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Liverpool Biennale reveals theme and participating artists for the 12th edition in 2023
in BIENNALE
Titled 'uMoya: The Sacred Return of Lost Things', the Biennial festival will take place the 10th of June until the 17th of September, 2023, curated by Khanyisile Mbongwa with Director Sam Lackey and the Liverpool Biennial Team.
In the isiZulu language, 'uMoya' means spirit, breath, air, climate and wind. 'uMoya: The Sacred Return of Lost Things' addresses the history and temperament of the city of Liverpool; it is a call for ancestral and indigenous forms of knowledge, wisdom and healing.
Khanyisile Mbongwa, Curator, Liverpool Biennial 2023, said: "Wind often represents the fleeting and transient, the elusive and intangible, but I remember my first moment standing at the docks in Liverpool and feeling the wind in my bones. The same wind that made Liverpool the epicentre for the trade of enslaved people and a city that built itself through each 'merchant' ship. And I wondered, how can this wind redraw the lines of cartography as pathways for a reckoning to occur? How can it gesture towards healing through implementing systems of care that would allow for a sacred return? A return to self that aligns the celestial and ancestral, a return where one is not denied access to themselves, a return where all that is lost or stolen is acknowledged, remembered, accounted for, ignited and returned"
'uMoya: The Sacred Return of Lost Things' explores the ways in which people and objects have the potential to manifest power as they move across the world, while acknowledging the continued losses of the past. It draws a line from the ongoing Catastrophes caused by colonialism towards an insistence on being truly Alive.
uMoya eases the way for breathing to be a passage for the mourning, the ancestral, the spiritual and the intellectual,enabling a move towards emancipation. More than 30 international artists and collectives have been invited to engage with uMoya as a compass, divine intervention, and thoroughfare.
Liverpool Biennial is the UK's largest free festival of contemporary visual art. Taking over historic buildings, unexpected spaces and art galleries, the Biennial has been transforming the city through art for over two decades. A dynamic programme of free exhibitions, performances, screenings, community and learning activities and fringe events unfolds over 14 weeks, shining a light on the city's vibrant cultural scene.
The Biennial programme is presented in locations across Liverpool, working in public spaces, historic sites and with the city's leading art venues including the Bluecoat, FACT Liverpool, National Museums Liverpool, Open Eye Gallery,Tate Liverpool and Victoria Gallery & Museum. Further venues and sites will be announced in Spring 2023.
Sam Lackey, Director, Liverpool Biennial, said: "I am excited to bring the spirit of uMoya to the city of Liverpool for our 12th edition in 2023, our 25th anniversary year. At this moment of global instability, the vision and experience of our curator Khanyisile Mbongwa brings a perspective of historic acknowledgement that ultimately proposes alternative futures for our world. The geographical breadth of artists will provide new perspectives on our city that acknowledge its past and continued effects on the world and suggests new modes of repair, freedom and joy. We look forward to working with our partners across the city to deliver the festival, bringing 14 weeks of engaging visual arts programming to regional, national and international visitors."
The participating artists confirmed to date are:
Albert Ibokwe Khoza (South Africa); Antonio Obá (Brazil); Belinda Kazeem-Kaminski (Austria); Benoît Piéron (France); Binta Diaw (Senegal/Italy); Brook Andrew (Wiradjuri/Australia); Charmaine Watkiss (UK); David Aguacheiro (Mozambique); Eleng Luluan (Rukai Nation/Taiwan); Fátima Rodrigo Gonzales (Peru); Francis Offman (Italy/Rwanda); Gala Porras-Kim (Colombia/USA); Isabel do Rosário (Brazil); Julien Creuzet (Martinique/France); Katy'taya Catitu Tayassu (Brazil/France); Kent Chan (Singapore/The Netherlands); Lorin Sookool (South Africa); Lungiswa Gqunta (South Africa); Melanie Manchot (Germany/UK); Nicholas Galanin (USA); Nolan Oswald Dennis (South Africa/Zambia); Pamela Phatsimo Sunstrum (Botswana/Canada/The Netherlands); Rahima Gambo (Nigeria); Rahmi Hamzi (Palestine); Raisa Kabir (UK/Bangladesh); Ranti Bam (Nigeria/UK); Rudy Loewe (UK); Sandra Suubi (Uganda); Sepideh Rahaa (Iran/Finland); Shannon Alonzo (Trinidad & Tobago); Torkwase Dyson (USA); Unmute Dance Theatre (South Africa).
For more information, please visit the Liverpool Biennale.
Sharjah Art Foundation brings together over 150 artists and collectives for Sharjah Biennial 15
John Akomfrah RA will represent Great Britain at the 60th Venice Biennale
Adriano Pedrosa appointed Curator of Biennale Arte 2024


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67-year-old Man Murdered in Camden County, NJ; Cops Investigating
Chris Coleman Published: August 15, 2021
Kaighn Avenue and Rose Street in Camden NJ - Photo: Google Maps
Detectives are investigating an early morning shooting in Camden that left a man dead.
Acting Camden County Prosecutor Jill Mayer and Camden County Police Chief Gabriel Rodriguez say officers were called to the neighborhood around Kaighn Ave. and Rose St. around 3:30 Sunday morning after they received a multi-round ShotSpotter alert.
At the scene, police found a 67-year-old Thomas Smith of Camden suffering from a gunshot wound. The victim was taken to a local hospital where he was pronounced dead.
Mayer's office says detectives continue to investigate the events that led up to the fatal shooting.
Anyone with information is asked to contact the Camden County Prosecutor's Office at (609) 575-2231.
NJ arrests 31 accused child predators in "Operation 24/7"
A roundup of 31 men have been accused of sexually exploiting children online, state Attorney General Gurbir Grewal announced on July 14 while detailing "Operation 24/7."
The suspects "possessed and or distributed videos and images of child sexual abuse, including in many cases videos of young children being raped by adults," Grewal said.
Chat apps and gaming platforms remain favorite hunting grounds for child predators and even as the pandemic winds down, many children have continued to spend more time online.
State Police received 39% more tips in just the first 6 months of 2021 than they received in the entire year in 2019. The following are suspects charged in "Operation 24/7."
Filed Under: Camden, Camden County

redpajama_set_name: RedPajamaCommonCrawl


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Abu Dhabi Grand Prix live stream: how to watch the last race of the 2020 F1 season
By What Hi-Fi? 12 December 2020
Can F1 finish with a bang at the spectacular Yas Marina circuit in Abu Dhabi; race time and TV channels
(Image credit: Mercedes AMG F1 / Steve Etherington)
Formula 1 has been anything but boring lately. Romain Grosjean cheated death in a fiery accident, then George Russell was denied a famous victory by a botched Mercedes pit stop. Hamilton's is back and will now take part in the final race of the season. Here's the F1 start time and how to watch an Abu Dhabi Grand Prix live stream from anywhere in the world.
Viewers in the US can sign up to a $79.99 F1 TV Pro season pass for live streams of every track session for all Grands Prix. US resident abroad? Don't forget that you can use a VPN to access your US F1 pass from anywhere in the world. (There are also some countries where you can watch an F1 live stream for free; see below). UK F1 fans must use Sky or buy a £9.99 Now TV pass to catch the race.
We'll get you up to speed with the best Abu Dhabi Grand Prix live streams in a second, but first, here's a taste of what's to come this weekend...
The latest news from the pit wall is that the Red Bulls secured a shock one-two in practice three; Hamilton's finished sixth. Can Verstappen and Albon pull of a repeat performance in qualifying? We'll find out today at 1pm.
The Formula 1 Etihad Airways Abu Dhabi Grand Prix 2020 takes place over 55 laps of the 5.554-kilometre Yas Marina Circuit on Yas Island on Sunday 13th December. The race itself starts at 1.10pm UK time tomorrow.
And while the race for the championship might be over, but the 2020 F1 season is about to end in spectacular style in Abu Dhabi this weekend. Follow our guide on how to watch the best Abu Dhabi Grand Prix live stream on your laptop, TV or mobile device...
Premier League 2020/21 live stream: what channel and how to watch
Formula One F1 TV Pro season pass
(Image credit: Formula 1 / Formula1.com)
Formula 1 itself offers an on-demand and live streaming service to race fans everywhere. Exactly what you get depends on what country you're in, so it may be a case of making sure you're signed up to a VPN if you're away from home.
Those in the US, for example, can sign up to a $79.99 F1 TV Pro season pass with live streams of every track session for all Grands Prix, access to all driver onboard cameras and team radios and live streams of F1, F2, F3 and Porsche Supercup races. It's a great way to view all the action from the epic Yas Marina circuit this weekend.
There's also on-demand access to full race replays and highlights, the F1 onboard cameras, all F1, F2, F3 and Porsche Supercup replays and F1's historic race archive too – an excellent package for petrol heads.
Watch the Abu Dhabi Grand Prix anywhere in the world using a VPN
We'll look at the TV and live stream options for UK and USA-based F1 fans below, but even after spending all that money on a subscription you're still not going to be able to watch the 2020 Abu Dhabi Grand Prix from another country. The service will know your location based on your IP address, and will automatically block your access.
There are certain territories where some or all of the races are free to air – so if you're away in Albania, Azerbaijan, Brazil, China, Russia, Slovenia, USA, the Middle East or North Africa, you may just need to tune in on your hotel TV or find a local bar. You can find a full list of the world's broadcasters with rights to show live Formula 1 here.
Anywhere else and you might want to get yourself a VPN instead. A VPN (Virtual Private Network) creates a private connection between your device and the internet, such that the servers and services you're accessing aren't aware of what you're doing. All the information passing back and forth is entirely encrypted.
There are many VPN providers out there, with some more reliable and safe than others. As a rule, we'd suggest a paid-for service such as NordVPN.
NordVPN Get 3 months free + 30-day money-back guarantee
You can get three months free when you sign up to a year-long plan, bringing VPN access to smart devices including the Amazon Fire TV Stick, laptops, TVs and both Android and iOS mobiles and tablets. Express also offers a 30-day money-back guarantee.View Deal
Once you've made your choice, all you need to do is sign in to your VPN service through whichever device you'd like to use to watch this weekend's Abu Dhabi GP. When prompted to select a server, you need to pick one which is based in the country whose content you'd like to access. Then navigate to the relevant video streaming app or website and you're in.
NFL live stream: how to watch American football from anywhere in the world
Watch the Abu Dhabi Grand Prix live in the UK
Sky is the only place for UK viewers to watch the 2020 Abu Dhabi Grand Prix race, practice and qualifying sessions all live in 4K resolution, on the company's Ultra HD service. You'll need to receive the Sky Sports F1 channel to enjoy all the coverage.
That comes bundled in with all the other sports channels as part of the £18 per month Sky Sports pack or you can get Sky Sports F1 on its own for £10 per month but on a rolling contract.
Build your Sky Sports package
If that all sounds a bit much, then anyone can enjoy the F1 using Sky's pay-per-view platform, Now TV. Now TV is available on all good smart TVs and set-top-boxes You can choose between a day, week or month-long pass and it's worth keeping an eye on just how many races each one might scoop up at any one time in the F1 calendar.
Now TV Sports day passes from £9.99
A day pass for sports on Now TV can cost as little as £9.99, with a weekly pass coming in at £14.99 for those after qualifying as well. A monthly pass is £33.99 if you want to cover two or three races.View Deal
The Sky Sports F1 HD channel is also available on Virgin Media as part of the Bigger + Sport TV bundle. It's £65 per month but it comes with all the other Sky Sports channels and all the BT Sports ones too, including BT Sports Ultra HD. All of that brings access to just about every televised sports action you'd care to mention including Premier League, Champions League and Europa League football.
If you're already a Virgin Media TV subscriber, then it may be a case of upping your package by just a few pounds per month.
Upgrade to Virgin Media Bigger + Sport
It's not all a dead loss without Sky in the UK. Channel 4 has the rights to show the highlights. The free-to-air channel will broadcast Abu Dhabi qualifying highlights at 4.30pm UK time on Saturday 12th December, followed by highlights of the race on Sunday at 5.30pm.
Watch the Abu Dhabi Grand Prix live in 4K
To watch this weekend's 2020 Abu Dhabi Grand Prix in glorious Ultra HD, you'll need a Sky Q set-top-box and a package with Ultra HD and Sky Sports F1. That starts at £49 per month, with a one off payment of £20 if you're not already a Sky subscriber. It's a fair whack but it's the only way to watch the F1 live and in 4K.
Feast your eyes on today's best Sky TV deals
Watch the Abu Dhabi Grand Prix live in the USA
For complete, all-season access to F1, including a 2020 Abu Dhabi Grand Prix live stream, Americans will need to sign up to the EPSN paid channels or Univision for the Spanish language coverage.
ESPN will carry live coverage of every session to subscribing US fans. Practice sessions will be available on ESPN2, with qualifying and the race broadcast on the main ESPN channel.
Live streaming is available via the ESPN App, which is available on Android phones and tablets, iPhones, iPads, Fire Tablets, Apple TV, Android TV, Chromecast, Fire TV, and Roku. You'll need to sign up to ESPN first, though.
How to live stream La Liga matches from anywhere in the world
Live 2020 Formula One race calendar
(Image credit: FIA)
The Formula One season usually runs from March to December 2020 with 22 races but that's all changed due to the coronavirus outbreak. Below you'll find the dates of each Grand Prix on the 2020 Formula One calendar:
1. July 3-5: Austrian Grand Prix won by Valtteri Bottas
2. July 10-12: Styrian Grand Prix won by Lewis Hamilton
3. July 17-19: Hungarian Grand Prix won by Lewis Hamilton
4. July 31-Aug 2: British Grand Prix won by Lewis Hamilton
5. Aug 7-9: Formula One 70th Anniversary Grand Prix won by Max Verstappen
6. Aug 14-16: Spanish Grand Prix won by Lewis Hamilton
7. Aug 28-30: Belgian Grand Prix won by Lewis Hamilton
8. Sept 4-6: Italian Grand Prix won by Pierre Gasly
9. Sept 11-13: Tuscan Grand Prix won by Lewis Hamilton
10. Sept 25-27: Russian Grand Prix won by Valtteri Bottas
11. Oct 9-11: Eifel Grand Prix won by Lewis Hamilton
12. Oct 23-25: Portuguese Grand Prix won by Lewis Hamilton
13. Oct 30-Nov 1: Emilia Romagna Grand Prix won by Lewis Hamilton
14. Nov 13-15: Turkish Grand Prix won by Lewis Hamilton
15. Nov 27-29: Bahrain Grand Prix won by Lewis Hamilton
16. Dec 4-6: Sakhir Grand Prix, Bahrain International Circuit, Sakhir
17. Dec 11-13: Abu Dhabi Grand Prix, Yas Marina, Abu Dhabi
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The Shadow – The Death Triangle
Published on April 14, 2017 August 14, 2017 by crypticescapemagazine
The Shadow comes to the aid of a doctor who was once a prisoner on Devil's Island. Originally aired December 12th, 1937.
The Shadow is a collection of serialized dramas, originally in 1930s pulp novels, and then in a wide variety of media. One of the most famous adventure heroes of the 20th century United States, The Shadow has been featured on the radio, in a long-running pulp magazine series, in comic books, comic strips, television, serials, video games, and at least five films. The radio drama included episodes voiced by Orson Welles.
Originally simply a mysterious radio narrator who hosted a program designed to promote magazine sales for Street and Smith Publications, The Shadow was developed into a distinctive literary character, later to become a pop culture icon, by writer Walter B. Gibson in 1931. The character has been cited as a major influence on the subsequent evolution of comic book superheroes, particularly Batman.
The Shadow debuted on July 31, 1930, as the mysterious narrator of the Street and Smith radio program Detective Story Hour, which was developed in an effort to boost sales of Detective Story Magazine. When listeners of the program began asking at newsstands for copies of "That Shadow detective magazine," Street & Smith decided to create a magazine based around The Shadow and hired Gibson to create a character concept to fit the name and voice and write a story featuring him. The first issue of The Shadow Magazine went on sale on April 1, 1931, a pulp series.
https://crypticescape.com/wp-content/uploads/2017/04/the-shadow-37-12-12-098-the-death-triangle.mp3
Play Time: 30 Minutes
Published in Old Time Radio, UncategorizedTagged CrypticEscape.com, Old Time Radio, OTR, The Death Triangle, The Shadow
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u-config: a new, lean pkg-config clone
This article was discussed on Hacker News.
In my common SDL2 mistakes listing, the first was about winging it instead of using the sdl2-config script. It's just one of three official options for portably configuring SDL2, but I had dismissed the others from consideration. One is the pkg-config facility common to unix-like systems. However, the SDL maintainers recently announced SDL3, which will not have a sdl3-config. The concept has been deprecated in favor of the existing pkg-config option. I'd like to support this on w64devkit, except that it lacks pkg-config — not the first time this has come up. So last weekend I wrote a new pkg-config from scratch with first-class Windows support: u-config ("micro-config"). It will serve as pkg-config in w64devkit starting in the next release.
SDL2 common mistakes and how to avoid them
This article was discussed on reddit.
SDL has grown on me over the past year. I didn't understand its value until viewing it in the right lens: as a complete platform and runtime replacing the host's runtime, possibly including libc. Ideally an SDL application links exclusively against SDL and otherwise not directly against host libraries, though in practice it's somewhat porous. With care — particularly in avoiding mistakes covered in this article — that ideal is quite achievable for C applications that fit within SDL's feature set.
QOI is now my favorite asset format
The Quite OK Image (QOI) format was announced late last year and finalized into a specification a month later. Initially dismissive, a revisit has shifted my opinion to impressed. The format hits a sweet spot in the trade-off space between complexity, speed, and compression ratio. Also considering its alpha channel support, QOI has become my default choice for embedded image assets. It's not perfect, but at the very least it's a solid foundation.
I solved the Dandelions paper-and-pencil game
I've been reading Math Games with Bad Drawings, a great book well-aligned to my interests. It's given me a lot of new, interesting programming puzzles to consider. The first to truly nerd snipe me was Dandelions (full rules), an asymmetric paper-and-pencil game invented by the book's author, Ben Orlin. Just as with British Square two years ago — and essentially following the same technique — I wrote a program that explores the game tree sufficiently to play either side perfectly, "solving" the game in its standard 5-by-5 configuration.
How to build a WaitGroup from a 32-bit integer
Go has a nifty synchronization utility called a WaitGroup, on which one or more goroutines can wait for concurrent task completion. In other languages, the usual task completion convention is joining threads doing the work. In Go, goroutines aren't values and lack handles, so a WaitGroup replaces joins. Building a WaitGroup using typical, portable primitives is a messy affair involving constructors and destructors, managing lifetimes. However, on at least Linux and Windows, we can build a WaitGroup out of a zero-initialized integer, much like my 32-bit queue and 32-bit barrier.
Illuminating synchronization edges for ThreadSanitizer
Sanitizers are powerful development tools which complement debuggers and fuzzing. I typically have at least one sanitizer active during development. They're particularly useful during code review, where they can identify issues before I've even begun examining the code carefully — sometimes in mere minutes under fuzzing. Accordingly, it's a good idea to have your own code in good agreement with sanitizers before review. For ThreadSanitizer (TSan), that means dealing with false positives in programs relying on synchronization invisible to TSan.
The quick and practical "MSI" hash table
I generally prefer C, so I'm accustomed to building whatever I need on the fly, such as heaps, linked lists, and especially hash tables. Few programs use more than a small subset of a data structure's features, making their implementation smaller, simpler, and more efficient than the general case, which must handle every edge case. A typical hash table tutorial will describe a relatively lengthy program, but in practice, bespoke hash tables are only a few lines of code. Over the years I've worked out some basic principles for hash table construction that aid in quick and efficient implementation. This article covers the technique and philosophy behind what I've come to call the "mask-step-index" (MSI) hash table, which is my standard approach.
My new debugbreak command
I previously mentioned the Windows feature where pressing F12 in a debuggee window causes it to break in the debugger. It works with any debugger — GDB, RemedyBG, Visual Studio, etc. — since the hotkey simply raises a breakpoint structured exception. It's been surprisingly useful, and I've wanted it available in more contexts, such as console programs or even on Linux. The result is a new debugbreak command, now included in w64devkit. Though, of course, you already have everything you need to build it and try it out right now. I've also worked out a Linux implementation.
Assertions should be more debugger-oriented
Prompted by a 20 minute video, over the past month I've improved my debugger skills. I'd shamefully acquired a bad habit: avoiding a debugger until exhausting dumber, insufficient methods. My first choice should be a debugger, but I had allowed a bit of friction to dissuade me. With some thoughtful practice and deliberate effort clearing the path, my bad habit is finally broken — at least when a good debugger is available. It feels like I've leveled up and, like touch typing, this was a skill I'd neglected far too long. One friction point was the less-than-optimal assert feature in basically every programming language implementation. It ought to work better with debuggers.
My take on "where's all the code"
This article was discussed on Lobsters.
Earlier this month Ted Unangst researched compiling the OpenBSD kernel 50% faster, which involved stubbing out the largest, extraneous branches of the source tree. To find the lowest-hanging fruit, he wrote a tool called watc — where's all the code — that displays an interactive "usage" summary of a source tree oriented around line count. A followup post about exploring the tree in parallel got me thinking about the problem, especially since I had just written about a concurrent queue. Turning it over in my mind, I saw opportunities for interesting data structures and memory management, and so I wanted to write my own version of the tool, watc.c, which is the subject of this article.


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Q: Why does my discord bot ignore awaitMessages? i tried using await message to store words in an array and then send them to discord. Here's the bot code:
const Discord = require('discord.js');
const {prefix, token} = require('./config.json');
const client = new Discord.Client();

client.once("ready", (message) => {
    console.log("Bot is online!");
    client.user.setActivity("Komnata", {type: "WATCHING"});
})

client.on("message", async message => {
    if (message.content.startsWith(`${prefix}role`)) {
        await message.delete();
        const filter = m => {m.author.id === message.author.id};
        message.reply("Choose embed title (message will expire after 10 seconds").then(r => r.delete(10000));
        message.channel.awaitMessages(filter, {max: 1, time: 10000}).then(collected => {
            var newArray = []
            newArray.push(collected);
            message.channel.send(newArray[0])

        }).catch(err =>{
            message.reply("Time has expired!").then(r => r.delete(3000));
        })
    }

})
client.login(token);

When i send a message to the channel(which contains one word), the bot completely ignores it and i get an error in the console:
Bot is online!
(node:3228) UnhandledPromiseRejectionWarning: DiscordAPIError: Cannot send an empty message
    at item.request.gen.end (c:\Users\Adam\Desktop\botd\node_modules\discord.js\src\client\rest\RequestHandlers\Sequential.js:85:15)
    at then (c:\Users\Adam\Desktop\botd\node_modules\snekfetch\src\index.js:215:21)
    at process._tickCallback (internal/process/next_tick.js:68:7)
(node:3228) UnhandledPromiseRejectionWarning: Unhandled promise rejection. This error originated either by throwing inside of an async function without a catch block, or by rejecting a promise which was not handled with .catch(). (rejection id: 2)
(node:3228) [DEP0018] DeprecationWarning: Unhandled promise rejections are deprecated. In the future, promise rejections that are not handled will terminate the Node.js process with a non-zero exit code.

A: Solved: i had to leave out the curly brackets on the filter

redpajama_set_name: RedPajamaStackExchange


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Home > Predictions And Tips > Tottenham V Manchester United Predictions Betting Tips Previews
Tottenham Hotspur v Manchester United Predictions, Betting Tips & Previews
Sunday May 14 – White Hart Lane – Premier League
Tottenham Hotspur beating old rival Manchester United may ease the pain of their Premier League title challenge falling short again. But Jose Mourinho's ultra-defensive system works better against the bigger clubs, so expect a close one.
Even during the era with Gareth Bale, Luka Modric and Rafael Van der Vaart lining up at White Hart Lane, Spurs rarely got the better of Manchester United, while Mauricio Pochettino has only beaten them once since joining, a 3-0 victory here last season. The Red Devils won 1-0 at Old Trafford in December so they will be confident in getting a result.
Erik Lamela and Harry Winks are ruled out for Sunday's meeting, but Danny Rose should return from a knee injury. The switch to three at the back has freed Christian Eriksen, so expect the Dane to control proceedings.
Zlatan Ibrahimovic, Ashley Young, Marcos Rojo, Timothy Fosu-Mensah and Luke Shaw are ruled out for the away side, but Marouane Fellaini will return from suspension. Expect a typically negative showing from Mourinho in an attempt to stop Spurs' vibrant attack.
Tottenham vs Manchester United Preview and Predictions
Despite having the experience of last season, Tottenham once again failed to keep up with the league leaders and effectively handed the title to Chelsea after losing to West Ham. But Pochettino and his men should be proud of themselves as it is the first time in the Champions League era that they have qualified for Europe's premier cup competition in consecutive seasons, although this years' showing suggests they have a lot to learn there too.
The home side are 8/11 favourites despite last week's shock defeat, but considering there is a score to be settled and that home advantage comes into play, it is hard to see it any other way. United are 17/4 outsiders and have not been doing themselves any favours after being outplayed by Swansea a fortnight ago and comfortably beaten by Arsenal on Sunday. As neither Anthony Martial or Marcus Rashford have proven to be capable of leading the United line, Wayne Rooney could make a rare start.
Harry Kane is favourite to open the scoring at 7/2, and considering the former MK Dons mans' strong record against the top six, it is almost guaranteed. However, Dele Alli's long range shooting may need to be utilised to get past a very deep defence, so consider the England international who is at 11/2.
Tottenham to win 3-0 at 14/1
Spurs may have an embarrassing record when facing Manchester United but everything comes to an end eventually. Tottenham's exciting, young squad is the opposite of United's and that vitality could make all the difference.
Christian Eriksen to score anytime at 3/1
The former Ajax man endured an extended period of anonymity, but he has flourished since Pochettino switched from 4-2-3-1 to 3-4-2-1. The Dane's outstanding assist went viral a fortnight ago, while he single handily outgunned Arsenal in the north London derby.


Bear Grylls will star in You vs. Wild, an interactive Netflix show.
Netflix has announced its next attempt at interactive television, and it's called You vs. Wild, and basically lets you tell Bear Grylls what to do as he goes on one of his very Bear-y adventures.
But are they? Bear Grylls pre-taped a bunch of survival scenes, and you choose which one to watch. There are literally no stakes because you know both options exist, and that he filmed both, which means he's acting in each one.
And that's fine—for a fictional film. Do we want to watch Bear Grylls do two different things, especially if they involve pretending?
In clips released by Netflix, Bear is talking directly to the camera, and giving options like "walk" or "crawl." It seems very simplistic, and at least based on these early promos, like the opposite of Black Mirror: Bandersnatch, which had five official potential conclusions, but 1 trillion different possible paths for viewers to take.
Will You vs. Wild be that complex? Also, is interactivity a good fit for reality TV? Hybrid fiction-reality shows can be successful (ABC's The Quest is still the best example, I think), but the combination of interactivity and an unscripted format/star just seems very weird.
That's especially true since Bear's show Man vs. Wild had issues with its veracity and its honesty with audiences, and whose show Running Wild—which just moved to NatGeo—purports to be reality but is also produced and staged.
But having watched those clips and chosen options, it felt more like footage shot for a theme park ride and its queue. It's likely the actual show will be much richer.
And props to Netflix for trying something new, not that this makes up for the cancellation of One Day at a Time.


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ACCESS DISCIPLINES AND PACKAGES
Artist Member Profiles
FILMMAKERS SCHOOL
Q: How much do classes cost?
A. Non-college credit tuition for each full-semester course is $375, plus a course fee, or $335 if paid before the semester's discount deadline. See the Tuition/Course Fees section of the Registration page for current rates and deadline. Course fees and expenses vary depending on what the course is; see Question 4 below.
Q: What is required to apply for admission to Pittsburgh Filmmakers?
A: The only requirement for entry level classes is a high school diploma or GED. A high school senior may petition for admittance; see Question 17 below.
Q: When do classes begin and how long do they last?
A: There are three semesters per year. Fall and Winter/Spring semesters run for 14 weeks, September to December and January to April; Summer semesters run for 13 weeks, from May to early August.
Q: Is tuition all I have to pay?
A: There are also course fees of either $35 or $70 attached to the majority of all full-length courses to cover in-class equipment use, materials, chemicals, facilities and rentals. In addition, a student must be prepared to pay for textbooks and other materials and processing charges not covered by course fees. See "Materials" on Page 27 of the Student Handbook for estimates of expenses for particular courses.
Q: Is financial aid available? Are scholarships or discounts offered?
A: Pittsburgh Filmmakers does not participate in Title IV financial aid programs. A limited number of scholarships are available to low-income students taking classes on a non-credit basis. Tuition discounts are available for PF/PCA Associate and Access Members, and one course fee per semester is waived for PF/PCA Full Access Members and Pittsburgh Technology Council members. See the Membership guidelines for details on Member discounts.
Q: What is an "independent" student?
A: An independent student is a person who registers for classes directly with Pittsburgh Filmmakers and either pays his/her own tuition and fees or is paid for by an approved third party (please contact the Registrar for details).
Q: Does Pittsburgh Filmmakers grant degrees?
A: Pittsburgh Filmmakers is a NASAD-accredited institution, but it does not grant degrees. The courses taught at Pittsburgh Filmmakers may be applied toward a degree if the student is registered in a participating college or university program, or, if taken on a credit transcript basis, as transfer credit to a non-participating school. Local universities participating with Pittsburgh Filmmakers include:
La Roche College
Seton Hill University.
Q: How do I register for classes at Pittsburgh Filmmakers if I am enrolled at a nearby university?
A: A student attending a participating institution registers for classes at their home school. It is the student's responsibility to communicate with the appropriate personnel at their school to assure proper registration – find your school information here, or contact Pittsburgh Filmmakers' Registrar, Kathleen Rebel, at krebel [a] pghfilmmakers.org or 412.681.5449 ext 202, to obtain contact information for your school.
Q: What is the difference between taking a course non-credit or credit transcript?
A: There is no difference in the content of the course whether taken on a non-credit or credit transcript basis. Courses taken on a non-credit basis are not acceptable for transfer to a post-secondary institution. (A student may decide to change the status of his/her courses from non-credit to credit transcript at a later date by paying the difference between the non-credit and current credit transcript tuition, plus a small processing fee.)
Q: What is Pittsburgh Filmmakers' tuition rate for transferable college credit?
A: The cost is currently $1025 for a 3 Credit / 42 classroom-hour course.
Q: How long will it take to complete a Certificate Program?
A: The Certificate in Film or Digital Video takes a minimum of seven semesters to complete, depending on a student's available time, resources and embarking semester; a Certificate in Photography will take a minimum of five semesters to complete. Completion of each Program requires a minimum of 12 courses, but there are no time constraints or minimum number of courses to be taken in any one semester. A student may progress through the Program at his/her own pace.
Q: Does a Certificate Program have to be taken for college credit?
A: No, these Programs may be taken on either a non-credit or credit-transcript basis; most independent students opt for non-credit. Certificate Program students enrolled in college generally complete the Program with a mix of non-credit classes taken independently and for-credit classes taken through their home school.
Q: Does Pittsburgh Filmmakers have an internship program?
Yes, Pittsburgh Filmmakers can assist in arranging internships with production companies, TV stations, feature films and TV series, freelance artists, and advertising agencies. Students generally apply for the position, and register for the internship if they are chosen by the company. Many internship positions are competitive, and advanced students are given priority over beginning students. For specific information, please contact the zavala [a] pghfilmmakers.org Will Zavala, Internship Coordinator.
Q: Does Pittsburgh Filmmakers have a job placement program?
A: No, however, paid and unpaid artist opportunities are referred to advanced students and recent graduates who request such information. We also post job opportunities on our bulletin board.
Q: May foreign students take classes?
A: Students who reside outside the United States may study at Pittsburgh Filmmakers; however, we are not able to assist such students in acquiring a student visa.
Q: Is housing available?
A: There is a wealth of housing rental options near Pittsburgh Filmmakers. Independent students must research local areas for housing possibilities, through online listings such as craigslist.org. We can also supply a list of realtors and management companies.
Q: Can high school students take classes?
A: High school students who have completed their junior year may petition to take entry level courses at Pittsburgh Filmmakers. Please download and submit a petition to the Registrar. Students at all levels can take media courses at Filmmakers at the Center, located at our sister organization, Pittsburgh Center for the Arts.
CENTER SCHOOL
The school building is located at 1047 Shady Ave., right off of 5th Avenue. If you are familiar with our gallery building (the big yellow one on the corner of 5th and Shady), we are right behind that building. The school building is a Tudor style mansion with orange trim.
What's your parking situation?
We have a metered lot around our building that is monitored by the city of Pittsburgh.
Can I transfer to another class?
Yes, but there is a $15 fee applied to all transfers. No transfers will be accepted once the second class begins. Transfers may only be made within the same term. A transfer may be made by calling the Registration Office.
Can I register for a class that's already started?
Students may register late for any class in which space is available. However, fees will not be prorated.
How do your waiting lists work?
Waiting lists are maintained for full classes. Students must request that their names be placed on a waiting list and will be contacted if space becomes available.
Students may cancel a class before the second class begins by calling the Registration Office. You will be charged a $25 cancellation fee. If the first class has met, you will be charged a fee for that class – in addition to the cancellation fee – and under no circumstances will tuition be transferred to another term. Membership fees are non-refundable. No cash refunds are available. We are not responsible for missed classes. Tuition for drop-in sessions, family workshops, and Sunday Samplers are non-refundable.
What happens when a class is cancelled?
Occasionally, classes are cancelled due to insufficient enrollment. In such cases, the Registration Office will notify you approximately 72 hours before the class begins and the full class fee will be refunded, either by check or credit card, depending on your form of registration.
What will my child's daily schedule be like?
Please plan to arrive at PCA about 10 minutes before your child's camp begins. You will need to check in at the table in front of the school. After check-in, students will be directed to their group, gathered on the front lawn of the campus. Once all campers in the group arrive, the camp counselors will escort students into the studio. If it's raining, students will check-in at the table in the front lobby of the school, and be escorted directly to the studio.
What about lunch?
Children attending full-day camps must bring a non-perishable lunch and a drink labeled with their first and last name. We suggest that campers also bring a snack for the mid-morning and mid-afternoon breaks.
Do you offer extended care?
Yes! Extended care options are available before and after camp hours. To ensure that adequate staffing is available, arrangements for pre-camp and post-camp care should be made at the time of registration. These fees are nonrefundable and spaces are limited. Placement cannot be guaranteed for last-minute registrations.
Pre-camp care is offered between 8:00 and 9:00am at a rate of $7 per day. Pre-camp care is led by an experienced Art Camp counselor and includes activities such as drawing, building, or age-appropriate games.
Post-camp care is offered between 3:30 and 6:00pm at a rate of $11 per day. Post-camp is monitored by an experienced Art Camp counselor. Each day, campers are able to choose from a multitude of group and/or independent art-related activities.
Children may not, under any circumstances, be left unattended at PCA School. If caregivers would like children to stay on-site before or after camp, they must register for pre-camp or post-camp care.
Who teaches Art Camps?
PCA's Instructors are talented artists, devoted educators, and responsible caregivers. Our instructors are passionate about designing a camp curriculum that reflects their skills and areas of expertise, while upholding a commitment to best practices in arts learning. All Art Camp instructors have at least two years of experience as an arts educator, and many have been with us for five years or more. Instructors are required to have a Bachelor's Degree, and often hold a Master's Degree in art or education.
What is process over product?
All projects are process-based, which affords children the opportunity to engage in critical thought, collaborative learning, and creative experimentation under the guidance of an experienced professional artist and educator. PCA places emphasis on the skills acquired during the process of creation, rather than the importance of a final product. To that end, students will work collaboratively, and may create temporary installations that won't go home with them at the end of the camp. While most campers will end the week with a final artwork to take home, this cannot be guaranteed in all camps.
Can my child participate in a camp that is outside of his or her age range?
PCA is dedicated to best practices in arts education, including developing and implementing age-appropriate visual and media arts curriculum for our students. Each camp is designed to meet the unique social and developmental needs of children in the age brackets.
Can my child be placed in a camp with his/her friend, neighbor, sibling, etc?
If you would like your child to be placed in the same camp section as another child, you must indicate this preference when you register. While we do try to accommodate all requests, placement of the children must coincide with our age and group size requirements.
What should my child bring, and what should s/he leave at home?
We provide all art supplies needed. For studio arts camps please send a labeled smock, apron or t-shirt for your camper to wear while engaged in messy projects. Please pack two non-perishable snacks and one lunch labeled with your child's name. For half-day camps please send a snack for mid-day break. You may send sunscreen or a hat for your child, especially for camps that will spend time outdoors.
Please keep toys, mp3 playes and other valuables at home. Cell phones may be used for emergencies only.
How can my child's special needs be accommodated?
PCA is committed to providing an enjoyable art-making experience for all campers and strives to create an inclusive and welcoming artistic community. Please share information about your child's special needs on the Camper Contract and Health Form provided at the time of registration. Caregivers may also contact us regarding special needs your child has which may impact his/her participation in an Art Camp. We welcome the presence of a professional TSS; please inform us in advance if a TSS will be accompanying your child during class.
How are camps priced?
Camp fees are calculated for individual camps, based on the cost of materials, equipment, etc. Members of PF/PCA receive a $25 discount on all camps.
How do I register and pay for an art camp?
There are several ways to register for a camp, listed below. Please note, your registration will not be completed until we have received full payment.
Online: PCA Registration
By FAX: 412-362-4589
In Person or By Mail: 1047 Shady Avenue, Pittburgh PA 15232
Are there any other details I need to know?
Pittsburgh Center for the Arts reserves the right to discard artwork or personal belongings left at the conclusion of each camp. Due to kiln firing schedules, some artwork from clay and ceramics camps may not be ready for pick-up until approximately two weeks after the camp ends.
Your child's image and/or artwork may be photographed or reproduced on PF/PCA promotional materials. A photo consent form will be sent to you upon registration.
VISITING FILMMAKERS
How do I get to Filmmakers by car or public transportation?
Please see our Directions page.
Does Filmmakers have a parking lot?
Yes, we have a visitors parking lot adjacent to the building. The parking lot across the street from Pittsburgh Filmmakers is University of Pittsburgh lot "PF," a permit-only lot patrolled by University of Pittsburgh police. Visitors may obtain a Visitor Parking Pass from the receptionist. Any Filmmakers' student may purchase a parking permit for daytime parking from the Parking Office on the Pitt campus (412-624-4034).
Is there street parking at Filmmakers?
Yes, along Melwood Avenue. Please see our Directions page.
Are there bike racks?
Yes, bike racks are by the Member and Student Access entrance.
When are the Melwood galleries @ Filmmakers open?
Tuesday – Thursday 2 – 7 pm; and when films are shown in the Melwood Screening Room
How much is admission to the Melwood galleries?
Admission is to the galleries at Filmmakers is free.
IN AND AROUND THE GALLERIES
Is there a coat check?
We provide a coat rack near the galleries.
Are baby strollers permitted in the galleries?
Yes, baby strollers are permitted. While we love encourage children to experience the art in the galleries, they must be supervised at all times.
Are all exhibitions appropriate for children to view?
At times, some of the exhibitions at the Melwood galleries are directed for adult audiences. Parents and teachers are advised to preview exhibitions or check with the staff at our Receptionist Desk.
Is there a place to eat?
Dave's Cafe Obscura is located in front of the Receptionist desk and is open on days when classes are held, generally Monday through Thursday. Dave prepares fresh vegan and vegetarian cuisine, and offers a wide selection of delicious beverages.
Are there other restaurants in the area?
There are many restaurants nearby in Oakland and Bloomfield.
Is Filmmakers wheelchair accessible?
Yes, please inquire at the Recptionist desk for any assistance you may require.
VISITING CENTER FOR THE ARTS
How do I get to the Center by car or public transportation?
Does PCA have a parking lot?
Yes, we have a metered parking lot that is enforced by the City of Pittsburgh. Please see our Directions page for more information.
Is there street parking at the PCA?
Yes, along Shady Avenue or Beechwood Boulevard Please see our Directions page.
Yes, bike racks are in front of the Marshall building and along Shady Avenue.
When are the galleries and Shop @ PCA open?
Tuesday – Wednesday 10 – 5
Thursday – 10 – 7
Friday & Saturday 10 – 5
Sundays 12 – 5
Please see our Directions page to check for special holiday hours
How much is admission to the galleries?
Admission prices are a suggested contribution; visitors may pay what they wish. PCA suggests a donation of $5 for adults; $3 for students and children. Admission is free for members. Please see our Become a Member Page.
Can I come to PCA just to visit the Shop? If so, do I have to pay the admission fee?
You do not have to pay the fee, but all visitors must sign in at the front desk.
During the winter months, we provide coat racks, hot tea and cocoa for guests in our front lobby. During the warmer months however, we do not provide this service. Please leave oversized items at home so you may comfortably enjoy your visit.
Yes, baby strollers are permitted. While we encourage children to experience the art in the galleries, they must be supervised at all times.
At times, some of the exhibitions at the PCA are directed to for adult audiences. Parents and teachers are advised to preview exhibitions or check with the staff at our Front Desk.
At our PCA location, we do not have a café. During the winter months, we provide complimentary hot tea and cocoa for guests in our front lobby. Outside food is not permitted in the shop or galleries.
There are many restaurants nearby in Shadyside, Penn Circle, and Squirrel Hill.
Is the Center wheelchair accessible?
Yes, please inquire at the front desk for any assistance you may require.
Does the Center offer special programs or tours for visitors with visual or hearing impairments?
PCA offers a variety of programs for visitors with diverse needs. Please call the Assistant to the Director at 412.361.0873x307 for more information or email at rcooper [a] pittsburgharts.org.
VISITING AS A GROUP
How do I arrange a visit for a school group or group of adults?
All guided and self-guided groups , should make arrangements in advance. Arrangements for groups just visiting the galleries and shop can be made with the Assistant to the Director at 412.361.0873x307. Groups that would like to have a hands on art activity with their visit may can contact our Director of Education 412.3361.0455x302. Please see more about our Group Visits.
ABOUT THE GALLERIES
How large are the galleries at PCA?
With over 5,000 square feet of exhibition space, the Center's ten galleries are dedicated to presenting exhibitions of both the region's prominent and emerging visual artists, as well as artists working nationally and internationally.
What are the current exhibitions at PF/PCA?
Please see our Current Exhibitions page.
How do I let PF/PCA know about my work?
Annually, PF/PCA accepts applications from artists living within a 150-mile radius of Pittsburgh for solo and collaborative exhibitions during the calendar year. This opportunity is open to artists working in any visual discipline including 2D, 3D, installation, and time based work. To get a copy of the application, please see our Calls for Artists page.
Is artwork in the galleries for sale?
Artwork for sale varies with each exhibition. We provide a gallery guide with pricing information at the front desk and throughout the galleries. To purchase work, please contact a sales associate from the shop for more information. 412.361.0873x303.
Can you tell me the value of an artwork that I own?
PF/PCA does not provide monetary appraisals. To determine the value of an object or to find an appraiser, you may contact the Art Dealers Association of America or the American Society of Appraisers.
Can I volunteer at the galleries?
PCA offers a variety of volunteer opportunities and internships. Please visit our Volunteer & Internships page for more information.
TOURS AND TALKS
Presently PF/PCA does not have any regularly scheduled tours, but arrangements for groups visiting the galleries and shop can be made with the Assistant to the Director at 412.361.0873 x307. Groups that would like to have a hands on art activity with their visit may can contact our Director of Education 412.3361.0455x302. Please see more about our Group Visits.
Talks are based on current exhibitions or popular art topics. Consult the calendar for specific dates, times, and topics.
What programs does PCA offer for children?
For over 30 years, the Center has been offering Summer Art Camps for children ages 4-17. In addition we offer evening an weekend classes for children and adults in a number of different media including: ceramics, creative writing, drawing, fiber arts, jewelry, media arts, painting, printmaking and sculpture. Please visit the School Page for more information and current listings.
PAINTING, SKETCHING, and PHOTOGRAPHY IN THE GALLERIES
Are visitors permitted to sketch in the galleries?
Yes. Sketching in graphite pencil is permitted in the galleries during regular gallery hours. The use of charcoal, ink, watercolor and paint, fountain, felt tip, or ballpoint pen is not permitted. Visitors should inquire at the front desk for further details.
Is photography or videography permitted in the galleries?
Photography and videography are allowed in the galleries. Images taken must use existing light (no flash) and must be for personal, non-commercial use only.
How do I know what kind of membership to get?
If your main interests are supporting the organization and receiving discounts for our various programs, the Associate Membership would most likely benefit you most. If you are interested in artist services, would like to participate in our governance, or intend to use the equipment at PF/PCA, an Access Membership would be most beneficial to you.
To become a member, visit our Become a Member page for more information; or call 412.681.5449x246 during regular business hours.
Benefits vary depending on the level of membership. See a complete list of Membership Benefits.
How do I make a donation to the galleries?
You may make a secure, fully tax-deductible donation online; using your Visa, MasterCard, or American Express card; or by mailing a check made payable to the Pittsburgh Filmmakers/Pittsburgh Center for the Arts.
I am a current member and/or donor. How can I change my name and/or address and continue to receive mail from PF/PCA?
Send your new name and/or address to Membership Services, jasdeep[at]pittsburgharts.org, or call 412.681.5449x246.
Can I give a membership as a gift?
Absolutely! A membership to PF/PCA makes any occasion special. Memberships make great birthday, graduation, wedding, anniversary, or holiday gifts for family, friends, and/or business associates. Please visit our Membership page for more information; or call 412.681.5449 during regular business hours.
How do I receive my members discount at the PCA Shop?
Simply by presenting your membership card to any associate in the shop upon payment. Your 10% discount will be deducted from the full retail price of items in the shop. The discount doesn't apply to the artwork in the exhibitions.
What is "pay-as-you-go" access?
Pay-as-you-go access is exactly what it sounds like. You can pay for equipment access as you use it, on an hourly or daily basis. Pay-as-you-go access is granted to all Access Members who have paid the basic membership dues upon equipment test-out (see below). Members who plan to use the equipment a lot should consider purchasing an Access Package.
What is an equipment test-out?
PF/PCA requires in-person demonstrations for equipment access and facility use because we need to ensure that members know how to use the equipment before access is granted. A test-out can be scheduled by calling the Pittsburgh Filmmakers equipment office at 412-681-9500 or the PCA School at 412-361-0455. If you fail an equipment test-out, you may be asked to take a PF/PCA class in order to learn how to use the equipment.
Can you test-out in more than one discipline?
Yes. You can test out in as many disciplines as you can handle. If you purchase more than one access packages, additional packages will be ½ price.
What are the access hours for PF/PCA?
Access hours and policies are different for PF and PCA, so be sure to read the policies closely. One major difference is that Pittsburgh Filmmakers has after-hours access. That's right, if you show up to access our labs before closing, you can stay as late as you want so long as you observe the rules! Please check here for our current hours of operation. Access hours for the PCA change according to staffing and availability. Please check here for our current hours of operation.
Can I upgrade my membership from Associate to Access?
Yes, contact the Director of Artist & Member Services at 412-681-5449 x 246.
What is an Artist Residency Project?
Artist Residency Projects place professional artists into school and community settings where they can share the myriad benefits of their creative processes. Each Artist Residency Project is a custom-designed collaboration between the host site and the Resident Artist. The Pittsburgh Center for the Arts' Artist Residency Program was founded in 2001 through our partnership with the Pennsylvania Council on the Arts' Arts in Education Division. Matching funds are available to support Artist Residency Projects ranging from 10 to 180 days.
Who is eligible for an Artist Residency Project?
Schools, nonprofit agencies, and community organizations working with both children and adults in Allegheny, Beaver, sw Butler, Greene, and Washington Counties are eligible for an Artist Residency Project. School-based projects include public, private, parochial, and charter schools serving elementary, middle, and high-school students. Artist Residency Projects can also be designed at the collegiate level. Community-based projects in social and human service agencies include social rehabilitation sites for adults, special needs children in an inclusion-oriented program, senior-care facilities, as well as projects at many other types of community and cultural organizations.
What are the benefits of an Artist Residency Project?
Studies have shown a significant correlation between arts education and skills development resulting in improved levels of achievement. Skills developed through the arts are recognized as being essential elements for success in today's society. These skills, as noted by Robert Root-Bernstein, Professor of Physiology at Michigan State University, include the ability to:
Observe acutely
Think spatially and kinesthetically
Identify the essential components of a complex whole
Synthesize and communicate the results of one's thinking, visually, verbally, or mathematically.
The arts are proven to stimulate and enhance student performance in all curriculum areas and to encourage the development of improved self-image and empowerment. The arts provide opportunities for:
Imagination and creativity to flow
Communication and problem-solving skills to grow
Self-directed intrinsic motivation to be engendered
Teamwork to be encouraged and appreciated
Diverse thinking to take place
Individuality to excel
Positive self-expression to evolve
Projects can last anywhere from 10 to 180 days. The days don't need to be consecutive, e.g., a Resident Artist can work at a site one day a week for eighteen weeks, twice a week for five weeks or four times a month for the whole school year. Artists may work up to four hours per day with core group participants.
How many days constitute and Artist Residency Project?
What is a core group?
An Artist Residency Project is designed as an in-depth, medium-specific experience for up to three core groups of students, not to exceed 30 students per group. The program is described as allowing a "full embrace" for a smaller number of participants rather than providing just a "handshake" for every student in the school. The Resident Artist may be introduced and present at an assembly, may do a whole school performance or slide show, may visit classrooms to talk with other students and teachers, and may provide workshops for teachers to take specific techniques and creative ideas back to their classrooms. Please welcome the Resident Artist to your site with the idea of positively impacting everyone in the building, but giving the core group students and teachers a more in-depth experience.
What kinds of artists are in the program?
Our roster includes media artists, dancers, folk artists, musicians, visual artists, clown artists, craftsmen, performers, fiber artists, poets, installation artists, and writers! These artists are practicing professionals who are exhibiting, performing, and publishing regularly. Part of the skill set of a Resident Artist is his/her ability to communicate both the creative process and the techniques of his/her medium. Qualifying artists are chosen based on the quality of their artwork, their ability to articulate details and inspiration of their artform, and their proven ability to fully implement a successful residency plan. The Pennsylvania Council on the Arts makes the final decision regarding approval of the artists. Once approved Resident Artists are included in our roster but are not employees of the Pittsburgh Center for the Arts. They maintain their own studio spaces and often work with other non-profit arts organizations.
How do the Resident Artists get paid?
Artist Residencies are funded by the host site with matching funds of up to 50% provided by the Pittsburgh Center for the Arts through our partnership with the PA Council on the Arts' Arts in Education Division. The Pittsburgh Center for the Arts pays the artist in full and invoices the host site for its portion of the match as well as a 10% administrative fee.
Is it difficult/competitive to receive matching funds for an Artist Residency Project?
It is not at all difficult, although artists' schedules fill up quickly so make your requests in a timely fashion! The program is designed to operate on an on-demand basis, but funding is limited.
How much does an Artist Residency Project cost to implement?
Most individual Resident Artists are paid $200 per day. Some artists have slightly higher fees. Companies' and ensembles' daily rates vary depending on the size of the group. The host site is solely responsible for the cost of materials and for any compensation to the artist associated with travel expenses. (Resident Artists excel at making the cost of materials for their projects affordable to the host sites!)
How will the Artist Residency Project fit in with existing programs/curriculum?
The Resident Artist, representatives from the host site, and the Pittsburgh Center for the Arts plan the residency project together. Much care is taken to address Pennsylvania's Arts & Humanities Standards in all art forms and to clearly articulate the goal of having the Resident Artist at the site. Artists and teachers communicate regularly regarding the intent of the project, how to best connect the art form to an existing program, and/or extend it throughout the curriculum. Often it is not Arts Educators who are working with the Resident Artist but, rather, the Classroom Teacher who recognizes how an artform brought to life by a practicing artist can more fully illuminate a concept for students or inspire their learning.
OK, I've decided that I want to participate in the program! What are the next steps?
Step 1: Think about specific areas of your curriculum or program that could benefit by having a Resident Artist with whom to work! Then look through our roster to see which artist(s) might provide insight or creativity to that area. You should contact Mary Brenholts, Director of School & Community Programs at 412-361-0455, x368 or mbrenholts [a] pittsburgharts.org to discuss which artist(s) might be most suitable to meet the needs of your site. Read through our supporting materials to get a better understanding of how the Artist Residency Program works and how it is intended to positively impact students, teachers, administrators, parents, and communities now and into the future.
Step 2: Contact the Resident Artist(s) to discuss your ideas. Check on availability, daily rate, the potential cost of materials, workshops for peer teachers and other items particular to each artist/artform.
Step 3: Complete the Artist Residency Request Form making sure to provide us with as many details as possible. If you are uncertain at this point about the source or confirmation of your matching funds simply write "pending" or "awaiting approval." Matching Funds can come from a variety of sources including school budget, district budget, a PTA, PTO, or PTG, or from a foundation or local business. Some sites hold fundraisers in their communities. The request form is not a binding document, it simply allows us to determine demand for the program and how to best allocate our funds. If you are unsure of how to complete the budget section, call us for assistance. Make certain to get signatures from principals or other appropriate administrators. Submit your request form as soon as possible to ensure having a good chance to receive matching funds.
Step 4: Meet with the Resident Artist(s) and the Pittsburgh Center for the Arts to review and complete the Artist Residency Planning Form. Use the questions as tools to help develop a comprehensive plan designed to have lasting impact. Set dates with the Resident Artist(s) as soon as possible! Submit your planning form upon completion.
Step 5: Once we have received your Artist Residency Request Form and we receive our funding confirmation from the Pennsylvania Council on the Arts the project can get moving! We are just a phone call or e-mail away at all times and love hearing from potential host sites to answer questions or share ideas.
Pittsburgh Filmmakers Theaters
PFPCA EVENTS
PHENOMENA @ VIA Music and New Media Festival
Curated by Gretchen Neidert (Blissy) & Marina Pfenning (Rina)
Omayra Amaya Flamenco Dance
Grab your seats for Omayra Amaya Flamenco Dance today before it's SOLD OUT!
RADical Days: Free Tour of the Biennial at PCA
Artist Talk: Paul LeRoy Gehres
Pittsburgh Society of Artists New Member Screening
Present three(3) gallery ready(framed and wired) pieces of art completed within the last two year


This IS the Harbinger/Imperium story you have been waiting for!
It WILL be one of your top VEI books/series. Guaranteed.
This series picks up directly after Imperium #16, if you've read Imperium that is all you need.
Sounds like DMG's first good comic since they took over.
It's so damn good. Can't wait to read the full series!
then should we assume that this is a stand alone story with no continuity to the other VEI properties since the end of Imperium?
This is THE continuity, everything after with exception of Secret Weapons was crap and should be discarded.
Unless that whole Bloodshot USA thing never happened because it was just another BS memory implant, possibly from Livewire.
Agreed. Best Valiant issue I've read in a long time, a great continuation of Imperium.
The year long wait was excruciating, then the added week made it worse, but it was definitely worth it.
I think every Valiant Faithful fan is pulling this book, wonder how that will show come total sales. Could this be the book that is most demanded the entire year? I have no doubts it will be.
I hope so - theres a sad truth behind Harbinger/Imperium, and that is that despite it being one of the best written comics out there [VEI or otherwise], it seems to not catch on with the masses as well. I'll never understand that, myself.
I've had the ashcan since October and never opened it. I wanted to enjoy this book in its full splendor and am not disappointed. What a great start to the continuation of Imperium. Love it!
Yep 5/5, Dysart nailed it like we knew he would. Head and shoulders above everything else Valiant has put out for some time.
Side note: It's interesting that with Dysart's background concerning child soldiers in Africa, that he has Harada using children as combatants in this story.
Also the fact that China is prominent all of sudden, I think that may be a secret dig at DMG.
It is important to note that China actually IS in Africa right now building bases and acquiring resources. So Dysart is actually spot on with this one.


is called. This is passed the field name and value as parameters but not the post ID that it's working with, this allows you to modify the value based on it's currently contents but not based on the post ID i.e. to inject new fields into the diff.
Proposal that the post ID also be passed to this filter rather than having to hack around it by making $left and $right global.
revisions.patch (946 bytes) - added by pollett 7 years ago.
revisions-whole.diff (938 bytes) - added by pollett 7 years ago.
19932.1.patch (1.2 KB) - added by ethitter 6 years ago.
Why not pass the whole revision instead of just the ID, then?
Passing the whole revision seems fairly reasonable. Patch added.
In 19932.1.patch, I refreshed the patch and added the entire revision to the third instance of the filter. I also added the revision side to the uses, or an empty string when not in a diff.
Revisions: Pass the whole revision being filtered along with context about which side it is to the _wp_post_revision_field_$field filters.
Fixes #19932 props pollett, ethitter.


text:
Q: How can I check for a specific class using javascript? So I need to be able to check if a specified id has a specific class, but I'm not completely sure on how to do that.
Here is my code. You can see my attempt at checking a id for a specific class in the homeTransition function.

function homeTransition()
    {
        if(document.getElementById("aboutContent").hasClass("animated fadeInUp")){
            document.getElementById("aboutContent").className = " animated slideOutDown";
        } else if(document.getElementById("projectsContent").hasClass("animated fadeInUp")){
            document.getElementById("projectsContent").className = " animated slideOutDown";
            } else if(document.getElementById("contactContent").hasClass("animated fadeInUp")){
                document.getElementById("contactContent").className = " animated slideOutDown";
            }
                    document.getElementById("astronaut").className = " animated fadeIn";
    }

function aboutTransition()
    {
        document.getElementById("astronaut").className = " animated fadeOut";
        document.getElementById("aboutContent").className = " animated fadeInUp";

        document.getElementById("projectsContent").className = " animated fadeOutLeft";
        document.getElementById("contactContent").className = " animated fadeOutLeft";
    }

function projectsTransition()
    {
        document.getElementById("astronaut").className = " animated fadeOut";
        document.getElementById("projectsContent").className = " animated fadeInUp";

        document.getElementById("aboutContent").className = " animated fadeOutLeft";
        document.getElementById("contactContent").className = " animated fadeOutLeft";
    }

function contactTransition()
    {
        document.getElementById("astronaut").className = " animated fadeOut";
        document.getElementById("contactContent").className = " animated fadeInUp";

        document.getElementById("aboutContent").className = " animated fadeOutLeft";
        document.getElementById("projectsContent").className = " animated fadeOutLeft";
    }

//Menu
function expand(){
  $(this).toggleClass("on");
  $(".menu").toggleClass("active");
};
$(".button").on('click', expand);
body {
  font-family: "Source Sans Pro", sans-serif;
  color: #ccc;
  z-index: -100;
  background-color: black;
  overflow: hidden;
}

#aboutContent {
  position: fixed;
  top: 0;
  left: 0;
  bottom: 0;
  padding: 0;
  overflow: hidden;
  width: 100%;
  height: 100%;
  transition: all 250ms;
  -webkit-transform: translateZ(0) translateX(-100%);
  transform: translateZ(0) translateX(-100%);
  background-color: #2b2b41;
  z-index: -1;
}

#projectsContent {
  position: fixed;
  top: 0;
  left: 0;
  bottom: 0;
  padding: 0;
  overflow: hidden;
  width: 100%;
  height: 100%;
  transition: all 250ms;
  -webkit-transform: translateZ(0) translateX(-100%);
  transform: translateZ(0) translateX(-100%);
  background-color: #42424b;
  z-index: -1;
}

#contactContent {
  position: fixed;
  top: 0;
  left: 0;
  bottom: 0;
  padding: 0;
  overflow: hidden;
  width: 100%;
  height: 100%;
  transition: all 250ms;
  -webkit-transform: translateZ(0) translateX(-100%);
  transform: translateZ(0) translateX(-100%);
  background-color: #353440;
  z-index: -1;
}

.menu {
  position: fixed;
  top: 0;
  left: 0;
  bottom: 0;
  padding: 0;
  overflow: hidden;
  background: rgba(45, 51, 54, 0.9);
  width: 18%;
  box-sizing: border-box;
  transition: all 250ms;
  -webkit-transform: translateZ(0) translateX(-100%);
  transform: translateZ(0) translateX(-100%);
  text-align:center;
  box-shadow: 0 0 20px #000000;
}

.active {
  transform: translateZ(0) translateX(0);
  transform: translateZ(0) translateX(0);
  -webkit-transition: 0.4s;
  transition: 0.4s;
  color: #e5e5e5;
}

h1 {
  margin-top:60%;
  font-size: 2.5em;
  cursor: default;
}

ul {
  padding:0;
  list-style:none;
  font-size:14px;
}

li {
  padding:10px 10px;
}

a {
  text-decoration:none;
  padding:10px 15px;
  color:#fff;
  font-family:"Roboto";
  font-size: 1.5em;
  font-weight: 300;
}

a:hover {
  text-decoration: line-through;
  color: #0dffec;
}

.content {
  position:relative;
  width:300px;
}

.button {
  width:20px;
  height:40px;
  margin:24% 36%;
  padding: 14px;
  cursor:pointer;
}

.line {
 width: 40px;
 height: 2px;
    background-color: #fff;
 transition: transform 0.3s ease, background 0.3s ease, opacity 0.3s ease, top 0.3s ease;
}

.line.first {
  transform: translateX(-10px) translateY(22px) rotate(-90deg);
}

.line.second {
  transform: translateX(-10px) translateY(19px) rotate(0deg);
}

.button.on .line.top {
 transform: translateX(-10px) translateY(20px) rotate(45deg);
}

.button.on .line.bottom {
 transform: translateX(-10px) translateY(17px)rotate(-45deg);
}

@keyframes fadein {
    from {
        opacity:0;
    }
    to {
        opacity:1;
    }
}
@-webkit-keyframes fadein { /* Safari and Chrome */
    from {
        opacity:0;
    }
    to {
        opacity:1;
    }
}
<!DOCTYPE html>

    <meta charset="UTF-8">
    <meta name="viewport" content="width=device-width, initial-scale=1">

    <title>Home</title>

    <link href="https://fonts.googleapis.com/css?family=Source+Sans+Pro|Play|Raleway" rel="stylesheet">

    <link rel='stylesheet prefetch' href='http://maxcdn.bootstrapcdn.com/font-awesome/4.5.0/css/font-awesome.min.css'>

    <link rel="stylesheet" type="text/css" href="css/style.css">
    <link rel="stylesheet" type="text/css" href="css/animate.css">

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A: You can check like this
document.getElementById("projectsContent").className.indexOf("animated") !== -1 // class exists on element

But for this you can check for only one class, if you want to check for multiple classes store the className in a variable and check for all of them or write a utility function.
EDIT:
As mentioned by @Jerinaw in comment you can also use the below code, which is much shorter than above if you don't need support for < ie10
document.getElementById("projectsContent").classList.contains("animated") // class exists on element

A: Use vanilla Javascript
document.querySelector('#aboutContent.myclass');

This reads: Select the element with the id (id selector #) aboutContent, and that has the class (class selector .) myClass.
Read up on
CSS selectors
querySelector
I'd also like to note that you seem to be mixing vanilla javascript and jQuery. Maybe you should read up on selecting elements with jQuery.


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Gourdie, Steeds Stalls
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Temporary Camp (Roman)
Site Name Gourdie, Steeds Stalls
Classification Temporary Camp (Roman)
Canmore ID 28932
Site Number NO14SW 15
NGR NO 1151 4271
Datum OSGB36 - NGR
Permalink http://canmore.org.uk/site/28932
Ordnance Survey licence number 100057073. All rights reserved.
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SC 1164053
Oblique aerial view.
RCAHMS Aerial Photography
© RCAHMS
Steeds Stalls, Gourdie, oblique aerial view, taken from the NNE, centred on the cropmarks of the Roman Temporary Camp.
Oblique aerial view
© Crown Copyright: HES
Cambridge University Collection for Aerial Photography
© CUCAP
John Dewar
© HES (John Dewar Collection)
Steeds Stalls, Gourdie, oblique aerial view, taken from the NW, centred on the cropmarks of the Roman Temporary Camp.
Steeds Stalls, Gourdie, oblique aerial view, taken from the SW, centred on the cropmarks of the Roman Temporary Camp.
Steeds Stalls, Gourdie, oblique aerial view, taken from the SE, centred on the cropmarks of the Roman Temporary Camp.
Geraint Dyfed Barri Jones
© Courtesy of HES (G D B Jones Collection)
Prints and Drawings (5)
Digital Files (2)
Council Perth And Kinross
Parish Caputh
Former Region Tayside
Former District Perth And Kinross
Former County Perthshire
NO14SW 15 1151 4271.
(NO 1151 4271) Steeds Stalls (NAT) Roman Fort (R) (Site of)
OS 6" map (1959)
Steeds Stalls is recognised by Richmond and St Joseph as the probable site of a Roman fort.
The site comprises a series of contiguous excavations on the ridge of a hill. Seven circular chambers separated by partitions c. 12' thick are cut in the side of a steep bank. Floors are sunk c. 20' and each chamber is 15' in diameter. A long passage c. 4' wide formed the original entrance.
D Wilson 1851
In 1941, crop marks suggestive of a Roman fort were seen from the air by Flt-Lt Bradley, indicating a single line of ditch apparently surrounding a rectangular enclosure estimated at 410' by 390' with rounded angles and an approach road on the E side.
I A Richmond 1943; J K St Joseph 1951
The site has not been excavated, but two pieces of amphora were ploughed up in the enclosure area. They are in Dundee Museum: amphora handle (Accession no:1959.556.1), and part of neck (Accession no:1959.556.2)
J Barwick 1959; H Coutts 1971
Steeds Stalls (name verified) are as described by Wilson. Their size and plan suggest kiln-like structures, but to what use is conjectural. Some fragmentary burnt brick, not of Roman origin, is visible in the ploughed-up surround but the amount does not imply the manufacture of them.
The Roman fort, occupying a cultivated ridge, contains Steeds Stalls within its NW perimeter and undoubtedly pre-dates it. There is no trace of the former on the ground and no finds were made. Air photograph inspection indicates that it was rectangular in plan with rounded corners and measured approximately 125.0m NE-SW by 90.0m between ditch centres. No entrance (or tutuli) can be seen and the alleged approach road in the NE is doubtful.
Steeds Stalls revised at 1:2500.
Roman fort surveyed approximately at 1:2500.
Visited by OS (JM) 7 November 1975
Gourdie is a temporary camp.
Information from a letter from J K St Joseph 7 December 1976
About 2.7km NNW of the legionary fortress of Inchtuthil (NO13NW 5), on the gently sloping E shoulder of Hill of Gourdie, there is a small Roman temporary camp. Although long associated in popular tradition (reflected in the Old Statistical Account) with the operations of the Roman army under Agricola, Steeds Stalls was first confirmed as the site of a Roman military work by Eric Bradley in the summer of 1941, as the result of observation made in the course of RAF flight-training. More recent photography of the cropmarks which alone betray its outline has shown that the camp measured about 145m square. A gap near the middle of the NE side may mark the position of an original entrance, but the marks interpreted by Bradley as a contemporary road approaching the camp from the E have never been subsequently recorded.
The interior has been divided into two roughly equal parts by the linear ditch that springs from the NE side immediately S of the presumed entrance; the dividing-ditch itself is interrupted at its mid-point to give passage between the two compartments. The northernmost portion of the interior is occupied by the seven elongated hollows whose resemblance to the stalls of a stable gave the site its name; cropmarks not only indicate that there were originally at least five more such features, disposed in an arc to the SE of the already known examples. but also more clearly demonstrate their character. All appear to have been keyhole-shaped, with a round head about 4.5m in diameter and up to 6m deep being approached along a level passage 4m in average width. The purpose of the 'stalls' has neven been convincingly explained. It is possible that they were individual quarries contemporary with the camp and worked by a labour-force providing material for the builders of the nearby legionary fortress, but the multiplicity of working-faces requires explanation. Alternatively, the kiln-like appearance of the surviving traces may suggest they were used for the production of lime or the firing of bricks and tiles. However, no physical evidence for either kind of use has so far come to light.
Information from RCAHMS (GSM) 11 January 1993.
Statistical Account (OSA); I A Richmond 1943; O G S Crawford 1949; G S Maxwell 1980.
Field Visit (6 August 1942)
Emergency Survey (archaeology)
This site was recorded as part of the RCAHMS Emergency Survey, undertaken by Angus Graham and Vere Gordon Childe during World War 2. The project archive has been catalogued during 2013-2014 and the material, which includes notebooks, manuscripts, typescripts, plans and photographs, is now available online.
Information from RCAHMS (GF Geddes) 4 December 2014.
Publication Account (17 December 2011)
The site of Steeds Stalls has long been associated with the Romans, owing to the upstanding remains of some 'stalls' in its interior, with these interpreted as the advance guard of the Caledonian army, sent to watch the Romans in nearby Inchtuthil (Sinclair 1793: ix, 258–9; NSA 1845: x, 1025). Elsewhere, they are recorded as relating to the Picts (Wilson 1851: 86–7). The presence of a camp surrounding the stalls was first recorded by Flight Lieutenant Bradley from the air in 1941 (Richmond 1943: 47–9, fig 9; Crawford 1949: 76; St Joseph 1951a: 64).
The camp is situated on the eastern part of the Hill of Gourdie, some 3km NNW of the fortress and camps at Inchtuthil. A Roman quarry has been recorded some 700m to the south-west (Pitts and St Joseph 1985: 61), and parts of a Roman road, possibly running from Inchtuthil to the quarry and Steeds Stalls, have also been identified (Maxwell and Wilson 1987: 27). The camp is almost square, measuring about 149m from NNW to SSE by 142m transversely, enclosing just over 2ha (5.1 acres). An internal ditch is visible separating the NNW and SSE parts of the camp, halfway through the camp, some 74m from the NNW side; an entrance gap is visible in the centre of this dividing ditch and in the centre of the SSE side.
Most of the site is under the plough, except for six or seven upstanding stalls. These are accompanied by a further five or six stalls visible as cropmarks. They have a tadpole-like appearance, with a round head some 4.5m in diameter and a tail some 6m in length leading out towards the camp perimeter. Similar 'tails' are also visible as cropmarks at the back of the upstanding stalls, and with nine such tails visible, this suggests some fourteen stalls in total. The cropmarks are slightly confused where the inner ditch meets the eastern side of the camp, but there appears to be a further stall here, taking the total to potentially fifteen such features. These features have been proposed as possible lime-kilns relating to the construction of the nearby fortress (RCAHMS 1994: 83). An alternative explanation that they formed a base for stone vaulting for a victory monument (Woolliscroft and Hoffmann 2006, 71–2) seems unlikely (see above, section 7f).
R H Jones.
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Slavomíra supports our English, German, Slovak and Czech speaking customers and prepares Slovak versions of all marketing and support materials. In the LEO international team, she can fully utilise her rich experience gathered in the past as a Communication Manager for a telco operator, where she was responsible for internal communication, internal media and wide range of events. Several years ago, she also worked as Project Manager in Tourism Industry. She loves building communication bridges among people.When she is not working, she passionately designs handmade silver jewellery and experiments in the field of creativity.


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Organization Search Results
Organizations within 20.0 miles of Watts, Los Angeles, CA, USA in People with Disabilities
Sorted by Date Updated
Camp del Corazon
A small non-profit, we are a laid back office environment ever working for our campers and their families. We are looking for focused, self-sufficient, volunteers willing to be flexible, work in... More >
North Hollywood, CA | ( No Reviews)
Interest Areas: Children & Youth, Community, Health & Medicine, People with Disabilities, Sports & Recreation
Updated: 11/1/16 , Distance: 17.63 miles away
Heal One World
Our purpose is to help facilitate low/no income adult and children with physical and mental health issues that are not being fully addressed by medical care that is covered by insurance or is... (34.04735,-118.31918) More >
Los Angeles, CA | ( No Reviews)
Interest Areas: Advocacy & Human Rights, Community, Environment, Health & Medicine, People with Disabilities
Updated: 10/31/16 , Distance: 8.83 miles away
BRANDMAN CENTERS FOR SENIOR CARE INC
PACE at the Brandman Centers for Senior Care delivers high quality healthcare and social services to qualified seniors age 55 and over. We call the seniors in our program "participants."... More >
RESEDA, CA | ( No Reviews)
Interest Areas: Arts & Culture, Community, People with Disabilities, Seniors, Sports & Recreation
Unique Hospice and Palliative Care
Our carefully chosen team of Physicians, Nurses, Social Workers, Therapists, Hospice Aids, Volunteers, and many others, all serve to deliver the highest quality of care for our patients. Unique... (34.15101,-118.01285) More >
Monrovia, CA | ( No Reviews)
Interest Areas: Community, Health & Medicine, People with Disabilities, Seniors
Updated: 9/28/16 , Distance: 19.53 miles away
Green Block Project
Planting the seed of sustainability one neighborhood at a time, Providing the knowledge and ability to garden where space is an issue, To transform neighborhoods by teaching community members how... More >
Interest Areas: Community, Environment, People with Disabilities, Seniors, Veterans & Military Families
Updated: 9/1/16 , Distance: 12 miles away
Providence TrinityCare Hospice
We compassionately enter the lives of individuals faced with the realities of suffering, loss, death and grief, to offer expert care and education, while respecting each person's choices, values... (33.83835,-118.37056) More >
Torrance, CA | ( 6 reviews)
Interest Areas: Children & Youth, Health & Medicine, People with Disabilities, Seniors, Veterans & Military Families
Companion Hospice and Palliative Care Services, LLC: West Los Angeles
Companion Hospice provides physical, emotional, and spiritual support for terminally ill patient and their families. With the help of our hospice team, you and your loved Companion Hospice is... (33.98561,-118.3895) More >
Culver city, CA | ( No Reviews)
Interest Areas: Advocacy & Human Rights, Crisis Support, People with Disabilities, Seniors, Veterans & Military Families
Updated: 8/23/16 , Distance: 9.27 miles away
Exceptional Children's Foundation
ECF serves more than 3,700 children, students and adults with special needs each year in the Los Angeles area at 15 program sites. Programs include early intervention for ages 0-3; a K-12... More >
Culver City, CA | ( 1 reviews)
Interest Areas: People with Disabilities
Tower Health & Palliative Care
At Tower Health & Palliative Care, Inc. we believe that quality patient care occurs through thoughtful, deliberate planning by clinicians using a well-defined body of knowledge and established... (33.87256,-118.08996) More >
Artesia, CA | ( No Reviews)
Interest Areas: Advocacy & Human Rights, Emergency & Safety, Health & Medicine, People with Disabilities, Seniors
Updated: 8/3/16 , Distance: 9.64 miles away
Autism Society of LA
Did you know that one-third of all people with autism in California live in Los Angeles County? The Autism Society of Los Angeles is a non-profit 501c3 corporation serving millions of people in the... (33.95486,-118.39671) More >
Interest Areas: Advocacy & Human Rights, Children & Youth, Community, Health & Medicine, People with Disabilities
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"You need to start back writing so you can get clear." he said.
I'll admit, he gives the best advice. I don't care that he's in a federal penitentiary giving me advice from a cell phone that he's not supposed to have. Sometimes people go through the craziest life lessons and give the best advice from places I never want to be.
So I'm listening. I've taken a reprieve from writing to experience life. I don't know how I came to be a writer that shares my life's most private moments. There's something innate in me that's always been a conversationalist. For the first time in my life, I'm alone. And I want to talk about it.
No KIPP. No Exeter. No Spelman. No Tim. No husband. No in laws. No friends. Two kids.
Wow, I'm an adult. I'm literally standing on my own two feet and it's been intoxicating. My life as a writer has opened many doors, even in my love life. I meet some very unique men nowadays but nothing could have prepared me for the relationship that I've been in for the last year.
Yes, I've been in a relationship for the better part of this year. And no one knows. No pictures. My friends haven't met him. I've never blogged about him. I've never changed my Facebook status.
I don't know how I got here. It happened so fast. We met, two wounded souls exiting past relationships, scared of what the future held. Somewhere in the midst of confusion, we found one another and something felt right.
I don't want to be the bad guy. I don't want to be the one that some man talks about ten years from now about how wounded he is because of me. I don't want to be the woman that damages a man. I don't want anyone to hate me.
I couldn't keep lying to myself. I was with my first love ten years. I knew after year three that he probably wasn't the one. Why did I stay? I loved him.
I stayed with my son's dad six years. Had he still been alive, who knows how long we would have been together. I knew he was toxic and everything felt forbidden. But I stayed. I loved him. He made me feel secure.
I stayed with my ex-husband six years. I knew after one year of marriage that I was going to be a single parent one day. Why did I stay? I felt I owed it to my daughter. And him.
I can't do it anymore. I'm at a point where I just want to live for me. I want to be able to enter and exit relationships without this feeling of guilt. And without fear that I'm going to damage someone. I can't be responsible for how other people feel. I just want to be accountable for myself.
So here I am. With him. AMAZING with my kids. Speaking of kids, if I had one with him, it would have a trust fund. But I don't care about money. I make more than enough on my own.
Twenty one is legal age but do you know the first time I felt like an adult?
It wasn't my first kid.
It was the first time I looked into the eyes of a man who loved me.
And I told him he wasn't the one.
Promises of marriage. A baby. Lifestyle. A life I really want. I could see it at the tip of my fingers.
I don't want to compromise. I don't want to sacrifice any part of me.
There's growth in this story of my love life. Less than a year and I was honest.
"You aren't the one." I told him.
"There's someone else." I said.
For the first time in my life, I felt no guilt.
And he still didn't want to leave.
Sounding like da fog is lifting n clarity is on da horizon…da Forrest is fulla beautiful trees!
There is nothing better than a peace of mind!


text:
Thoracocyphus är ett släkte av skalbaggar. Thoracocyphus ingår i familjen vivlar.

Kladogram enligt Catalogue of Life:

Källor

Externa länkar

Vivlar
Thoracocyphus

redpajama_set_name: RedPajamaWikipedia


The emerald green playroom-slash-bar is a parent's dream come true.
Designer Miles Redd doesn't do kids' rooms — or any room designed to be outgrown. So for a pair of New York City siblings, ages 5 and 7, he created a colorful playroom (above) with longevity in mind.
Redd transformed a blank canvas into an arts-and-crafts room in custom emerald green lacquer with polished stainless steel banding. "I hate to say we were inspired by Brooke Astor's red library, but we were!" he says. When the kids are of age, it will seamlessly convert into a glamorous lounge. "Childhood is brief. Before you know it, these kids will be teenagers."
A polished custom sink with a streamlined faucet from Waterworks makes cleaning paintbrushes a breeze, and it will (eventually) make a handy bar sink for entertaining.
Cork is ideal for children: "It's soft underfoot for running and playing, plus you can drop things on it and they won't break," Redd says. To give it a chic look, he laid the panels in a parquet de Versailles pattern, created in the late 17th century at that Versailles.
Cabinets that Redd designed with the project's architects, Richard A. Bories and James Shearron, currently stash away toys, blocks and art supplies but can be converted to bar storage (and even fridge drawers!) down the line.
What's now a show-stopping place for the kids' artwork will make a perfect surface for a painting later.
The cozy felt window-seat cushion with horn buttons and a mattress edge will beckon friends in their teen years — just swap out the IKEA table and stools for some low-slung cocktail tables and, as Redd says, "You can hang in there."
Want to see more of this kid-friendly apartment?
Parents and kids relax in this living room off the playroom.
"We wanted a bright, cheery room that said little boy," Redd says. He paired the existing carpet with hand-painted faux-bois walls by Hurtado. "The red outline lends graphic edge."
The homeowners wanted to instill an appreciation of pretty things in their children, so their son has an antique Venetian mirror and artwork purchased at Christie's. "Hey, I always say, Start young!" Redd says.
"The seven-year-old's favorite color is purple, so we used it! But we made a room she can grow into," Redd says. "When all the toys are put away, it just looks like a charming guest room."
The family invested in classic pieces, including a timeless swing-arm sconce and a Louis XV chauffeuse in green velvet from Christie's. Art by Paule Marrot from Natural Curiosities and an antique Chinese rug keep things cheerful.
"I wanted the room to seem like a fantasy birdcage of sorts," Redd says, "which is why we added the lattice motif to the ceiling and door."
This story originally appeared in the June 2016 issue of House Beautiful. For more details, see resources.
Ask a Designer: How Do I Decorate a Kid's Room?