of the Irish Avant-Guarde (2018)
the perfect life. And the thing that that I thought was amazing, was that the Finstas were much raw and honest, and far from perfect – and I thought, 'that is amazing, it sounds so much more interesting than the real Instagram, I want to see the Finstas!'
I would hope we are becoming more used to the idea of that we go online, and we might not necessarily trust the sources of news we are getting, because there was Sheryl Sandberg and Jack Dorsey testifying to the United States Congress about Russian actors having influence, these Russian ads that have been on Facebook to try to sway the election, to sow deception… but still everybody is opening Facebook willingly, to willingly be exposed to those, and we are all having to contend with Holocaust denial, people who say climate change isn't happening, things like that.
One thing that Aisteach tries to talk about is, who gets to curate? Who gets to choose what an artistic canon is and why? What do we say is worthy, and if we are making a combination of Irish music from the last hundred years, who should be in there? Who are the people making those choices and why are they in there? And with Aisteach, in a way we just said, 'hey, we're going to make those choices by just making it up!' Because we realised a lot of the people who would be represented (and are represented) within Aisteach, those kinds of people wouldn't have been represented. You know what I mean? We don't know about all the people in Ireland thinking of all sorts of mad shit! There must have been. They just ended up working in the docks in Liverpool or having to emigrate to the US. Or they were barely capable to keep things together financially. So there has to have been tons of weirdos – there are so many weirdos now, how could there not have been? We genetically come from weirdos.
You have quite a range of skills, and actually you might be better known for your compositions like your opera XXX_LIVE_NUDE_GIRLS!!! Let's talk about that.
So XXX_LIVE_NUDE_GIRLS!!! is an opera that I wrote for Barbie dolls.
Live_Nude_Girls (2012)
My sister and I always thought that I would never write an opera – I think if you go and see a well-produced Wagner opera, it can be very beautiful, but I just thought that this way of expressing ideas just didn't make sense to me living in the time I do live in – and then at the time I was reading about marionette operas. Because Mozart and Beethoven had written these marionette operas for puppets, that they would do at the summer retreats. The second I read about that, I remembered the Barbie dolls house that my sister and I had in the attic, and I called my mum: 'do you still have that? Please tell me it is still in the attic!' And my mum said 'oh yeah, it's great that I want to write this opera for Barbie dolls!' Through working on XXX_LIVE_NUDE_GIRLS!!!, I got to know the operas of Robert Ashley and composers like that, which I feel is closer to contemporary ways of using speech. Even a bit closer to rap music. It felt like their approach to producing opera made more sense to me, you know, in terms of how we use the voice and how to tell a story. Things like that made a big difference.
It's been quite interesting for me as an experience, because I made it in 2003, we performed it a bunch of times, we released it on DVD and that was great. But you're onto the next piece almost straight away so I sort of thought 'that's fine, if it doesn't get done again I'm extremely satisfied – it's on DVD, it's been performed all over the world.' But what has been quite interesting for me in the last few years, people have become very interested in the work again, which I think is really linked to the #MeToo movement and changing sexual politics. A group in Chicago called Mocrep decided to do it. And then they did it in the Bendigo Festival in Australia and we just did it in France. It's amazing seeing these all-new productions happening. Somebody in Columbia just wrote their PhD dissertation about framing the entire opera as consciousness – like how date rape victims deal with reality in the aftermath. Because, you know, it starts out with everyone laughing because it's a Barbie opera, but it ends with a date rape.
I wanted to make something that created a dialogue, and at the time I was making it I just felt like I needed to make it. To just put these things that have happened to me, and to women I know, to put it in a way that reached out to others. I think it was Louise Bourgeois who used to say that her emotions were inappropriate for her size, so she would make art to put her emotions into, so they wouldn't overwhelm her. And I think it was the same for me definitely, with my work there is a lot of emotional stuff that gets sort of metabolised through making the work. So with the Barbie opera, it is quite amazing for me now to see a lot of productions and to see people writing their PhDs about it, really going in and doing a deep analysis of things that I had hidden away in the score. You know what I mean? Where they're saying, 'this part where the accordion is typed like a typewriter, but they keep crossing out their text, I've viewed it this way,' and I think, 'nobody's ever asked me about that.' Because everybody only sees the accordion typing, and they don't pick up on how the accordion is typing something, but I have put something in there. So that has been really nice, just to see the pieces have a new life, in a time when people want to have conversations about these things. There are some things that other people are noticing, or paying attention to, or picking up on or trying out. Seeing people take this on is really beautiful for me, it's like watching a new person draw your characters. And you just think that this is really beautiful, it's not just something in my head. Whereas when we did it in new music circles, well over fifteen years ago people weren't so open to those sorts of discussions about sexual violence and gender relations.
How do you compare making music to making art?
Jennifer Walshe and the Arditti Quartet performing Everything is important (2016)
For me the boundaries are very sort of blurry. If you've seen the biggest piece that I have done recently, a piece called Everything Is Important for voice and string quartet, and that has a massive video part which I made. So a huge amount of the pieces that I write, they are very visual, and that can be in the video part or that could be in things the musicians are doing physically, or often both. So with Everything Is Important, it's a forty minute long piece and there is video almost the entire time. And there is a piece I did called Self Care last year where I used an accordion, and the accordionist is just moving around and using their body, and then also there are video parts. So yes, those things are blurry, for me anyway.
Andreas Borregaard performing Self Care (2017)
The issue is that I think musicians are trained in environments where they are told unless they are doing an opera, that somehow they are neutral on stage in a visual way, and it is not true. it's complete bullshit. I don't know how much you know about blind auditions in orchestras, but one of the things they discovered in a lot of orchestras was that the only way to get more women into the orchestras was to have what they call blind auditions – so at a certain point in the audition process the person auditioning has to perform behind a curtain they even put a carpet down so people can't hear if a person is in heels, and what they found was this actually meant that they hired more women. I think when musicians walk onto the stage, it's a very visual theatrical situation – Prince knew this, David Bowie knew this, and even the free improv scene knows this. But classical music still tries to say that we are all wearing black so you can't see us. You know what I mean?
It's interesting you say that, considering the physicality you employ in the works like Women Box.
It's funny you say that, because Women Box was an example of the sort of commission that you usually hate, which is that somebody says you have a really specific brief! In this case the brief was that it was to tie into the Commonwealth Games in 2014, it was the first year that they let women's boxing into the Commonwealth Games as a sport, so they wanted somebody to write like an opera about boxing specifically women's boxing . And Laura Bowler approached me to do it. I said to her, 'I'm only going to do it if you learn to box. Because I do not want like faking it on stage, that's bullshit.'
Laura Bowler performing Women Box (2014)
And Laura to her credit said to me: 'I only want to do it if I learn to box.' From there I knew we were onto something good! In that situation, it was more like a method acting approach really. When I mean method style, I mean Daniel Day-Lewis style! Laura started training with Cathy 'The Bitch' Brown, I even went to a boxing class with her to see what it was like. Laura really trained and Cathy really put her through her paces, and Laura ended up doing a white-collar boxing match! It was really amazing because her body changed, and she even said she was aggressive in situations she never would have been aggressive in before. Working with Cathy and working with Laura was phenomenal because they're both really committed, and I saw the joy of committing to something that is out of the ordinary. Laura committed to trying out boxing, really ate like a boxer, she took vitamins. And then at a certain point, Cathy got a man to come so Laura could punch him, so she could get the feeling of what it's like to punch a human being. We talked a lot about what it means to hit somebody – the difference between rough housing and domestic violence, what it means for a woman to hit a man and for a man to hit a woman, and what it means for a woman to hit a woman. All these different things. And for me it was just such a rich way of working.
And that is what I'm interested in. Sometimes in art school, research becomes very dry and sometimes students feel like they need to do this research so they can justify the work of art by writing a good essay about it, and I'm not interested in that. I'm just interested in learning more about the world, knowing more and having a richer experience so for me all the research, learning new physical things, it all comes with having a richer experience of the world.
And going forward?
What I had hoped to have for the exhibition was an AI system that wrote Irish mythology. But the thing is, that is way beyond my coding skills! So to create it, I had to rely on somebody from the States who just didn't have time, which is totally understandable.
Aisteach introduced me to strange dead weirdos who I've viewed as my like great uncles and aunts, and great-great granddaddies and grandmammies artistically. I think that the AI, for me, is a way to introduce a truly other intelligence and alien intelligence in that – last year for instance, I wrote a piece that with a dog in it because I was trying to understand animal intelligence. This year I'm involved in a whole bunch of different AI projects, where I'm trying to understand artificial intelligence.
You can find out more about Jennifer's work through her website links below
http://milker.org/ & http://www.aisteach.org/


In Jesus' high priestly prayer, He prayed that the Father would unite those who believe in Christ so that, "they may all be one, just as you, Father, are in me, and I in you" (Jn. 17:21). Paul likewise wrote that believers are to be zealous in "keeping the unity of the Spirit in the bond of peace" (Eph. 4:3). Paul, however, does warn against the "unity at all cost" mindset as he instructs us not to become partners with those who live as "sons of disobedience" (Eph. 5:6-7). Consequently, when it comes to the realm of unity, we must eagerly seek it, yet we must also guard against compromising God's truth to maintain it (Gal. 2:14; 2 Cor. 6:14).
When Jesus declared that He would build His church, did His disciples fully grasp the weight of those words against the various struggles and attacks of the enemy? Indeed, if these words were contingent on human achievement alone and not the absolute work of God, the church would have ended within the first century.
In considering all the challenges confronting the church, none may be more disastrous than clashes or compromises among its leadership. Jesus stated clearly, "And no city or house divided against itself will stand" (Matt. 12:25). Paul and Barnabas found themselves entirely at odds with each other, to the point where they had to separate from one another. Paul sanctions Timothy to go through circumcision. How are we to make sense of these actions? Where was God throughout these incidents? Should we make this our practice? Luke unfolds the honest account of Christ's incredible power to build His church in the heart of these events.


Witty, humorous, self-deprecating, and sometimes bumbling and incoherent, Almost Intrepid takes you on a ride through the mind of a first-time female traveller with a dream, a backpack and very little else and whose only reason to start was to beat a 'quarter-life crisis'. But, what begins as an awkward attempt to flee the mundane life of a journalist turns into a globe-trotting mission- from climbing mountains in Tanzania, jungle treks in Papua New Guinea, Komodo chasing in Indonesia, to ill-fated sea rides in Cambodia with episodes of shoe-flinging at determined touts in the bazaars of Egypt and nearly getting hitched with a tattooed African man. The lawyer-turned journalist turned writer befriends every stranger she meets, finds joy in cheap B&Bs, shares intoxicants (of all kinds) with stranger and dreams of scaling the Everest someday.
Anjaly Thomas qualified as a lawyer, but picked up the journalistic pen as her mythical sword soon after. When that failed to inspire, she exchanged journalistic monotony for the beauty of open spaces.
Today, she manages to balance what she calls the Business of Passion - writing and travelling. She is a Lonely Planet writer and also writes for various newspapers and magazines.
Almost Intrepid is her first book in which she chronicles her life's journeys, reminisces on lessons learnt and accepts the wisdom of prejudices shed along the (oft) un-travelled path!
She doesn't claim to be an expert on traditions, cultures, history or geography of the places she travels to, and hates being asked the best thing about them, because the way she sees it, every little experience makes her journey special.
Today, she manages to balance what she calls the Business of Passion - writing and travelling. She is a Lonely Planet writer and also writes for various newspapers and magazines.
 Almost Intrepid is her first book in which she chronicles her life's journeys, reminisces on lessons learnt and accepts the wisdom of prejudices shed along the (oft) un-travelled path!


Match your inventories to your market and customer demand. Inventory levels are automatically optimized for all items. You have more time to take care of exceptions and unexpected disruptions. Drive the inventory value, inventory turnover and service levels towards your targets. Achieve more sales and less inventory with world class inventory management.


Sat-Coord is a software suite which assists in the processing of satellite network information filed with the ITU, frequency overlap analysis and C/I calculation. Sat-Coord has been developed out of a suite of software tools which RPC Telecom originally produced for its own use in supporting consultancy clients.
The software has undergone significant testing and development over a period of more than seven years and have been used extensively to support the satellite coordination activities of RPC Telecom's clients including VINASAT, THURAYA, TONGASAT, SingTel, HELLAS-SAT and ETISALAT.
Please click here for more information on Sat-Coord.
RPC Telecom have developed a number of software tools and systems including frequency optimisation software to assist the multi-lateral L-Band operators review meeting, software to support a study into the spectrum requirements for Digital Terrestrial Television in the UK, and satellite tracking using two line element data.
Please contact us if you would like to discuss a specific software requirement.


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People Expertise Insights
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Blog Post / Broadband Advisor
[Updated] Petitions for Review Initially Consolidated in the Ninth Circuit and Then Transferred to the DC Circuit – Initial Submissions and Motions Due April and May; Briefing Schedule Set Through November
By John D. Seiver
A lottery conducted by the MDL Panel resulted in the selection of the Ninth Circuit to hear all the Petitions for Review of the Internet Freedom Order. The Ninth Circuit's current schedule shows May 29 as the due date Petitioners' and supporting intervenors' opening briefs, with June 28 as the due date for the FCC's response and supporting intervenors' briefs. Petitioners and their intervenors may file an optional reply brief 28 days after the response briefs are served.
UPDATE: The group of petitioners who filed initially in the DC Circuit have moved to transfer the consolidated review proceedings from the Ninth to the D.C. Circuit "in the interest of continuity" and to "ensure that 'anomalous results' from having a different circuit review a closely-related matter will be avoided." Specifically, "this case is the fourth, 'follow-on' phase in the review of the Federal Communications Commission's 'network neutrality' actions; all prior phases have been adjudicated by the D.C. Circuit."
It may be that petitioners believe the DC Circuit would be more inclined to vacate the current Internet Freedom order: "The [Internet Freedom] Order largely repeals the 2015 rules—in doing so, the Order grapples with, and attempts to account for, the D.C. Circuit's decisions in Comcast, Verizon, and USTA, citing those opinions no less than forty-seven times. In other words, this is a case where essentially the same parties are seeking review of the same essential issues that have arisen in multiple inter-related proceedings."
The two petitioners who filed initially in the Ninth Circuit did not join in the request but "do not object" to transfer to the DC Circuit. The FCC also does not object.
2nd Update: On March 28, 2018, the Ninth Circuit agreed to transfer the consolidated review proceedings "back" to the D.C. Circuit. We will follow up when a new briefing schedule is established.
3rd Update: Initial submissions and procedural and dispositive motions due end of April and early May. Briefing schedule to follow.
4th Update: The D.C. Circuit issued its briefing order setting the timing for petitioners, the FCC, and intervenors to file their initial briefs and replies along with specified word counts. With the final filings in the cycle due at the end of November, oral argument will likely be scheduled late spring or early summer.
5th Update: Oral argument has been scheduled for February 1, 2019 at 9:30 am. Per usual rule, the makeup of the panel should be released 30 days prior, or January 2.
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redpajama_set_name: RedPajamaCommonCrawl


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Арсуг — село в Агульском районе Дагестана. Входит в сельское поселение «Сельсовет "Буршагский"».

Географическое положение
Расположено во Внутригорном Дагестане, на реке Кошанапу (бассейн реки Чирагчай), в 25 км к северо-востоку от села Тпиг.

Население

Согласно результатам переписи 2002 года, в национальной структуре населения агульцы составляли 94 %

История села
Центр сельского общества (в XIX веке).

Известные люди
Родина поэта Гаджи-Сефера и Шерифа Мазанаева.

Примечания

Населённые пункты Агульского района

redpajama_set_name: RedPajamaWikipedia


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Home > Department of Media and Communications > Who's Who > Phd Researchers > Joo Jaewon
Associate and Visiting staff
PhD Researchers
Joo Jaewon
Supervisor: Dr Myria Georgiou
Research topic: Public service broadcasting and multiculturalism: the representation of ethnic minorities in the Korean broadcasting system
Conference papers and publications:
(2007) Conference of the International Communication Association: "Representation of 'WE' and 'THEY' in Korean TV: A Study of the Television Documentaries Featuring Foreign Immigrant Workers and Korean Emigrant Workers", May 24-28, 2007 San Francisco, USA -
(2009) "A Study on discourse of new media represented by old media: Focusing on newspaper articles about TV and the Internet", Media & Society, Vol. 17 No. 2
Korean Broadcasting Institute - Correspondent for Researching Media Policies in the UK (May 2007 ~ April 2009)
Media & Future Institute - Correspondent for Researching Media Industries & Policies in the UK (Dec 2007 ~ May 2009)
Korea Creative Content Agency -Correspondent for Researching Media Industries & Policies in the UK (June 2 009 ~ )
Korean Society for Journalism and Communication Studies - Research Secretary (Oct. 2004 ~ Oct. 2005)
Far East Broadcasting Co., Korea & CBS, Korea - Part-time Radio Announcer (Oct. 2002 ~ Apr. 2004)
Teaching experience:
Joong-Bu University in Korea
Lecturer at Department of Journalism & Communications (Aug. 2006 ~ Dec. 2006) : Teaching "Video Journalism" & "Digital Film Making"
Copyright © LSE 2016 | Page updated 12 Jul 2012


Former Nigerian Idols presenter and Radiooutloud radio show host, Illrymz is off the market.
The media personality got married to to his bride, Omotara Olowu, who is an interior designer recently.
The fluent singer has been off the radar for a while after taking over the media world in Nigeria years back.
Illrymz (born Olowu Bardia Adebola; 3 December 1985) is a Nigerian television host, radio personality, writer, producer, event MC, artiste and former model.
He is the creator of the daily Instagram news show #SelfieNews and CEO of Contagious Collective, a creative media content company that has produced syndicated radio shows such as Radio Outloud with Nokia & ILL, The Jumia What Am I? Radio Show, Nunu Super Kids, and 0809ja_Radio. In 2016 he became the host of the Coke Studio Radio Hour produced in Los Angeles USA.
Illrymz's television credits include the host of Nigerian Idol, and co-host of StarGist, Soundcity, and Nigezie.


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Biden's Vax Mandate Scarier Than Halloween Kills Movie
Bob DeMoss | ChristianHeadlines.com Columnist | Friday, September 10, 2021
#vaccines
What does President Joe Biden's latest dictate have in common with the new Halloween Kills movie? Both are terrorizing 100 million people—with one difference. Unlike Hollywood's latest horror flick, Biden's latest executive order—that companies with more than 100 employees must vaccinate, isn't fictional. His slashing of our constitutionally guaranteed personal freedoms is on par with the nightmare Halloween Kills evokes.
On Thursday, Biden made the unconstitutional, mandatory vaccination decree, saying, "We've been patient, but our patience is wearing thin—and your refusal has cost all of us." Biden blamed American citizens, upwards of 100 million who have chosen not to be vaccinated for a variety of personal, health, and religious reasons, as the real problem in the fight against COVID. "This is not about freedom or personal choice," he said.
Whatever happened to "My body, my choice"? When it comes to abortion, he's for freedom and choice; not so with the mandatory vaccinations of 100 million people.
Ironically, Biden-Harris Administration policies exclude forcing the vax upon illegal aliens crossing the border. Upwards of 30 percent of illegal immigrants have refused to be vaccinated against COVID. American citizens will no longer enjoy that same choice if Biden's mandate survives a swarm of legal challenges.
Regarding the COVID response, America is suffering from severe government-induced whiplash. The ever-changing advice from Dr. Anthony Fauci and his posse over at the Centers for Disease Control and Prevention (CDC) has put an axe to public confidence in the CDC—plummeting as much as 30 points in six months. That's an understandable byproduct of their revolving door approach to public health and safety policies.
For instance, on July 30, 2021—just five short weeks ago, CDC Director Dr. Rochelle Walensky tweeted: To Clarify: There will be no nationwide mandate. I was referring to mandates by private institutions and portions of the federal government. There will be no federal mandate." You might want to read that again.
Earlier that same day, she was asked by a FoxNews reporter, "Are you for mandating a vaccine on a federal level?" Her answer? "That's something that I think the administration is looking into."
Which doesn't jibe with what White House Press Secretary Jen Psaki said in April of last year, namely, "The government is not now, nor will we be supporting a system that requires Americans to carry a credential. There will be no federal vaccinations database and no federal mandate requiring everyone to obtain a single vaccination credential."
Psaki reaffirmed that position in a June 2021 presser, stating that mandating public vaccination is "not the role of the federal government." And yet, according to CNN, citing a source familiar with Biden's plan, the President "will impose more stringent vaccine rules on federal workers by signing an executive order requiring all government employees be vaccinated against Covid-19—with no option of being regularly tested to opt-out."
While Biden shames and demands all Americans to get the COVID shot, a late-breaking scientific report demonstrates that natural immunity offers the highest protection against COVID-19 as well as the DELTA variant than the vaccine.
FORTUNE reports: "This analysis demonstrated that natural immunity affords longer-lasting and stronger protection against infection, symptomatic disease and hospitalization due to the delta variant." Read more here, here, and here.
What, then, is with Biden's full-court press to vax the public? Given the almost 99 percent survival rate of the virus, wouldn't it make more sense to allow nature to take its course? This is a virtual bloodbath of common sense and, as a number of Representatives are saying, an abuse of power by the President.
Rep. Robert Aderholt, R-Ala, responded to the mandate, saying, "This is unconstitutional. The U.S. Constitution does not give the President this type of authority. Nowhere in Article 2 of the Constitution will you find anything that even remotely gives the President this kind of power." In South Dakota, Gov. Kristi Noem tweeted: "South Dakota will stand up to defend freedom. @JoeBiden see you in court."
Larry Cosme, president of the Federal Law Enforcement Officers Association, drew a line in the sand, saying, "Vaccination should be promoted through education and encouragement—not coercion," adding, "We are a nation built on freedom. We are law enforcement officers who defend that freedom. And we deserve the freedom to make our own health decisions."
While governors, lawmakers, businesses, and private sector interests battle Biden's brazen mandate, losing sight of Who is still on His throne is easy to do. Personally, I find the words to this classic hymn to be especially comforting in disturbing times:
This is my Father's world,
O let me ne'er forget
That though the wrong seems oft so strong
God is the ruler yet!
The battle is not done
Jesus who died will be satisfied
and earth and heaven be one.
Oh, and for the record, avoid the Halloween movie as if it were the plague.
The views expressed in this commentary do not necessarily reflect those of Christian Headlines.
Photo courtesy: ©Getty Images/Kevin Dietsch/Staff
Bob DeMoss is a New York Times bestselling author of more than 40 books including collaborations with Phil Robertson/Duck Dynasty, Jim Daly/Focus on the Family, Andy Stanley, and Tim LaHaye/Left Behind. His latest short story is "Hazel: The Outlaw Mummy". Visit BobDeMoss.com.


We've taken our own advice about summer cat care to heart. Hello, dear ones. It's Adventure Cat Odin here today with the best summer cat care tips and bonus cat wisdom for you humans. My #1 tip is to not work too hard. Follow the photos on my adventures outdoors. Clyde, our hard-working editor agrees and is taking a break this week and wishes you a clawsome week!
I'm an early bird (bad pun, I know) and my mom, Layla is a night owl with a sleep disorder so we're rarely together for early morning walks. Sometimes our paths and sleep cycles cross and I get to show off my favorite activities. Every day is an adventure! First things first is the basic feline exercise 101 like stretching, rolling around and jumping before walking.
After my rounds are done, I like to bathe. Don't tell anyone but I treat our next door neighbor's property as my own. Fortunately, they're nice and don't have a dogs like our two other neighbors. Ha, those dogs are stuck behind a fence but they at least they have a pool. Somehow I don't think they will be inviting me to a pool party anytime soon. I'm mi casa e su casa friendly to everyone and su casa e mi casa. It's important to stay hydrated in the summer heat but don't drink pool water or from mud puddles. Did you hear about the dog in Florida who died from drinking too much salt water? That's a new one and good to know the risks.
In the summer heat, I'm not as crazy as I used to be in my younger days climbing every tree. I pause and observe between sniffing. Territorial sniff patrol is hard work but someone has to do it. Just because I'm sitting pretty, don't think I'm slacking. This is a private road and safe but I'm always alert. You never know when a furry snack is waiting in the bushes.
Oh, hello dear. I didn't mean you. Have you seen any bunnies? No? Chipmunks? I didn't think so. Peace. I'll be on my way.
to the memorial garden where we like to pause and be in the meow.
The raspberries are getting ripe. Mrs. Deer loves berries and ate most of our flowers. I would never do that. I'm an obligate carnevore and must eat meat.
This is one of my favorites scratching posts. I have ones I like to use for grooming and others like this one for scent marking. Cats sweat through the paw pads which leaves a scent marker for other cats. There is a black and white cat from a neighbor two doors down who thinks our property is his. The nerve! This tree stump is a major scent crossroads where I leave pee-mail to make a point.
It feels so good. All that exercise makes everything flow, if you know what I mean. Ah, this soft mulchy pine is the best litter box ever. Mom, excuse me!
After my work is done, it's time to let go and I do, completely. Unlike most cats, I'm so active during the day, I don't cat nap. You will never see me with one eye open. Sorry, another bad pun from a one-eyed cat. Seriously, I'm a sound sleeper. Have a peaceful week.
Get some dirt under your fingernails or nose like me and breathe in the natural fullness of the season. Enjoy the dog days of summer for cats. And if you haven't read our Summer Cat Care complete guide to summer safety for cats, here ya go.
Thanks, guy. The blog has many nice pictures. And maybe background near the forest?
How do you keep your outdoor kitties from getting fleas? Is there a good treatment you'd recommend? I've tried some before but they never seem to do anything. Or are they lucky and just don't get them? I let my cat outside to play one day and he got fleas from being outside just that one time. I haven't let him out since, but I still want to because he loved being out in the grass so much.
I had no idea that fireflies were toxic! Thanks for telling us.
I loved seeing all the pretties of your terrain, Clyde! Peaceful and full of nature's blessings.
For some odd reason my comment didn't post yesterday.
Thanks for sharing your adventure Odin!
It did post and I replied 🙂 Odin sends a big kiss.
This is not only educational but the most thoughtful and lovely post. Thank you Odin for being such a creative muse to your mom.
How nice that you get to roam and wander, Odin! My life is much more structured.
Thanks for sharing your day with us Odin! We love to explore every nook and cranny too. Hello to Clyde and the rest of the gang!
You sure are enjoying yourself, Odin. Thanks for taking us outside with you. We don't get to go out very much.
Odin, you look purrfectly at ease in the woods!
You mean on my toilette 😉 Yes, I'm an au naturelle boy.
I'm kinda on the same page, Odin. Just last night I was lying in bed appreciating the wonderful summer sounds. This week is cooler for us so I'm taking advantage of every moment.
Nice digs! The indoor cats don't normally go outside. Minnie though did have an adventure. She is a rolly polly cat for no apparent reason, she is just round. No over eating just lazy. Anyway, she decided to go through a screen in the living room because of we think fireworks from one side . She ended up with a giant scrape which luckily is healing nicely. She is a former feral, so did OK outside although was a bit overheated.
The outside cats are glad the fireworks are mostly over. Still dumb humans shooting them off but not so frequently. Punchy continues to decline (when isnt he) yet hangs in there. I am beginning to think this cat is Methuselah, but he is so friendly to humans now in his old age. Still punches everyone on the way to morning meal and he just had his mid morning snack. I think he is staying around because he is so babied.
I miss Clyde, tell him hello from the land of the lazy Iowa cats.
You are too funny using the mulch for litter 🙂 Great photos of you.
Love the deer! And Odin… And everything summer. We are indoors cats here – Ched and moi.
What a beautiful outdoorsy post. Love Odin. He is so beautiful, calm and… sleeping.
We don't go out of doors. Ched here loves to do what apartment cats do. Eat, sleep; sleep, eat. Lather, rinse, repeat.
Cheddar is sleeping now… And hiding. The Comcast guy came. And left within 30 seconds.
We have tons of mosquitos – literal blood-suckers and while Mom and Dad wear some protection, I'm just OUT THERE like a walking buffet! Anyway, my favorite avoidance technique is going UNDER a shrub. I lie down on the cold ground and snooze while Mom and Dad keep an eye on me. Stay cool Odin – but then you're one very cool cat so you're cool all the time right? Just like me!!!


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Beckemeyer, IL 62219
Bulletins & Liturgy Ministry Schedules
Best Lent Ever!
Join Dynamic Catholic for "Best Lent Ever". We all know things make us happy, but we don't always do them. Lent is an opportunity to change that and Dynamic Catholic invites you to do something different.
Sign up for Best Lent Ever, a free video-based email program featuring internationally acclaimed speaker and New York Times bestselling author Matthew Kelly. From Ash Wednesday to Easter Sunday, Matthew will help you identify what stands between you and happiness and what you do about it. Click on the link below to sign up for your best Lent ever.
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The original church was a two-story brick structure and the first floor provided classrooms for the parish school and the second floor seated 224 for worship services. By 1927 the Catholic population had grown to a point of needing a larger worship space so the foundation was laid for a new church.
A very attractive plan following the Spanish Mission style of architecture was adopted. With the closing of the coal mine in 1928, many people were thrown into unemployment...
Saturday Mass....................5:30pm
Sunday Mass.......................8:30am
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Mater Dei High School
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It is a representation of the lily flower, a regal and delicate bloom. Historically, this symbol has been a part of the royal French family and represented in the French flag for generations. What could be a more classic way to bring French elegance to your own home? Three - 4 oz. Triple Milled, Square, VT Made, Verbena Guest Bars with 12 Linen-Like Embossed Towels. Pearlescent white, brocade textured box comes gift ready with a silver bow. This Courtesy Guest Set is perfect for every occasion, holiday, event and expression.


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Lamborghini has named its most popular model
July 3, 2019	0	By autotimesnews
Crossover Lamborghini Urus has provided the brand with almost two-fold increase in sales
Lamborghini has published a sales report for the first half of 2019. It turned out that about 60 percent of the total volume of cars sold accounted for Urus.
From January 1 to June 30, 4,553 Lamborghini vehicles were sold worldwide. For comparison, the result for the same period in 2018 – a total of 2 327 cars. Thus, the increase was 96 percent. Such a rapid increase in sales is explained by the appearance of the popular Urus crossover in the model range of the brand: in the six months of the current year this model sold out in the amount of 2,693 copies, which is equal to 59 percent of the total number of cars sold.
In addition, the release of the crossover allowed the brand to consolidate its position in the United States and increase sales there by 128 percent, to 1,543 units. Today, this country is the largest market for the company. Next come China, United Kingdom, Japan and Germany. In the first half of the year, the demand for Lamborghini in the Asia-Pacific region (up to 1,184 units) more than doubled, and also by 67 percent in Europe, the Middle East and Africa (up to 1826 units).
According to the head of the brand Stefano Domenicali, Lamborghini Urus has attracted new customers – for 70 percent of buyers, this crossover is the first model of the Lamborghini in the garage, most of them already owning five or six other premium brands. In the future, the automaker intends to increase the number of sales of Urus to 4,500 copies per year.
Biker invented a smart helmet that synchronizes with the bike
Lexus LS 500 has a new Inspiration Series


Children learn best when they are comfortable in their environment. When children feel comfortable, they can relax in their surroundings and concentrate on the lessons being taught.
To print free worksheets to help your child improve his social and emotional skills, please view our collection of Social and Emotional Development Worksheets.
Sharing materials and taking turns.
Respecting people and their personal materials.
Staying focused and on task during a lesson.
Complying calmly with directions from authority figures.
Attempting to solve problems before asking others for help.
Verbally communicating needs and ideas accurately.
All children have a strong need to feel that they fit in and belong with their peer group. Because of its importance, children will strive to meet this need before turning their attention to other matters, such as learning.
For example, if a child is uncomfortable being away from his parents or if he does not feel that other children like him, he will likely become tense and distracted. When this happens, he will instinctively devote his energy towards managing those emotions and away from focusing and learning during instruction time.
This is the same phenomenon that happens to many children in their pre-teen years. For example, I am never surprised when I hear about the smart, motivated, preteen girl who goes from getting straight As (and wearing her hair in a messy ponytail) to getting Bs and Cs (and spending an hour each morning in the bathroom with a can of hairspray and a disturbingly large collection of eye shadow and lip gloss). As her interest in boys increases, she becomes increasingly insecure at school. This unease in the classroom is the precise reason for her sudden inability to focus in school and actually, um, like, you know, learn.
Social and emotional skills typically develop through practice and exposure to different social situations. The older your child is, the more time he has had to experience different social situations.
Play dates with one or more children at your home.
Play dates with one or more children at a friend's house.
Playtime at a park or communal playground.
Trips to the bank, post office, or other "adult" errand.
Music, cooking or other age-appropriate classes led by an instructor.
When hosting a play date, your child will have the opportunity to share his toys. A favorite train, for example, is his own toy when he is alone at home. But when other friends are over, your child will be expected to allow others to play with the train. Also, when playing a game with other children, your child will have the opportunity to practice taking turns. This includes both being patient while another child makes a move and making his own move in a timely and courteous manner.
When hosting a play date, consider allowing your child to select a few toys to put away before his friends arrive. By giving your child the opportunity to put away his most-special-amazing-and-favorite-in-the-whole-world toy, you are also giving your child the opportunity to select which toys he will share with his friends. By giving your child some control in selecting toys, he will be more likely to share those toys happily, rather than feel as though he was forced to share.
If your child and his playmate are interested in playing a game, encourage the children to play a game such as Chutes and Ladders or Candy Land, since these games require no special abilities to succeed and each player has an equal opportunity to win. For older children, consider games such as Memory or Sorry!, which require only a basic skill set and most children will still have an equal ability to succeed.
When attending a play date at another child's house, your child will have the opportunity to practice taking direction from another adult, as the adult hosting the playgroup will likely have his or her own plans and rules. While jumping on a bed or climbing on a sofa might be acceptable at your home, for example, your child will need to follow a "no climbing on furniture" rule in place at another child's home. Attending a play date at a friend's house also gives your child practice separating from his parents, which will help ease any separation anxiety that might surface during the first few days of a new school year.
When participating in a group class or activity, your child will have the opportunity to practice meeting new children in an unfamiliar environment. Arriving at a new class requires your child to walk into an unfamiliar room filled with unfamiliar faces, introduce himself to the other children, and engage in group activities. This experience is very similar to what he will experience during the first weeks of a new school year. Also, your child will have the opportunity to practice taking direction from another adult, as the leader of the class gives instructions for how to complete the specific activity.
When accompanying you on a trip to the post office or other adult errand, your child will have the opportunity to practice his patience. For many children, their entire day is filled with child-centered activities. A trip with an adult to a "child-unfriendly" destination such as a post office or bank will help your child realize that there are times when he will be expected to wait quietly and patiently while others around him complete an activity.
In addition to actually putting your child in a new social situation, you can create hypothetical social situations for your child through books, movies, and stories. For example, when reading stories to your child, pause during the story to discuss how certain characters may be feeling. For example, is the main character sad, frustrated, nervous, scared, happy, surprised or excited? By encouraging your child to discuss the feelings of fictional characters, you will accelerate his general awareness that all people have feelings and that all feelings are important.
Children are expected to develop social and emotionally during the preschool and kindergarten years. At the beginning of preschool, it is expected that children may initially be fearful about being away from their parents. However, after a few days, children should be able to play peacefully alongside other children. By kindergarten, children should be capable of separating easily from their parents, sharing materials with classmates, showing empathy for others' feelings and attempting to solve problems without first seeking a teacher's help.
Continue reading about the next key developmental area, Gross Motor.
Learn about the social and emotional development level your child will need to begin school prepared.


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Home » Cover » Kukur Tihar: Here's why Nepal Army sends its sniffer dogs to UN peacekeeping missions
Kukur Tihar: Here's why Nepal Army sends its sniffer dogs to UN peacekeeping missions
Bijeesha Budhathoki November 3, 2021
A Nepal Army official worships a dog at the Bhairav Bahan Company, on the day of Kukur Tihar. Photo: Aryan Dhimal
Today is Kukur Tihar, the second day of the festival of lights. Many people are celebrating Kukur Tihar worshipping dogs, either pet or stray, by offering them tika, garland and food.
Like most Nepalis, the Nepal Army also celebrates Kukur Tihar with much fervour, worshipping all the dogs used in military services. In particular, at the Bhairav Bahan Company, Sano Thimi, Bhaktapur, an event is held on this day every year on this occasion. This is the place where sniffer dogs get trained. Therefore, they demonstrate their skills and are worshipped by the Nepal Army on every Kukur Tihar.
The role of sniffers in a police organisation is already known to the public, but their role in an army is something that people in Nepal rarely think of. But, interestingly, the dogs are too important for the Nepal Army too as they have even participated in UN peacekeeping missions in different parts of the world.
Wondering why?
Dogs in the peacekeeping missions
It has been 18 years since the Nepal Army has been sending such trained dogs to the United Nations peacekeeping missions. These dogs are selected for the mission as per the asked requirements of the mission, their traits and skills.
Nepal Army personnel offeri tika to dogs at the Bhairav Bahan Company, on the occasion of Kukur Tihar. Photo: Aryan Dhimal
In the missions, the dogs are mostly used for arm and explosive detection and security purposes. As of now, four such dogs named Rex, Kilo, Bujo and Tony are serving in the UN mission in Libya, says Major Parashu Ram Thapa of the company. Two of them as a pair earn USD 890.04 per month and two others USD 995.72, according to him.
Two dogs named Shaan and Gaamini were sent to the UN mission in Liberia for the first time in the early 2000s at the call of the United Nations. So far, 13 dogs have contributed to the Nepali peacekeeping forces mobilised in Liberia and Libya.
According to Thapa, besides UN missions, two dogs are deployed in the High Altitude and Mountain Warfare School, Jomsom, and two in the NA Jungle Warfare School, Amlekhgunj. Likewise, two dogs of the WWF, trained by the Army School, are in the Chitwan National Park to help control the wildlife crime.
This company houses 88 dogs (44 male and 44 female). It provides training to them and brings them to military use. Most of the dogs are bred there itself whereas a few are bought from elsewhere. The puppies are groomed for five to six months and after that, they are given basic obedience training for about three months. During the training, the temperament, and ability of the dogs are identified, informs Major Thapa.
"And as per the attitude and traits, they show, they are trained for special purposes such as infantry patrol, search and rescue, security, tracking, sniffing and explosive detection," he adds.
A sniffer dog carrying a bouquet,
Apart from these, trained dogs are also used for sports and entertainment in many programmes organised by the Nepal Army.
Daily diet and care
The daily ration scale of 88 dogs here is Rs 377 per dog, which is more than double the scale of a soldier. They are regularly checked by veterinarians every Wednesday.
"They are fed a hygienic diet as per the recommendation of vet doctors. Generally, they are fed buffalo meat, milk, green vegetables, dog biscuits, rice and others every day," says Thapa.
There is one soldier to take care of one dog. These dog handlers are also given basic and special training to look after and train the dogs. They are also sent to India, Pakistan and Bangladesh for training so that they can give the dog as per the changing time.
Two guard dogs attack an army man acting as an enemy in a Kukur Tihar function. Photo: Aryan Dhimal
The dogs are employed for military use till they reach the age of eight years. However, their retirement age depends on their health condition, age and performance.
Following their death, they are paid respect as per the Hindu rituals and are buried.
A sniffer dog shouts for help for its handler. Photo: Aryan Dhimal
A sniffer dog carries waste to put in the dustbin. Photo: Aryan Dhimal
Bijeesha Budhathoki
Budhathoki was a correspondent at Onlinekhabar from February 2020 to February 2022.
Nepal worships these 7 animals every year, with special festivals for most
Meet this man who has been celebrating Kukur Tihar in a different way
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Many South Africans can look forward to a pleasant day on Thursday as warm weather has been predicted for most parts of the country.
However, extremely high fire danger conditions have been issued for three provinces - the central and eastern parts of the Northern Cape, the central parts of the Free Sate and the western parts of the North West, according to information provided by the South African Weather Service.
It will be cloudy and warm in Gauteng. The expected UVB Sunburn Index will be very high.
Mpumalanga will have early morning fog patches along the escarpment. Otherwise, it will be partly cloudy and warm but cool in the Highveld.
It will be partly cloudy and warm but hot in the Lowveld and Limpopo Valley of Limpopo. Isolated showers and thundershowers are expected in the extreme southwest towards the evening.
The North West will be fine and hot. It will be partly cloudy in the extreme west, spreading eastwards by the afternoon. Isolated showers and thundershowers are expected over the north-eastern parts towards the evening.
Fine and warm conditions are expected in the Free State, becoming partly cloudy in the north and east.
Morning fog patches are expected along the coast of the Northern Cape. Otherwise, it will be fine and warm, becoming partly cloudy in the northeast. The wind along the coast will be moderate southerly, freshening by the afternoon.
The Western Cape will be fine and warm but partly cloudy and cool along the coast with morning fog patches along the west and south-west coast. The wind along the coast will be moderate westerly to south-westerly.
It will be fine and warm in the Eastern Cape. The wind along the coast will be moderate south-westerly.


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Between his first appearance in and his death in February he made appearances for Basel scoring 48 goals. In the —67 season , Benthaus achieved his first league win with Basel.
Basel won 16 of the 26 games, drawing eight, losing only twice and they scored 60 goals conceding just The game went down in football history due to the sit-down strike that followed this goal.
Nationally in the —70 season , Basel won the league for the fourth time again one point ahead of Lausanne Sports.
In the Swiss Cup, Basel reached the final. Basel did not retain their title the following season despite finishing with the same amount of points as the subsequent champions, Grasshoppers, who won the title on a head-to-head.
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Subsequent to Basel taking the lead, Lausanne players refused to resume the game, sitting down demonstratively on the pitch.
The referee was forced to abandon the match and Basel were awarded the cup with a 3—0 default victory.
This was won by Basel who defeated FC Winterthur 4—1 in the final in which Hitzfeld scored a hattick.
In the —74 Nationalliga A season Basel finished in just 5th position winning 13 of their 26 league games, drawing twice and suffering 10 defeats, gaining 29 points.
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These lights are located on the center of the instrument panel.
The vehicle ahead light comes on when a vehicle is ahead and a possible collision can occur.
The forward collision alert comes on and warns when following a vehicle closely. The light then flashes when a vehicle is being rapidly approached.
See Forward Collision Alert (FCA) System on page 9‑40 for more information.


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We pride ourselves on producing the best seating charts/seat maps since it can be very difficult to find the right seats without a proper seating chart. When possible, we'll provide you with photos of actual seat views from different locations in a venue. You can go to our The Theater at Madison Square Garden seat views page to see them. The Theater at Madison Square Garden can hold up to 10,395 people but we unfortunately can't provide 10,395 individual seat views, therefore the seat views we show are usually a sample from different sections in a venue.
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Generally speaking, Mahlers late symphoniesexcept for No. 8, which is extremely popular because of its splendid exhibitionism, despite its complexityare not only unpopular but also extremely difficult to bring off well, and the Seventh has always been considered the most difficult of all. Only a handful of conductors, among them Kubelk, Abbado, and Boulez, seem to have managed to solve this hardest of Mahlers musical puzzles. All three of the conductors named were able to do so because they reveled in its grotesqueries, yet were able to knit its disparate elements together, and even they do not always succeed (or succeed equally) in each of the performances they lead.
As I write these introductory words, I am in fact listening to Rafael Kubelk conduct the symphony, the performance of February 28, 1981, with the New York Philharmonic that is generally considered to be his finest. All the swirling details of the score are brought out clearly, yet each and every element is knitted together splendidly and woven into a tapestry that touches the spirit and evokes a world of different moods. Kubelks tempos, in this performance especially, were rather slow, yet they never sound slow; he maintains momentum, no matter how convoluted the texture or how difficult the rhythms, and sustains tension despite his slowness.
Switching to Schwarz, one hears a performance 10 minutes faster than Kubelks. There is less rubato, more of a linear concept. It is played with great feeling, howeversomething I did not hear in Schwarzs readings of the First and Ninth symphoniesand although not quite as fiery as Abbados second, more successful, recording, it works very well. Like Kubelk, Schwarz revels in the musics grotesqueries, albeit in stricter tempo. There is sufficient relaxation in the soft string passages to offset this drama, and the Royal Liverpool orchestra responds with verve and great feeling to Schwarzs every shift of mood.
The first Nachtmusik movement plays off the dark and light elements in perfect equilibrium. The lyrical middle section has just the right tenderness and gemtlich for the music. The music singsand how it sings! One almost expects a soprano to come swooping in at any moment. The Scherzo has proper bounce and swagger, with a light touch that makes the odd violin glisses sound like aerial acrobats riding above the ebb and flow of the music. There is also a touch of humor, so important in this score. The second Nachtmusik continues this mood in a most charming vein. In the finale, Schwarz pulls out all the stops: the music leaps from the speakers and grabs you by the shoulders. There is an almost Baroque feeling to the counterpoint, though dressed in modern harmonic clothing, that Schwarz, an expert Baroque conductor, understands very well.
Gerard, you scored a hit with this one! The sound quality is nothing short of fantastic. Five stars, easily.


Can someone tell me which is the real server name to connect to the data migrator server?
When you add the ETL object you will need to know the host machine name or IP address where DataMigrator is installed, use port 8116 and the Server will be edaserve. You will also need a valid user / password to connect.
In the /srvxx/home/catalog directory there is a file called "edaexec.dat". Rename it to "edaexec.fex".


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NewsGroove Uk
NewsGroove Uk > Money > China's factory activity unexpectedly returns to growth in November
China's factory activity unexpectedly returns to growth in November
MoneyNovember 30, 2019
posted on Nov. 30, 2019 at 3:46 am
BEIJING (Reuters) – Factory activity in China unexpectedly returned to growth in November for the first time in seven months, as domestic demand picked up on Beijing's accelerated stimulus measures to steady growth.
FILE PHOTO: An employee works at the production line of aluminium rolls at a factory in Zouping, Shandong province, China November 23, 2019. Picture taken November 23, 2019. REUTERS/Stringer
But gains were slight, and export demand remained sluggish. More U.S. tariffs are looming within weeks and Beijing and Washington are still haggling over the first phase of a trade deal.
With China's economic growth cooling to near 30-year lows and industrial profits shrinking, speculation is mounting that Beijing needs to roll out stimulus more quickly and more aggressively, even if it risks adding to a pile of debt.
The Purchasing Managers' Index (PMI) bounced back to 50.2 in November, its highest since March, China's National Bureau of Statistics (NBS) said on Saturday, above the 50-point mark that separates growth from contraction on a monthly basis.
The result compared with 49.3 in October. A Reuters poll showed analysts expected the November PMI to come in at 49.5.
The official factory gauge pointed to an improvement in China's vast manufacturing sector last month. Total new orders bounced back to expansionary territory with the sub-index rising to 51.3, the highest level seen since April.
That indicates domestic consumption firmed up after Beijing repeatedly urged local governments to kick stimulus up a gear to meet economic goals before year-end. Factory output also rose to 52.6 in November, marking the strongest pace since March.
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"In the short term, we may have already passed the low point where the economy hit the bottom," Zhang Deli, a macro analyst with Lianxun Securities, wrote in a note.
Beijing has front-loaded 1 trillion yuan ($142 billion) of a 2020 local government special bonds quota to this year and has urged that they be issued and used as early as possible to boost infrastructure investment. Some analysts say that could be a sign that the government is worried about downward economic pressure.
Zhang attributed to the better-than-expected November PMI to a government push on infrastructure investment, less property market control, and a de-escalation in U.S.-China trade tension in October, when both sides said they had substantially reached a "Phase 1" agreement and the United States delayed a tariff increase scheduled to take place on October 15.
RISING UNCERTAINTIES
But recent developments underscore rising uncertainties in the trade conflict, which bodes ill for the outlook for external demand. New export orders fell for an 18th straight month in November, albeit at a slower pace, with the sub-index rising to 48.8 from 47.0 in October.
U.S. President Donald Trump said this week that the world's largest economies are close to reaching agreement on the first phase deal. But trade experts and people close to the White House said it could slide into the new year, given China is pressing for more extensive tariff rollbacks.
An additional 15% in U.S. tariffs are scheduled to take effect on about $156 billion of Chinese products on Dec. 15.
Trump has also highlighted Washington's support for protesters in Hong Kong, potentially a huge sore point for China.
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The PMI survey also indicated factories continued to cut jobs in November despite slightly improved business confidence, while it signaled a further deterioration in profits for Chinese manufacturers, with output prices falling into a three-month low.
Beijing's drive to guide more bank lending towards small private firms appeared to be working. Their PMI index recorded the strongest gain in November, compared to medium-sized and large firms, but their performance was still the poorest of the three at 49.4.
Growth in China's services sector also quickened in November, while construction activity held up well, but growth in the latter slowed compared to the previous month, a separate statistics bureau survey showed.
The official non-manufacturing PMI picked up to 54.4, recovering from October's 52.8, the lowest point since February 2016.
A strong services sector has offered Beijing some cushioning effect as manufacturers face growing difficulties in securing demand both at home and abroad. However, the sector's resilience weakened late last year amid a broader economic slowdown.
Some analysts have also cast doubt over the prospects for robust growth in the construction sector.
"After all, we are still waiting for more definitive signs of a recovery in the credit cycle. Meanwhile, sentiment in the property market continues to cool down, which clouds the outlook of the sustainability of property investment growth," researchers from China International Capital Corporation (CICC) said in a note this week.
China's gross domestic product growth is expected to slow to a near three-decade low of 6.2% in 2019 and then hit 5.9% in 2020, according to a Reuters poll.
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Reporting by Yawen Chen and Se Young Lee; Additional reporting by Roxanne Liu; Editing by Raju Gopalakrishnan
newsgroove November 30, 2019
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