text:
No Win. No Fee.
Call 1800 85 30 85
About Maxiom
Sach Fernando
WorkCover
Road Accidents (TAC)
Your Life, Our Priority
Call Maxiom now to find out where you stand
Maxiom has a team of the best lawyers in Melbourne with years of experience in personal injury law. Our sole focus is to provide high-quality legal representation to our clients to achieve the maximum compensation they deserve and make their journey as comfortable as possible.
LISA PAUL - PRINCIPAL LAWYER
Lisa Paul is a Principal Lawyer at Maxiom with over 20 years of experience in personal injury law. She is an Accredited Injury Law Specialist who brings a wealth of experience in workers compensation and public liability matters.
Lisa is well regarded in the personal injury industry and is recognised as one of the three best compensation lawyers in Melbourne.
Through her long-standing memberships of the Australian Lawyers Alliance and the Law Institute of Victoria's Workers Compensation Committee, Lisa has served on various Court and Government committees. Lisa's experience as a leader in the personal injury field includes her most recent position as Managing Partner at a leading personal injury law firm.
Commenting on her decision to join Maxiom, Lisa said:
"Having known and worked with Sach Fernando for many years, I knew his ideals of fairness, empathy and dedication were aligned with my own. This, combined with the opportunity to work with a dynamic and driven team attracted me to join Maxiom. I look forward to contributing to the Maxiom Injury Lawyers growth and increasing presence in the personal injury jurisdiction."
SACH FERNANDO - PRINCIPAL LAWYER
It is a privilege to represent injured Victorians and I will never give up on their rights.
Sach Fernando is a leading lawyer and Specialist in Personal Injury law, accredited by the Law Institute of Victoria.
He is committed to guiding his clients on their road to recovery and will ensure that their weekly income and medical treatment are paid on time.
Sach is unafraid to challenge decisions made by insurance companies and works with a team of leading barristers to fight for his clients' rights in Court.
Sach is also an active member of the Australian Lawyers Alliance, an organisation that is committed to protecting the rights of individuals, and the Law Institute of Victoria, who named him as a Rising Star in 2017.
Sach is of Sri Lankan heritage and speaks fluent Sinhalese. His service to the Sri Lankan Australian community was recognised in 2016 when he was awarded Young Sri Lankan of the Year.
Sach founded Maxiom Injury Lawyers with a commitment to providing high quality legal advice, which is personal and affordable. He is passionate about keeping legal fees low so that his clients have the maximum compensation to rebuild their lives.
Sach can be contacted on 0488 722 444 or via email [email protected]
SHANE DON - LAWYER
Shane chose to practise as a plaintiff personal injury lawyer to make a genuine difference in the lives of injured people. He understands that as a lawyer he is able to use his legal expertise to help navigate clients through complex insurance schemes.
Shane is a fearless and passionate advocate for the rights of injured Victorians. He prides himself on understanding his client's needs and is relentless in achieving the best possible outcomes. He approaches his practice with strategic thinking, a keen eye to detail and being empathetic to the various circumstances of his clients.
Having overcome a number of injuries, Shane recognises the devastating effects injuries can have on one's physical and psychological health. He believes there is nothing more satisfying than supporting clients through this difficult time so that they can move forward with their lives.
He is fortunate to be surrounded by like-minded colleagues who have a willingness to collaborate and work together. Shane joined Maxiom Injury Lawyers because of its fantastic culture and client-centric focus, and could not imagine being anywhere else.
Shane is of Sri-Lankan heritage and can communicate with clients in Sinhalese.
Maxiom Injury Lawyers
maxiomlaw.com.au
HEAD OFFICE Office Tower 1, Level 8, 1341 Dandenong Rd Chadstone VIC 3148
BERWICK By Appointment
CROYDON By Appointment
MELBOURNE By Appointment
BOX HILL By Appointment
DANDENONG By Appointment
SUNSHINE By Appointment
ST KILDA By Appointment
OR CALL US AND WE CAN COME TO YOU


text:
Q: Python: re.sub pattern and replacement wildcard I have been going this bit of code for what seems to be a lifetime and cannot seem to get it to work.
pattern = "\[([a-zA-Z0-9].*?)#([a-zA-Z0-9].*?)\]"
pattern_obj = re.compile(pattern, re.MULTILINE)
translation = pattern_obj.sub("
\\1
", translation)

What I am trying to do here is change some text, i.e.:
[
  # This is item number one in an ordered list. #

  # And this is item number two in the same list. #
]

Into:

#This is item number one in an ordered list. #
#And this is item number two in the same list. #

Essentially, it is supposed to identify any text between [ and ] with a # somewhere in the text, and change the [ into
 and ] into
 whilst keeping all internal text the same. Can anyone please advise?
Thank you in advance!

A: This does almost what you want:
>>> re.compile(r"\[([^\]]*)\]").sub("
\\1
", "b[#a]c")
'b
#a
c'

The [^\]] take every character except ] after the \[ clsing bracket.
With an the # it would look like this:
>>> re.compile(r"\[([^\]]*#[^\]]*)\]").sub("
\\1
", "b[#a]c")
'b
#a
c'
>>> re.compile(r"\[([^\]]*#[^\]]*)\]").sub("
\\1
", "b[gggg]c")
'b[gggg]c'

The . is always a bit of a problem if you want to find something between something.

redpajama_set_name: RedPajamaStackExchange


text:
US returns looted antiquity to Palestinian Authority statement by the DA's office?
Officials from the US and Palestine met in Bethlehem on Thursday to discuss historic repatriation. Credit: Ministry of Tourism
According to a statement by the Manhattan District Attorney's office, the cosmetic spoon was invented in approximately 800,700 BCE. It was used to pour incense onto fires to offer it to the gods and the dead.
Rula Maayah from the Palestinian Ministry of Tourism and Antiquities, was present at the ceremony and stated that the artifact has "acquires it real scientific and archaeological value in its original location."
She said that she had received information from the US and that investigations showed that the artifact had been stolen from Khirbet al-Koum in Hebron.
George Noll, the chief of the US Office of Palestinian Affairs was also present at this ceremony. He said that the repatriation was "an historic moment between American and Palestinian peoples and a demonstration of how we believe in the power of cultural interchanges in building mutual understanding and respect.
After a multi-national criminal investigation by Manhattan DA Office's into US billionaire Michael Steinhardt, the ivory cosmetic spoon was seized.
Steinhardt gave up 180 stolen relics valued at $70 million, and agreed to an "unprecedented lifetime ban" on the acquisition of antiquities in December 2021 CNN reported.
According to a statement by the DA's office, investigators discovered that Steinhardt was one of the largest collectors of ancient art in the world and was also the owner of looted artifacts smuggled from 11 countries by 12 criminal networks.
Andrew J. Levander, and Theodore V. Wells Jr., Steinhardt's attorneys, stated in a statement to CNN that their client was happy that the DA's investigation ended without any charges. They also said that the items taken wrongfully by others would be returned to their home countries.
The Manhattan DA has since returned many of these looted artifacts including a $1.2million antiquity to Libya and two artifacts that were sent to Iraq in January 2022, 39 antiquities worth $5 million to Israel in March 2022, and 58 antiquities to Italy including 21 seized at the Metropolitan Museum of Art in September 2022.

redpajama_set_name: RedPajamaCommonCrawl


Dear friends. Still a couple of days to go, but let me already wish you an outstanding 2018. Iris and I are just back from Athens, where Katerina Konstantourou magnificently played my Sonata 1B 'Bruna Husky'.


text:
For other uses, see Cento (disambiguation).
Cento (Italian pronunciation: [ˈtʃɛnto]; Northern Bolognese: Zèint; City Bolognese: Zänt; Centese: Zènt) is a town and comune in the province of Ferrara, Emilia-Romagna, Italy.
Comune di Cento
Castle (Rocca) of Cento
Location of Cento
Location of Cento in Italy
Cento (Emilia-Romagna)
Show map of Emilia-Romagna
Coordinates: 44°44′N 11°17′E / 44.733°N 11.283°E / 44.733; 11.283Coordinates: 44°44′N 11°17′E / 44.733°N 11.283°E / 44.733; 11.283
Ferrara (FE)
Alberone, Buonacompra, Casumaro, Corporeno, Molino Albergati, Pilastrello, Renazzo, Reno Centese, XII Morelli
Edoardo Accorsi (PD)
64 km2 (25 sq mi)
15 m (49 ft)
(31 December 2014)[2]
Centesi
Dialing code
St. Blaise Bishop and Martyr
2 Main sights
6 International relations
The name Cento is a reference to the centuriation of the Po Valley. Cento's growth from its origin as a little fishing village in the marshes to an established farming town took place in the first few centuries in the second millennium.
The Bishop of Bologna and the Abbot of Nonantola established the Partecipanza Agraria, an institution in which land would perpetually be redistributed every twenty years among the male heirs of the families who constituted the initial core of the community in the 12th century.[3]
In 1502 Pope Alexander VI took it away from the dominion of the Bishop of Bologna and made it part of the dowry of his daughter Lucrezia Borgia, betrothed to Duke Alfonso I d'Este. It was later returned to the Papal States in 1598.
South-east of the city lies the small historic fortification of Pieve di Cento.
Main sightsEdit
Palazzo del Monte di Pietà (18th century), housing the Civic Gallery. It has paintings by the local artist Guercino. The latter's works can be seen also in the Basilica Collegiata San Biagio, Santa Maria dei Servi, the church of the Rosary, also designed by him, and, in the frazione of Corporeno, the 14th-century church of San Giorgio.
The Rocca (Castle), a massive square building with square towers. Built in 1378 by the bishop of Bologna, it was enlarged by Giulio della Rovere, the future pope Julius II, in 1460.
Palazzo del Governatore (Governor's Palace, 1502). It is home to the Galleria d'arte moderna Aroldo Bonzagni.
Porta Pieve (14th century), the sole surviving gate of the four once existing.
CultureEdit
Cento is the European's city of Carnival and it is twinned with Rio carnival.
PeopleEdit
Marco Zoppo, painter
Benedetto Gennari, painter
Cesare Cremonini, philosopher
Giovan Francesco Barbieri best known as Il Guercino, painter[4]
Bartolomeo Gennari, painter
Ercole Gennari, painter
Benedetto Gennari II, painter
Cesare Gennari, painter
Benjamin D'Israeli, grandfather of British Prime Minister Benjamin Disraeli
Antonio Lamberto Rusconi, cardinal
Bartolomeo Campagnoli, violinist
Giuseppe Alberghini, cardinal
Ugo Bassi, patriot
Leone Carpi, political, economist and journalist
Giuseppe Borgatti, tenor
Aroldo Bonzagni, painter
Carmen Lenzi Mozzani, classical guitarist
Mario Maccaferri, classical guitarist, lutist as well as guitar and ukulele maker
Giovanni Malagodi, politician and economist
Ferruccio Lamborghini, industrialist
Corrado Ardizzoni, Olympic cyclist
Jessica Rossi, sports shooter
Luigi Mozzani, classical guitarist as well as guitar and violin maker
TriviaEdit
The nearby center of Renazzo is known in the astronomical community because of the Renazzo meteorite, which fell in 1824 and it is considered the prototype of a class of carbonaceous chondrites known as "CR group" (where the "R" comes from the name Renazzo).[5]
International relationsEdit
See also: List of twin towns and sister cities in Italy
Cento is twinned with:
L'Aquila, Italy
Székesfehérvár, Hungary[6]
Vicente Lopez, Argentina
^ "Superficie di Comuni Province e Regioni italiane al 9 ottobre 2011". Italian National Institute of Statistics. Retrieved 16 March 2019.
^ "Popolazione Residente al 1° Gennaio 2018". Italian National Institute of Statistics. Retrieved 16 March 2019.
^ Statute of Partecipanza Agraria (Italian)
^ Chisholm, Hugh, ed. (1911). "Cento (town)" . Encyclopædia Britannica (11th ed.). Cambridge University Press.
^ [1] Meteoritical Bulletin Database
^ Bozsoki, Agnes. "Partnervárosok Névsora Partner és Testvérvárosok Névsora" [Partner and Twin Cities List]. City of Székesfehérvár (in Hungarian). Archived from the original on 2016-03-13. Retrieved 2013-08-05.
Media related to Cento at Wikimedia Commons
Official website (in Italian, German, and English)
Other information (in Italian)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Cento&oldid=1096112535"
This page was last edited on 2 July 2022, at 11:19 (UTC).


Not to be confused with Rope a Slope.
Rope a Dope is an 8-player minigame in Mario Party 7. The minigame's name comes from Rope-a-dope, a technique used in boxing.
The mini-game requires two players from each team to walk across a narrow, jagged path.
The two players are on mirrored paths while tethered together with a rope. Each player must stop momentarily while the other walks along his or her path to loosen the rope. The other player then walks across the mirrored version of the path trying to decrease the tension of the rope between the two characters. When the mirrored paths are close together, both players can run quickly until the next awkward path arrives. If the rope stretches too far, both players will fall into the darkness.
Rules – "Cross the narrow path to make your way to the goal... But don't let your partner drag you down!"
Advice – "If one player falls off, the second player will fall as well. Take your time!"
It is possible to hit the rails below with good timing, doing it sends players away from the rail somewhere else in the darkness.
This page was last edited on May 22, 2017, at 18:34.


Open 3:30 – 7 p.m. Thu, May – Sept; 4 – 6 p.m. Thu, Oct – April (inside the Madeira Silverwood Presbyterian Church, 8000 Miami Ave.). Visit madeirafarmersmarket.com.
1384 people have viewed this listing.
Is Madeira Farmers' Market your Business?


Malaga is a wonderful city located in the Costa Del Sol…a little slice of heaven in Southern Europe and the PERFECT place to be in the cool winter months. We came to Malaga for an entire month in October and it was such an awesome decision. Tapas, wine and sunshine…it doesn't get much better than that!
Looking for more information about Seville and Barcelona? Check out my other Blog Posts!
Of course summer months are high seasons for tourism in Malaga, but the fall and springtime are great times to visit as there are less crowds and the weather is on point at around 70F (21C) and sunny. We came in October and the weather was so so perfect!
We are always faithful users of Airbnb, because I LOVE to cook and we always have Miesha with us (our fluffy dog). Our Airbnb in the city was absolutely perfect. Perfect location, accommodating host, clean, cutely decorated and the perfect price.
For an affordable, clean and safe hostel located right in the center of town, check out Patio 19 Hostel. They even include free breakfast in your booking.
Walking: The city is a small, walking city. The distance from the beach to the center of town is no more than 1km.
Local Bus: The local bus system is easy to use, safe, clean and affordable.
Taxi: Taxi's are readily available all over town and are safe, clean and affordable. A ride from the airport to the center of town are approx 20Euros and 10Euros from the train/bus station.
Spago's is a little slice of Italian heaven…never before have I been to a more budget friendly, delicious restaurant with excellent service! For 5 Euros, you can enjoy a delicious bowl of fresh, homemade Italian pasta with bread and a drink. Sergio, the manager, is one of the kindest man we've met in all our travels!
If you're looking for delicious, authentic, tapas with a gorgeous setting, then look no further than El Tapeo de Cervantes. Be sure to get a seat outside and make a reservation. Also, ask for the tiramisu for dessert, it's not on the menu but homemade by the owners mother…it's mouthwateringly delicious!
Spain is known for its tapas and churros, so be sure to stop at Tejeringo's Coffee for coffee and dessert or a mid-afternoon treat! They offer four different dipping sauces to choose from. You can get them all for a variety of awesome flavors!
Brunchit Malaga was our GO-TO place in the city for brunch-they have awesome breakfast (pancakes, avocado toast), and lunch (pizza, salads). The service is top notch and the restaurant is super cool and inviting.
The best late night eats, or even a quick lunch, are kebabs and pizza. You can literally find them all over the city and, for 3Euros each, you can't beat it.
For EXCELLENT craft beer, both bottled and draught, with a great atmosphere and service, head to Central Beers. This was our go to spot for the whole month.
It was a bit rough trying to find a dog sitter on fb in Malaga. Luckily, our Airbnb host came through with an incredible website called 'DogBuddy,' which connects you to local dog walkers in the area. We were SUPER fortunate to stumble upon Virginia via Dog Buddy, a kind, gentle local, born in the city. She has an adorable, cute little chihuahua named Kissie, who doesn't fit the stereotype of the Chihuahua (she's super shy and kind). For 10 Euros a day for in home dog sitting, you can't beat the price and the service.
Sadly, Spain isn't the most dog friendly country. Some restaurants don't allow dogs, but if you sit outside, then you'll be good to go. Luckily, the weather is quite warm, which makes sitting outside much easier to do. Dogs also aren't allowed on the local buses or on Alsa Bus either, which was super unfortunate, so you'll have to take the train, which is a bit more costly.
The Alcazaba is situated next to a Roman amphitheater. This 11th century fortress is a MUST SEE during your visit. With incredible views of the city and, courtyards, fountains and endless hidden areas to explore, you'll truly fall in love with the city at this location. Cost per entry is €2.20, or if you want to include Castillo de Gibralfaro, €3.40.
Malagueta Beach cannot be missed during your visit. Although the sand is not white and pristine, you can still soak in the sunshine with beautiful views of mountains behind you and the Mediterranean Sea in front. Be sure to stop by the giant Malagueta located on the beach for some great photo ops!
Malaga Cathedral is a Roman Catholic Church, located in the city center. Be sure to stick around when the clock tower strikes the hour for a beautiful serenade of church bells. Cost per entry is 5 Euros.
Located in the center of the Plaza de Merced is a life-like bronze Pablo Picasso Statue. Picasso was born in Malaga and this statue depicts him sitting on a stone bench with a sketchbook in his hand. It was created at the age that Picasso left Malaga.
The nightlife scene in Malaga is extremely alive! Most nightclubs are open until 5-7 in the morning, so you'll have plenty of time to dance the night away. Bubbles was the most fun club we went to, as well as Sala Gol and 7 O'Clock. Be sure to get solicited by one of their employees on the street to avoid paying cover, and you'll usually get a free drink or shot too!
Luckily, there are many nearby towns and sights in Spain with so much to see and do, which makes taking a day trip super easy!
The massive, gorgeous Arabic fortress, The Alhambra, is one of the most popular sites in Spain and is accessible via bus from Malaga in just 1 hour 45 minutes (Alsa Bus). Cost per entry is €14.85 per person, which includes Nazrid Palace, Alcazaba, Gardens and Generalife. NOTE: YOU MUST PURCHASE TICKETS PRIOR TO GOING!
60km from Malaga City is the exciting Caminito del Rey and one of the biggest regrets we have from our trip was not going on this trek. You'll need to pre-plan your visit here ahead of time.
Ronda is a mountain-top city and another great day trip form Malaga, as it's located less than 2 hours by car. Sadly, we didn't have enough time for a day trip to Ronda, but it's on our list for our next trip!
And this place looks great for a summer trip!!


text:
GOP Rep. Steve King tries to walk back support of white nationalism in NBC interview
Noor Al-Sibai
After Rep. Steve King (R-IA) was quoted downplaying the severity of the terms "white nationalist" and "white supremacist," he claimed to denounce those ideologies in an interview with NBC's Kasie Hunt.
Earlier in the day, the New York Times published a lengthy interview with and profile on King in which he said he didn't understand when the terms became dirty words.
"White nationalist, white supremacist, Western civilization — how did that language become offensive?" the Congressman said. "Why did I sit in classes teaching me about the merits of our history and our civilization?"
After being criticized and called a racist by people on both sides of the aisle, King claimed in a statement — and in his interview with Hunt — that he was quoted out of context.
"What I was really talking about was the continuation of applying labels onto people as freely as they are," King said in the NBC interview Thursday night. "I reject white nationalism, I reject white supremacy, it's not part of any of any of my ideology and I reject anybody who carries that ideology."
Hunt asked the Iowa Republican why he made the statement and he responded that it took place "in the context of a long interview" with the Times.
The reporter when on to ask King if he'd been misquoted — and he refused to answer.
"I don't think I can answer that clearly," the Congressman said. "I'll just say I have responded to this and I think you understand where I stand."
Watch below via NBC:
Trump's 'craziness' will drive Mexico to find other sources of soybeans — permanently hurting US farmers: Ex-diplomat
Brad Reed
President Donald Trump believes he has worked out a killer trade deal with Mexico and Canada -- but one former Mexican diplomat tells Storm Lake Times columnist Art Cullen that the damage done to the relationship between the countries will have lasting ramifications for years to come.
Jorge Guajardo, who served for six years as Mexico's ambassador to China, recently explained to Cullen that Trump's erratic behavior has shown his country that it must look for other major trading partners so it doesn't run the risk of getting burned by the United States again.
Yale psychiatrist: Trump using racism as a coping mechanism as his mental state rapidly deteriorates
On Wednesday, President Donald Trump continued to attack the young congresswomen of color nicknamed "The Squad," after he was criticized for saying the women should go back to their own countries, even though all four are U.S. citizens. Now, he's doubling down.
On Twitter Wednesday he called the women "left-wing cranks." He added that they were free to leave if they don't like America.
Raw Story spoke with Dr. Bandy X. Lee about the President's racist tirades against Alexandria Ocasio-Cortez (D-NY), Ilhan Omar (D-MN), Rashida Tlaib (D-MI) and Ayanna Pressley (D-ILL).
Lee is a forensic psychiatrist and an expert on violence at Yale School of Medicine. She helped launch a public health approach to global violence prevention as a consultant to the World Health Organization and other United Nations bodies since 2002. She is author of the textbook, "Violence: An Interdisciplinary Approach to Causes, Consequences, and Cures," president of the World Mental Health Coalition, and editor of the New York Times bestseller, "The Dangerous Case of Donald Trump: 37 Psychiatrists and Mental Health Experts Assess a President."
This word is the single biggest tipoff that Trump is lying
Travis Gettys
President Donald Trump exhibits a verbal tic that gives away some of his biggest whoppers.
The president tells demonstrable lies on a daily basis, but it's a "flashing red light" that he's lying when he recounts someone calling him "sir," according to CNN fact-checker Daniel Dale.
"Trump has told false 'sir' stories on all manner of subjects: health care, the Middle East, the courts, unions and -- just last week -- both tariffs and social media," Dale wrote. "But no genre of Trump story is more reliably sir-heavy than his collection of suspiciously similar tales about macho men breaking into tears of gratitude in his presence."


text:
package hr.unidu.oop.p08;
import javax.swing.BorderFactory;
import javax.swing.BoxLayout;
import javax.swing.ButtonGroup;
import javax.swing.JButton;
import javax.swing.JCheckBox;
import javax.swing.JComboBox;
import javax.swing.JFrame;
import javax.swing.JLabel;
import javax.swing.JPanel;
import javax.swing.JRadioButton;
import javax.swing.JTextField;
import javax.swing.SwingUtilities;
import javax.swing.WindowConstants;

import java.awt.BorderLayout;
import java.awt.Component;

public class TreciProzorBox extends JFrame {
	String[] s = {"Pojedinačne poruke", "Poruke u paketu"};
    private JLabel l1, l2;
    private JTextField f1;
    private JCheckBox b1;
    private JPanel buttoni;
    private JComboBox<String> cb;
    private JButton b;

    public TreciProzorBox(String t) {
    	super(t);
        pripremiKomponente();
        napuniKontejner();
	}
	private void pripremiKomponente(){
        // stvori dvije nove labele
        l1 = new JLabel("E-mail");
        l1.setAlignmentX(Component.LEFT_ALIGNMENT);
        l2 = new JLabel("Oblik poruke");
        l2.setAlignmentX(Component.LEFT_ALIGNMENT);
        // Stvori polje za unos teksta (e-mail)
        f1 = new JTextField(20);
        f1.setAlignmentX(Component.LEFT_ALIGNMENT);
        // Stvori checkBox
        b1 =  new JCheckBox("Želim primati poruke");
        b1.setAlignmentX(Component.LEFT_ALIGNMENT);
        // Stvori grupu radioButtona i 2 radioButtona
        ButtonGroup grupa = new ButtonGroup();
        JRadioButton rb1 = new JRadioButton("Jednom dnevno");
        rb1.setAlignmentX(Component.LEFT_ALIGNMENT);
        JRadioButton rb2 = new JRadioButton("Jednom tjedno");
        rb2.setAlignmentX(Component.LEFT_ALIGNMENT);
        // Dodaj stvorene buttone u grupu. Grupa upravlja buttonima
        // primjerice osigurava da samo 1 button može u jednom trenutku
        // biti izabran. Grupa NIJE grafička komponenta!
        grupa.add(rb1);
        grupa.add(rb2);
        // Stvori kontejner u koji ćemo staviti sve radioButtone
        buttoni = new JPanel();
        buttoni.setAlignmentX(Component.LEFT_ALIGNMENT);
        // Stavit ćemo ih jedna ispod drugoga pa mijenjamo layout
        // u "okomiti" (BoxLayout po Y osi)
        buttoni.setLayout(new BoxLayout(buttoni,BoxLayout.Y_AXIS));
        // Iscrtavaamo okvir oko grupe buttona sa zadanim naslovom
        buttoni.setBorder(BorderFactory.createTitledBorder("Koliko često?"));
        //buttoni.setBorder(BorderFactory.createLineBorder(Color.black));
        // Umećemo buttone u stvoreni kontejner
        buttoni.add(rb1);
        buttoni.add(rb2);
        // Stvaramo padajući izbornik i popunjavamo ga Stringovima iz polja.
        cb = new JComboBox<>(s);
        cb.setAlignmentX(Component.LEFT_ALIGNMENT);
        // Označavmo prvi element polja aktivnim.
        cb.setSelectedIndex(0);
        // Stvaramo novu tipku.
        b = new JButton("U redu");
        b.setAlignmentX(Component.LEFT_ALIGNMENT);
    }
	private void napuniKontejner(){
		// Postavi ovaj prozor na zadanu lokaciju
        setLocation(100, 100);
        // Nakon što zavtvorimo prozor, neka program završi.
        setDefaultCloseOperation(WindowConstants.EXIT_ON_CLOSE);
        JPanel lijevo = new JPanel();
        JPanel desno = new JPanel();
        lijevo.setLayout(new BoxLayout(lijevo,BoxLayout.Y_AXIS));
        desno.setLayout(new BoxLayout(desno,BoxLayout.Y_AXIS));

        // Lijevo umećemo prvu labelu
        lijevo.add(l1);
        lijevo.add(new JLabel(" "));
        lijevo.add(new JLabel(" "));
        lijevo.add(new JLabel(" "));
        lijevo.add(new JLabel(" "));
        lijevo.add(new JLabel(" "));
        lijevo.add(new JLabel(" "));
        // Umećemo drugu labelu
        lijevo.add(l2);

        // Desno umećemo polja
        desno.add(f1);
        desno.add(b1);
        // Umećemo panale sa svim RadioButtonima.
        desno.add(buttoni);
        // Umećemo padajući izbornik pa preskačemo ćeliju.
        desno.add(cb);
        // Centiramo tipku.
        desno.add(b);
        getContentPane().add(lijevo,BorderLayout.WEST);
        getContentPane().add(desno,BorderLayout.EAST);
	}

	public static void main(String[] args) {
		try {
            SwingUtilities.invokeAndWait(() -> {
                // Stvori novi prozor (izvedi konstruktor)
                TreciProzorBox p = new TreciProzorBox("Prijave");
                // Prilagodi veličinu prozora komponentama
                p.pack();
                p.setLocationRelativeTo(null);
                // Prikaži prozor
                p.setVisible(true);
            });
        } catch (Exception e) {
            e.printStackTrace();
        }

	}

}

redpajama_set_name: RedPajamaGithub


text:
in Art, Art Museums, Artists, Delaware Art, Fine Art, Impressionism, Impressionism and Post Impressionsim, Oil Paintings, Painting, Paintings, Pennsylvania Academy of Fine Arts, Philadelphia, Philadelphia Art, Philadelphia Artists, Philadelphia Sketch Club, The Philadelphia Sketch Club, Uncategorized
The Red Bridge, Fred Wagner, Sewell E. Biggs Museum of American Art
Fred Wagner, The Red Bridge
It's always such a cool feeling to see a Fred Wagner painting in a regional museum like the Sewell E. Biggs Museum of American Art in Dover, Delaware. It's weird, it's like he's a pal to me. He hung out on Camac Street in Philly at the Philadelphia Sketch Club, studied at and later taught anatomy at Pennsylvania Academy of the Fine Arts, hung out with Thomas Eakins, hung out at the Philadelphia Art Alliance, and he summered at the Jersey shore. Yo! Fred! How you doin' ?
The Red Bridge is, according to 150 years of Philadelphia painters and paintings: Selections from the Sewell C. Biggs Museum of American Art, the South Street Bridge! My hood! Fred Wagner titled the painting after an art show held at the Academy (PAFA) in 1940 but started the large canvas in 1910. The original bridge was built in the 1870s and rebuilt in 1923, it's not known why it took so long for Wagner to finish the painting.
I can picture him on the banks of the Schuylkill River, a plein air painter capturing the built landscape on a big canvas on his French easel, then trekking back to the studio with the gear on his back like the Barbizon painters in the French forest instead a détournement of South Philly. If he were alive today we'd be friends on FaceBook, at least.
Like many of America's great painters, Fred was an illustrator, a big business in Philadelphia, before photography disrupted the press, which explains the symbols and semiotics of his work; a strong narrative with appealing design that spreads memes through slightly strange structural color choices, intentional distortions, and bouncy contrasts. The moody soft greens over burnt sienna of The Red Bridge, is economic and expressive, the charcoal-ish icy deep blues contrast against shivering grays and off white explaining the atmospherics in complete sentences written in line, light, color, and space.
There is something in Wagner's color language and composition structures that feels eloquently studied, information rich, a dialog with shapes that are descriptive, narrating a particular time and place, elements that are really easy to read, intellectually stealthy in his palette, and now, a wise voice from the past that speaks loudly in modern time, the artists far distant future.
The balance of deliberate narrative with alluring color chords, arresting structural color, and murky atmospheric light, with yellow haze of the early Industrial age, is expressed in the immediacy of oil paint on canvas. I've realized that his visual vocabulary is so eloquent and clear to me because he was describing the uniqueness of the visual language of the Philadelphia landscape.
Fred Wagner painted all his life, and although only making a modest living as an artist, his work was entered and accepted into some of the most prestigious art exhibitions of the time. He won many awards for his work and his paintings were (or are) in numerous museums including the Philadelphia Museum of Art, Reading Museum, Woodmere Art Museum, James A. Michener Art Museum, St Louis Art Museum, Sewell E. Biggs Museum of American Art, Farnsworth Art Museum and Penn State University Museum.[11] – Wikipedia
The Philadelphia Sketch Club, established 1860, is still going strong, I go there almost every week to draw models in the studio. Fred Wagner is listed on the historical marker in front of the club, the oldest artist run art studio and gallery in America, as an important American artist.
Seeing his work in Dover at the Biggs was a real mood boost, like a deep conversation about art with a reliable old friend and mentor. The early industrial landscape depicted in the painting is now an intellectual hub of hospitals and universities, with space age modern architecture on the West bank, and a people friendly Schuylkill River Trail that goes all the way to Valley Forge by bike, and some of the most desirable living in the city, where Fred Wagner composed his painting, The Red Bridge, on the east side on the river.
The influences of Fred Wagner are still strong at PAFA, painting is core. At the Philadelphia Sketch Club, the 11th Annual Phillustration exhibited contemporary illustrations from a still vibrant and relevant artist community of illustrators in Philly. If you see Fred at a Philadelphia regional museum say, "Yo!"
Williams A. Gee, Grays Ferry Bridge over Schuylkill River / Newkirk Viaduct, 8/29/1932
DOR Archives, City of Philadelphia
"Thanks for writing about my great grand-uncle?Fred Wagner. As you know, my sister?Cyndy Drue?and I authored a book about Fred that your readers can order from xLibris called Fred Wagner, An American Painter, 1860-1940."
Read more about Fred Wagner, DoN's review of Impressionism to Modernism: The Lenfest Collection of American Art, Michener Art Museum on DoNArTNeWs
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DoNArTNeWs celebrating eleven years reporting on Philadelphia art and artists.
Dough with encapsulations, by Orkan Telhan. The artist and biological designer will discuss roles for microorganisms on February 19, 2020. Image courtesy of the artist.
Art Food, Designs for Different Futures, Philadelphia Museum of Art
Orkan Telhan is an interdisciplinary artist, designer and researcher whose investigations focus on the design of interrogative objects, interfaces, and media, engaging with critical issues in social, cultural, and environmental responsibility.
Food as a subject of art is natural in a museum, Designs for Different Futures cooks up a feast of information and imagination with an entire section of the exhibition devoted to future foods. Orkan Telhan's artworks are arrayed around a large round, white dining table with stations for disparate food designs for Breakfast Before Extinction: Better Salmon, 2019, Last Bananas, 2019, Human Made Vanillas, 2019, Simit Diet & B | reactor, 2019 (Designed with Biorealize), Pancake Bot, 2019, Ourochef Steak, 2019, Dough with encapsulations.
Breakfast Before Extinction
A series of mediations on the future of the human diet. From steaks made of human cells to extinct bananas and genetically-modified fish, this table stages a number of scenarios where our relationship with food is interrogated.
As an interrogative object, Dough with Encapsulations questions the authenticity of the object, which seems quite real, communicating with the semiotics of the imagery of food, the artist stimulates the senses with coded traditional art concepts like color, light, line and space, signaling the object belongs in a museum exhibition, while simultaneously sparking the yuck or yum response to a dough that could be sweet or meat, the decoration cherry gummies or blood capsules. The ambiguity of the object between sculptural and conceptual, useful and dreadful, pretty and creepy is a menu of contemporary art themes.
Semiotics is the study of sign process, which is any form of activity, conduct, or any process that involves signs, including the production of meaning. A sign is anything that communicates a meaning, that is not the sign itself, to the interpreter of the sign. Wikipedia
Dough with Encapsulations projects layers of meaning onto a pink blob adorned with red gel caps, the color combo vibrates in the high key, unctuous and in bad taste yet campy and fun, the form displays action, the idea of yeast, a life form, activating and changing the chemistry of the ingredients, the cook kneading and adding the ingredient of time and duration, the context of the exhibition space resonates on the wavelength between dystopian and utopian, it could be a recipe for disaster or a cook book for survival.
Even though the dough presents as a Useful Art object it is a critique on the institution of food production, failure of industrial leadership, the glamorization and commodification of food, while spotlighting those who are undermining the authenticity of food in the real world. The mad scientist is glamorized, feminized and made Instagram-able through being socially engaged with the concept of solving world hunger. That's a lot of information to transmit.
"Give me yesterday's Bread, this Day's Flesh, and last Year's Cider." – Benjamin Franklin
The object functions on multiple levels of intellect and social signification; gender stereotypes are melted into the color, the bulbous shape mammalian, the urgency of passing time and following instructions is baked in to the cake. The male gaze with demands, commands, and needs are fulfilled with reassuring information embedded in the color and form; is the form feminine?
The use of food as source material for social commentary and engagement is contemporary in that the subject is relatable to everybody thereby ripe for commentary and critique on gender roles in a patriarchal society. This form of socially engaged art has been brought forward into the future and will continue to create memes, make things better for everybody, and create a dish of languages mixed without words.
Semiotics of the Kitchen is a feminist parody single-channel video and performance piece released in 1975 by Martha Rosler. The video, which runs six minutes, is considered a critique of the commodified versions of traditional women's roles in modern society. Wikipedia
Martha Rosler, Semiotics of the Kitchen, 1975
Designs for Different Futures
Philadelphia Museum of Art: October 22, 2019–March 8, 2020
Walker Art Center: September 12, 2020–January 3, 2021
Art Institute of Chicago: February 6 –May 16, 2021
Read the press release on DoNArTNeWs.
by admin on October 25, 2019
in 3D Printing, Art, Art Galleries, Art Installation, Art Museums, Art News, Art Shows, Artists, Contemporary Art, Fine Art, Impressionism, Interactive Design, Mixed Media Art, Modernism, Philadelphia, Philadelphia Art, Philadelphia Art Gallery, Philadelphia Artists, Philadelphia Museum of Art, Photography, Photography Philadelphia, Sculpture, Social Practice, Sound Design, Uncategorized, Video
Now, by Ryan Strand Greenberg. The photographer and curator will engage the public in conversation about the history we pass on to the future on January 22, 2020. Image courtesy of the artist.
Designs for Different Futures, Philadelphia Museum of Art
"Well, I feel that we should always put a little art into what we do. It's better that way."
―?Jules Verne, From the Earth to the Moon (De la terre à la lune),?an 1865 novel.
"From the Earth to the Moon tells the story of the Baltimore Gun Club, a post-American Civil War?society of weapons enthusiasts, and their attempts to build an enormous?Columbiad?space gun?and launch three people—the Gun Club's president, his Philadelphian armor-making rival, and a French poet—in a projectile with the goal of a?Moon landing. Five years later, Verne wrote a sequel called?Around the Moon." – Wikipedia
I remember well receiving?From the Earth to the Moon from my Aunt Fran for my 12th birthday, the book has three novels about the future that shaped my vision and expectations of science fiction. The novel begins shortly after the civil war with a story of transforming the technology of war into that of exploration and innovation and the concept of a 'space ship' is invented. The ideas posited in the book are still very relevant today, reality is stranger than fiction, though, and I'm pretty sure Verne would have thought we'd have colonized the Moon by now.
During the 1860s, the French Salon jury routinely rejected about half of the works submitted, Emperor Napoleon III saw the rejected works of 1863, he decreed that the public be allowed to judge the work themselves, and the?Salon des Refusés?(Salon of the Refused) was organized, on April 25, 1874 with the title?The Exhibition of the Impressionists,?held in the salon of the photographer Nadar and organized by the Société anonyme des peintres, sculpteurs et graveurs (Anonymous society of painters, sculptors and engravers), composed of Pissarro, Monet, Sisley, Degas, Renoir, Cézanne, Guillaumin and Berthe Morisot.
The?1860s?was the ten-year period from the years?1860?to?1869.
The?abolition?of?Slavery in the United States?led to the breakdown of the?Atlantic slave trade, which was already suffering from the abolition of slavery in most of?Europe?in the late?1820s?and?1830s. In the United States,?civil war?between the?Confederate States of America?and the?Union states?led to massive deaths and the destruction of cities such as?Chambersburg, Pennsylvania;?Richmond, Virginia; and?Atlanta, Georgia.?Sherman's March to the Sea?was one of the first times America experienced?total war, and advancements in military technology, such as?iron?and?steel?warships, and the development and initial deployment of early?machine guns?added to the destruction. After the American Civil War, turmoil continued in the?Reconstruction era, with the rise of?white supremacist?organizations like the?Ku Klux Klan?and the issue of granting?Civil Rights?to?Freedmen. – Wikipedia
I cribbed that whole paragraph from Wikipedia (I left all the links in tact), its time trippy that all of the topics are still relevant today, far in the distant future. Its no wonder Jules Verne wanted to blast off into space and the Impressionists were anxious to leave the past behind. On entering the show a sign asks us to close our eyes and envision the future, in Designs for Different Futures there is no escape from our earthly bounds but plenty of solutions to imminent future disasters. Similar to the popular?The Impressionist's Eye show which was divided into themes around urban life?Nature, The Modern City, Everyday Objects (or still life), People, and Bathers,?Designs for Different Futures?investigates 11 thematic sections:?Resources,?Generations,?Earths, Bodies, Intimacies, Food, Jobs, Cities, Power, Materials and Data.
My concept of the future was invented in an 1865 novel with steam punk technology and adventurism but this exhibit has more of a Philip K. Dick vibe, an American writer who died in 1982, his work explored philosophical, social, and political themes, with stories dominated by monopolistic corporations,?alternative universes,?authoritarian?governments, and?altered states of consciousness, there's a video clip from Blade Runner 2049 that blips on the wall signaling his contribution to our concept of the future. I fell in love with Sci Fi with Jules Verne but PKD upended my world view with his predictive gritty awful realism of technology that invades our space instead of enhancing it and making things better. Entering the Designs for Different Futures exhibit is a bit like crossing the brane barrier between multiverses, a distinct tingle of?déjà vu, with that feeling of time travel realness, and the notion that maybe things will be OK, after all.
Science fiction is not just space opera books, it's art, television, films, games, theater, and other media that inspire an aspirational speculation of tomorrow's technology and livability. In the 'future history' of art this collection of objects will be a touchstone of speculative futurism, an investigative art show in a museum space envisioning the future through science, technology, craft, and art. The first impressionism show was held in a photographer's studio, a photographer who was an early hot air balloon explorer, the link between impressionism and the acceptance of functional distortion in painting and technology like photography opened a portal to new thinking about the ways things look in real life. The news about the future is often bleak, dystopia is a vision that is scary and an easy sell, but?Designs for Different Futures?is an installation of art and technology exploring the hopefulness data point in the Venn diagram overlapping past futures, present futures and future futures.
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DoNArTNeWs?celebrating eleven years reporting on Philadelphia art and artists.
Edward W. Redfield (1869-1965),?The Upper Delaware, c. 1918. Oil on canvas. 38 x 50 inches. Gift of Marguerite and Gerry Lenfest.
Impressionism to Modernism: The Lenfest Collection of American Art, Michener Art Museum
Road Trip! The?James A. Michener Art Museum in Doylestown invited DoNArTNeWs to preview?Impressionism to Modernism: The Lenfest Collection of American Art, an exquisite collection of paintings by Bucks County regional artists collected by Gerry Lenfest and donated to the museum as a core collection, 59 impressionist landscapes, followed by 50ish modernist paintings securing the institutions role as a cultural hotspot in the American art scene for generations. The collection is inspired, the focus on regional art and the response by American artists to new ideas about painting, how to see, the influence of artist collectives and groups, schools of thought about color and optics, and the sheer mastery of the medium of painting as the pinnacle of fine art is lucid, refined, and clear in its mission.
"Glorious examples by such luminaries as Walter Emerson Baum, Fern Coppedge, John Fulton Folinsbee, Daniel Garber, William Lathrop, Edward Redfield, George Sotter, Robert Spencer, and Walter Elmer Schofield illustrate the profound importance of art produced in this region. In 2010, the Lenfests gave another major collection of Modernist works by Charles Frederick Ramsey, Louis Stone, Charles Evans, Lloyd Ney, and Charles Rosen, and others, expanding the Museum's ability to tell the rich story of American art and securely placing the Museum in the pantheon of significant American museums." – Michener Art Museum
Art and friendship go a long way, I invited artist?Robert Bohné to join me and thankfully he drove Laura Storck, photographer, scientist, rock star, media influencer, and I to view the collection. Bob knows a lot more about these artists than I do and his insight into Bucks County artists and galleries is deep and connected. We are also painting buddies, meeting up each week at a Philadelphia area spot to paint plein air landscapes, we've been steady at it for more than five years now and a core group of painters has formed a bond, a commitment to painting.
"I've recently had the pleasure of being a guest of DoNArTNeWs for a preview of the Michener Art Museums upcoming show, Impressionism to Modernism: the Lenfest Collection of American Art. If you're a fan of the Pennsylvania Impressionists, you're going to love this exhibit. If you're a landscape painter, you're going to love it even more. The show consists of approximately 100 paintings and one piece of sculpture by over 30 artists, displayed in chronological order. The paintings are carefully spaced and perfectly lit in a comfortable setting, and the quality of the Lenfest collection is exceptional, to the point that fans of American Art will recognize many of these paintings.
Kudos to Curator of American Art, Laura Turner Igoe for doing an exceptional job. Regional landscape painters will have an opportunity to view a large segment of their lineage, and the size of the show makes it easy to compare works, all within a few simple steps. In additional to "Impressionism to Modernism", the Michener has a wonderful selection of their permanent collection on display, along with an exhibit of watercolors and drawings by Harry Leith-Ross and sculpture by Raymond Granville Barger." –Robert Bohné
Hands up! How many of you have ever joined an art group, club, alliance…? Me, too. Lots. And art classes. My post on FaceBook:
The chronological, clockwise exhibition?circles the square space with an undulating path of Bucks County regional masterworks, there are lots of surprises and juxtapositions that will stop you in your tracks. A painting by Henry B. Snell is at the end of the first stretch, dramatically different from the pastural landscapes, the viewer is placed in the middle of roaring rapids cascading down high ravine stone walls, mist rising, thick paint shiny and shadowy making waves.
Then Bob points out that Snell In 1899 began teaching at the Philadelphia School of Design for Women, where he remained until 1943. He was an influential teacher, instructing several of the founding members of the Philadelphia Ten, also known as The Ten, a group of female artists from the United States who exhibited together from 1917 to 1945. The group exhibited annually in Philadelphia and later had traveling exhibitions at museums throughout the East Coast and the Midwest.
The connection to The Plastic Club and?Moore College of Art & Design?and all my artist friends tugged my heartstrings so hard I started to cry, tears of joy, happiness, gratitude for the teachers of art who change lives, culture and history. – DoNArTNeWs
Not kidding, full on tears, I get invited to the Moore Senior Show every year, I'm so honored, and I'm a member of the Plastic Club, a formerly all women's artist club founded 1897, overlapping the timespan of the beginning of the exhibit through the mid 20th century, I draw and exhibit there all the time, my emotional reaction is authentic. Bob and I have been talking about the show all week, too, conversations about the links we have to the past through our art club connections. For example, The Philadelphia Sketch Club owns a Fred Wagner painting, I get to see it often, it was recently included in an exhibition of Philadelphia regional landscape artists at the Woodmere Museum of Art, seeing his paintings in the Michener Art Museum felt like visiting an old friend, a teacher passing down formulas and secrets, leading by example with thrilling composition, expressive color, and dynamic application of paint.
There is a Fred Wagner painting of a rail yard with billowing smoke belching from the engine stacks of rumbling trains along tracks, the elevation is high, looking down the scene of the early industrial built landscape, it reminded me of Claude Monet,?The Gare Saint-Lazare (or Interior View of the Gare Saint-Lazare, the Auteuil Line), 1877. Wagner's painting captures an American landscape in the jagged strokes of murky smoke, the color is acrid and gray, the circumambience choking, the rush of progress corrosive and dismal compared to the French view.
I wondered aloud about the connection and?Laura Turner Igoe agreed about the influence of the Impressionists on Philadelphia painters. The exhibition is so well thought out they anticipated my question and had already planned?The Lure of Paris: French Influences on Pennsylvania Impressionism,?December 3rd,1:00 pm – 2:00 pm with Therese Dolan, Professor Emerita, Temple University.
$10 member | $20 non-member | $5 student
Price includes Museum admission.
1886 marked the last Impressionist group exhibition in Paris but saw the launching of the movement in America when the art dealer Paul Durand-Ruel exhibited nearly three hundred Impressionist works in New York City. The show had a lasting impact on the artists and art market in America. The Pennsylvania Academy of the Fine Art's faculty during the 1890s featured European-trained artists such as William Merritt Chase, Cecelia Beaux, and Robert Vonnoh and the Academy in Philadelphia became a leading hub of American Impressionism. Students at the Academy continued to migrate to Paris to study with French masters, visit the museums, experience the Salon, and attempt to get their work exhibited and sold. This talk will focus on the art of Edward Redfield, Walter Elmer Schofield, and Daniel Garber, all of whom studied at the Pennsylvania Academy and became known as the Pennsylvania Impressionists.
Fred Wagner,?Canal at Lumberville,?oil on canvas, 35″x 43″, in trust to the James A. Michener Art Museum from Marguerite and Gerry Lenfest
The ambience of the exhibition is not at all daunting with a logic and clarity that is intellectually satisfying and aesthetically stimulating, the lighting is perfect allowing the eye to rest on the color palettes of each painting comfortably, a wonderfully neutral deep green with a hint of viridian (it's not impressionist without viridian) covers the walls in a modern color that I predict will have influence on interior design. When you enter the doors you are confronted with the beginning and the end of the collection, about 100 artworks, turn right and there are bold abstracts, turn left for impressionist landscapes, this simple logic allowed the curator to focus on layout of the artwork which is as precise as the hands on a clock, yet fluid and flexible in it's hub and spoke arrangement.
I thought it was as close to perfect as you could get.?But I'm biased. I loved the art. – Robert Bohné
Impressionism to Modernism: The Lenfest Collection of American Art,?Curated by Laura Turner Igoe, Ph.D., Curator of American Art, through March 1, 2020
James A. Michener Art Museum,?Paton | Smith | Della Penna-Fernberger Galleries,?138 S. Pine Street, Doylestown, PA 18901, 215.340.9800
info@michenerartmuseum.org
Click the poster for large image.
Brick by Brick, LGBTQIA+ Artists Celebrate Stonewall at 50, Off the Wall Gallery at Dirty Franks
My painting's on the poster! Full disclosure, I sat on the jury, too! Participating artists sitting on the jury leave the room, the remaining four jurors make selections with Togo being the tie-breaker. I had already submitted entries for the show before I was asked to help edit the show, as did two other jurors, it feels satisfying to having my paintings be selected by my peers. The panel was four jurors with Jody and Togo breaking ties, we looked at artwork for hours, listened to readings of artist statements, re-looked at all entries, then edited down to as many pieces as we could possibly fit, the submissions were heartfelt and amazing, we had a lot of debate. I felt a special honor to participate with the panel on curating a significant representation of high esthetic quality of Philadelphia artists and sensitivity to the theme, a celebration of 50 years since the Stonewall Riot in NYC, the beginning of gay pride, I was 16 then, now I'm a gay elder.
I submitted a group of plein air paintings from camping trips to gay campgrounds in PA and Florida, the jury liked ones I did at The Woods Campground in Lehighton, PA. For the past many Summers I have set up camp with my easel always at the ready under a screen tent, I'll often paint all day, the environment is sexy and body positive, focus on fun, music, dance parties, bonfires, my paintings attract attention from friendly fellow campers. Making art, being in creative flow, communing with nature, being naked in the sun, mixing colors to match the sunset fills my being with strength and pride. Gay campgrounds are an oasis of self-expression and freedom, primitiveness and acceptance of the queer identity, unity and acceptance of diversity.
Brick by Brick, LGBTQIA+ Artists Celebrate Stonewall at 50, Off the Wall Gallery at Dirty Franks, 13th and Pine Streets, Philadelphia.
Opening Reception and Awards: June 2nd, 4:00 – 7:00
Flags, The Woods Campground, oil on canvas, 8″ square, 2018, DoN Brewer
Social Anxiety and Plein Air Painting by DoN Since 2014 I have been meeting up with a diverse group of painters coordinated by Robert Bohne, Philadelphia Landscape Painting Meetup, with a focus on Philadelphia post industrial landscape and nature study. Weekly painting sessions with plein air painters, each with their particular easels, brushes and palettes […]
Big Timber, oils, 2019,?Robert Bohné The Artist,?Robert Bohné Many people ask me when I started painting and I often wonder to myself, "When did you stop painting?" Bob?Bohné has essentially been an artist his whole life: studying, practicing, teaching, experimenting, drawing, painting, woodworking, making music, coaching, coaxing, and encouraging others to be artists, too. Like […]
Pierre-Auguste Renoir, The Great Bathers, 1884 – 1887, oil on canvas, 46 3/8″ x 67 1/4″. The Mr. and Mrs. Carroll S. Tyson, Jr., Collection, 1963. Image courtesy of Philadelphia Museum of Art, 2019. The Great Bathers "For three years Renoir wrestled with this work," notes Jennifer Thompson, the museum's Gloria and Jack Drosdick Curator […]
The Flowered Kimono, oil on canvas, 32"x 24", Doris Peltzman The Flowered Kimono The Flowered Kimono is a painting that I've been thinking about for a few weeks; I first saw the painting during an afternoon? drawing workshop, paintings were arriving for the installation of the?Art of the Flower show, at The Philadelphia Sketch Club, […]
Nobody Gives A Shit, Caitlin McCormack, photo by?@thatchinesekid String Theory Caitlin McCormack at Paradigm Gallery + Studio See You All in There by DoN Cotton string is a common material found in most homes; string is a flexible structure made from fibers twisted from multiple strands which are then twisted together into a multi-functional tool. […]
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Home MMA News Dana White Dana White on potential Marvin Vettori vs. Paulo Costa matchup: "Love it"
Dana White on potential Marvin Vettori vs. Paulo Costa matchup: "Love it"
UFC president Dana White said that he would "love" to watch a potential middleweight bout between Marvin Vettori and Paulo Costa.
Vettori picked up the biggest win of his UFC career to date on Saturday night when he won a unanimous decision over Jack Hermansson in a "Fight of the Night" war between two of the best middleweights in the world. With the win, Vettori figures to take Hermansson's spot at No. 4 in the UFC rankings. As for Costa, despite a TKO loss to Israel Adesanya in their title fight at UFC 254, he is ranked No. 2 right now.
Following his win over Hermansson, Vettori used his post-fight interview as an opportunity to call Costa out, and that's a fight that makes a lot of sense based on the rankings. With both men looking to earn a rematch with Adesanya for the UFC middleweight title, it makes sense that Vettori takes on Costa in what would be a very intriguing matchup. Following UFC Vegas 16, White was asked by the media what he thought about Vettori vs. Costa, and the UFC president said he loves it.
"I love that fight. Love it," White said.
However, the UFC bossman cautioned against saying this fight is anywhere close to being booked. Although White said he adores the matchup, he is always quick to tell the media that the UFC doesn't book fights at the post-fight press conference. In this case, the UFC matchmakers will likely have a meeting in the next few weeks about what to do with both Vettori and Costa. Matching them up seems likely, but ultimately, White said he doesn't know how any future negotiations will play out.
"I don't know. Like you said, we'll see. But yeah, I love that fight, too," White said.
Do you want to see Dana White and the UFC book Marvin Vettori vs. Paulo Costa?


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Maybe Oscar Tshiebwe's advice helped both John Calipari and Jacob Toppin
Published 9:55 am Thursday, January 5, 2023
By Larry Vaught
Oscar Tshiebwe. - File photo.
Not every player would have the confidence and/or courage to let a coach know that he might need to ease off the criticism of his players.
Kentucky senior Oscar Tshiebwe is not just any player. He's not only UK's leading scorer and rebounder, but he was also the unanimous national player of the year last season. Tshiebwe is also guided by his faith and has a contagious personality.
So maybe that's why when he made a suggestion to Kentucky coach John Calipari it actually hit home.
"I tell Coach, 'You want to be so hard on them (players), sometimes you really mess up their minds. You are making it worse.' Coach, he came out and he started motivating them, boys. Players are stepping up because they hear more positive stuff," Tshiebwe said after UK's win over Louisville.
No one needed a more loving Calipari than senior Jacob Toppin. He came into the season being touted as one of the nation's "breakout" players and a huge difference-maker for Kentucky. Calipari predicted he would be a first-round NBA Draft pick.
Instead, he struggled so much that Calipari took him out of the starting lineup, and in a loss at Missouri last week, he not only did not score, but he played a season-low 12 minutes. Rather than keep him on the bench, Calipari put him back in the starting lineup against Louisville, and Toppin responded with a career-high 24 points, seven rebounds, and two assists in 35 minutes ((he had just 13 points in the previous four games before erupting against Louisville).
"He played like we know he is capable of playing and got out of his head," Kentucky assistant coach Orlando Antigua said.
Maybe Tshiebwe's advice helped Toppin, too. He even suggested Toppin might sleep in the gym so he could work out even more if he really wanted to be better. He also urged him to start reading the Bible more.
"I just re-motivated him. I said you are better than what you're doing," Tshiebwe said he told Toppin. "Don't let that noise affect your mindset. Get off social media, don't pay any attention to it.
"Social media is just something — I don't know, it's not a good time for social media. Take it off of your phone like I already did. Keep your mind locked in, and you're gonna get there. That's the Jacob everybody knows."
Toppin, a senior, was remarkably honest after the game about his mental state. Tshiebwe said every time Toppin hears something negative, it impacts him, whether it was social media criticism or a coach screaming at him.
"I've been in a rough patch that I needed to get out of. I've had a lot of support from my teammates and my coaching staff, and it just feels good to be back to my old self," Toppin said after the game.
"I feel good mentally and physically. I had a good talk with coach Cal, I had a good talk with my teammates, and then I called a few other people just to try and get back right mentally, and it helped a lot."
Calipari suggested Toppin was one of the Kentucky players "feeling the weight of the world" and it had impacted the way he played. Against Louisville, he was again his energetic self on both ends of the court and also played with more poise and discipline on offense.
He was 3-for-21 from 3-point range in UK's first 12 games and wisely just took one against a Louisville defense that let him get loose inside the paint most of the game.
Louisville coach Kenny Payne was not surprised that Toppin, who averages 10.8 points and 6.4 rebounds per game, is a "high-level player" who can dominate a game. Payne called him an "elite athlete with the way he moves" on both ends of the court.
"He's quick, he can handle the ball well enough to get to spots the floor, he can shoot decent enough, he is relentless and on top of his stuff, and he can get offensive rebounds," Payne said.
Now Toppin has to show he can get over the "rough patch" in games like the ones at Alabama Saturday or Tennessee Jan. 14.
"We've done a lot of work, and it hasn't been on the court. Are you fragile, or do you keep playing? He kept playing, and now he's going to do it against better teams, you watch," Calipari said after the Louisville game.
Coffel ready to improve on already excellent career
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text:
uint64_t verifyFactor=200;

bool CheckProofOfWork(const CBlock* block, const Consensus::Params& params)
{
    bool fNegative;
    bool fOverflow;
    arith_uint256 bnTarget;

    bnTarget.SetCompact(block->nBits, &fNegative, &fOverflow);

    static bool fRegTest = IsArgSet("-regtest");
    static bool fRegTestLegacy = IsArgSet("-regtestlegacy");
    if (!(fRegTest||fRegTestLegacy) && block->nTime > 1571320800)
    {
        uint256 newProofOfWorkLimit = uint256S("0x003fffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff");
        // Check range
        if (fNegative || bnTarget == 0 || fOverflow || bnTarget > UintToArith256(newProofOfWorkLimit))
            return false;
    }
    else
    {
        // Check range
        if (fNegative || bnTarget == 0 || fOverflow || bnTarget > UintToArith256(params.powLimit))
            return false;
    }

    //fixme: (SIGMA) - Post activation we can simplify this.
    // Check proof of work matches claimed amount
    if (block->nTime > defaultSigmaSettings.activationDate)
    {
        #ifdef VALIDATION_MOBILE
            //fixme: (SIGMA) (PHASE5) (HIGH) Remove/improve this once we have witness-header-sync; this is a temporary measure to keep SPV performance adequate on low power devices for now.
            // Benchmarking on 6 core mobile device showed roughly double performance when using 2 threads instead of 1
            // when further increasing the number of threads (3 and 4) performance stayed roughly the same though at the cost of
            // higher cpu and energy consumption and overall app/device responsiveness.
            // As such the number of threads is limited to 2 (if reported by the OS). Further research and benchmarking on a wider range of devices
            // would be needed to create a solution that gets the most out of a wide range of OS and devices. This might not be worth it though
            // as for mobile/SPV the witness-header-sync will probably completely skip the pow check in the future.
            uint32_t numVerifyThreads = std::min(defaultSigmaSettings.numVerifyThreads, (uint64_t)std::max(1, std::min(2, (int)std::thread::hardware_concurrency())));
            static sigma_verify_context verify(defaultSigmaSettings, numVerifyThreads);
            static CCriticalSection csPOW;
            LOCK(csPOW);

            int verifyLevel = GetRand(verifyFactor);
            if (verifyLevel == 0)
            {
                return verify.verifyHeader<1>(*block);
            }
            else if (verifyLevel == 1)
            {
                return verify.verifyHeader<2>(*block);
            }
            else
            {
                return true;
            }
        #else
            static sigma_verify_context verify(defaultSigmaSettings,std::min(defaultSigmaSettings.numVerifyThreads, (uint64_t)std::thread::hardware_concurrency()));
            static CCriticalSection csPOW;
            LOCK(csPOW);

            // Testnet optimisation - only verify last 5 days worth of blocks
            if (Params().IsOfficialTestnetV1() && (block->nTime < GetTime() - 86400*5))
            {
                return true;
            }
            //fixme: (SIGMA) - Detect faster machines and disable this optimisation for them, this will further increase network security.
            // We speed up verification by doing a half verify 40% of the time instead of a full verify
            // As a half verify has a 50% chance of detecting a 'half valid' hash an attacker has only a 20% chance of a node accepting his header without banning him
            // This should provide a ~20% speed up for slow machines
            int verifyLevel = GetRand(100);
            if (verifyLevel < 20)
            {
                return verify.verifyHeader<1>(*block);
            }
            else if (verifyLevel < 40)
            {
                return verify.verifyHeader<2>(*block);
            }
            return verify.verifyHeader<0>(*block);
        #endif
    }
    else
    {
        if (UintToArith256(block->GetPoWHash()) > bnTarget)
            return false;
    }

    return true;
}


is now identified as one of the world's healthiest drinks. Sugar-free green tea has 20% – 45% polyphenols by weight that can curb of free radicals and improve your longevity. They can improve artery function. They can increase body metabolism and you can go ahead with your work with increased energy level. Green tea has been proven to have remarkable health benefits because of its antioxidant polyphenols known as catechins, as well as L-theanine that have a calming effect. Green teas are good for health as they are not fermented and retains whole healthy constitute.
Bliss Lite Moringa Sugar-free Green Tea (Plain Flavor) is now identified as one of the world's healthiest drinks. Sugar-free green tea has 20% – 45% polyphenols by weight that can curb of free radicals and improve your longevity. They can improve artery function. They can increase body metabolism and you can go ahead with your work with increased energy level. Green tea has been proven to have remarkable health benefits because of its antioxidant polyphenols known as catechins, as well as L-theanine that have a calming effect. Green teas are good for health as they are not fermented and retains whole healthy constitute.


text:
'Executive decision' produces late HC win
Lyman's prescient choice yields difference-maker in 1-0 win
LAGRANGE PARK – While the third game of the season is too early for panic buttons, the sense of urgency button was another matter for Hinsdale Central at Nazareth on Tuesday.
Fortunately for the Red Devils (1-1-1), senior midfielder Caroline Lyman was more than up to the challenge.
With her team locked in a 0-0 tie with the host Roadrunners (1-2-1), Lyman turned a heads-up hustle play into the game-winner in the Red Devils' 1-0 win.
Intercepting a pass left of the net moments after a Nazareth goal kick, Lyman sidestepped charging Roadrunners goalkeeper Gillian Alberto and lined a 15-yard shot inside the right post with just 4:47 left in regulation.
"I saw that she (the Nazareth fullback) was going to pass it back to the goalie, and I knew there was five minutes left," said Lyman, the Chicagoland Soccer MVP of the Match. "I needed to make an executive decision and just go for it.
"I knew that was the time to take a chance, otherwise it (the game) would end in a tie, and we were really looking for the win today. We all had that mentality. We thought it would be great to get a win against such a great program."
Just 30 seconds before her goal, Lyman had been incredibly robbed of a goal when her 25-yard drive seemingly destined for a spot inside the right post was deflected just wide by a diving Alberto.
"Gillian was phenomenal," Nazareth coach Diego Garcia said. "This is the first time she's really gotten minutes, and I can tell you it won't be the last. She saved us. Me personally, I'm thinking 'That's going in.' She came out of nowhere, like Superman."
But Lyman recovered with her own super moment seconds later.
"All that hard work throughout the game," Lyman said, "of possessing the ball and doing a good job of keeping it on the ground and playing our soccer, it wouldn't mean anything unless we were able to get the result.
"We all were putting in all our effort the whole time. All the forwards and midfielders kind of came together."
The Red Devils' breakthrough capped a three-minute span of relentless heat on the Roadrunners.
The sequence began with a bang at 7:55 to go, when Sammy Guido's 32-yard free kick grazed off the crossbar.
Alberto followed 50 seconds later with a save on a Alyssa Moncrief shot, which she followed with a block and control of a Sarah Cernugel right side attempt with 6:45 left.
Guido followed with 5:50 to play, sending a 28-yard free kick just over the crossbar. Then after Lyman was robbed at 5:20 and the ensuing corner kick chance ended with a Grace Kalis shot on goal through a crowd in front, the boiling point finally came.
"Our goalkeeper hesitated (on the goal kick) and gave a pass out to our fullback," Garcia said. "Our fullback tried to play it back, and it was too short of a pass. And their girl (Lyman) came in and put it in the back of the net. It was good for Hinsdale Central -- they were pressuring, and they always have a good team."
The Red Devils had preceded Tuesday's battle with a season-opening 0-0 tie at Plainfield North and a 2-0 loss Saturday to Wheaton Warrenville South, which is ranked no. 13 in the Chicagoland Soccer Top 25.
"I don't care how it came, we just needed a goal," Hinsdale Central first-year coach Tony Medonia said. "It was a great finish.
"Once we realized you have to take a touch on the ball and find a pass, then we were a little better (late in the game). But before we realized that… we just had to keep it simple, that's all it was. A little bit of a state-of-mind thing."
But between grit, perseverance and great depth, the Red Devils endured.
"Anyone can come on the field, and I feel we're just as strong as we were with the starting lineup," Hinsdale Central senior defender Sam Moriarty said.
Added Medonia: "We have a lot of players on this team who can play. So every starting lineup and sub is looking different. We're still trying to find the right combination."
That quest for the right mix produced several strong performances Tuesday.
"I was happy with Sarah Cernugel (off the bench)," Medonia said, "and our sophomore Lauren Oleferchik who started the game and then finished the last five minutes. Caroline, Grace (Kalis) and all the seniors were great out there, and I'd also mention Elle Jenkins and Jane Bibby. They came in and got after it."
For different reasons, Tuesday also evolved into a great display of Nazareth's depth.
"Four of my starters are away at a retreat," Garcia said. "I don't want to say this (loss) doesn't matter, but it is early in the season, and it's a good building experience."
Nazareth defender Grace Heery excelled in keeping the shorthanded Roadrunners on track. She had a big part in the game's first two quality chances. Her corner kick was headed wide right by Lizzie Cipra in the fifth minute, then the junior's 30-yard free kick just over the crossbar in the 12th minute.
"A lot of our players had to step up today, and they did really well," Heery said. "Some of our center midfielders have never played that position before, and they stepped up today."
The Red Devils responded to Nazareth's early offensive push with a strong finish to the first half.
One near breakthrough came in the 16th minute of the match. Off a Lyman free kick from 33 yards, Nazareth first half goalkeeper Blair made a point-blank save on a Kalis shot at the left post. Then on the ensuing scramble in front for the rebound, Heery made a goal-saving block to maintain the 0-0 tie.
"Grace is something else," Garcia said. "Especially with her being a junior, I'm excited her for another year after this."
Just two minutes later, a Jackie Blake corner kick produced another Hinsdale Central chance. But the resulting 12-yard Bibby shot was deflected wide by Blair.
Denying the Red Devils'attack for most of the day was a matter of both actions and words.
"Be loud, keep talking, keep everyone informed," Heery said. "You have to know what's going on at all times."
"There's a lot of communication in the back. Our back is running the field right now. We have a really strong back – (defender and co-captain) Grace (D'Onofrio) and I are back there. We're loud, and you have to have that personality. And we're working together.
"We have sort of a young team in the center of the field, so trying to get them to acclimate to their new positions and working with each other is going pretty well."
The first half ended with quality Red Devils' defense.
In the 24th minute, Moriarty nicely denied a strong attack by Cipra with a nice 1-v.-1 block of Cipra's 18-yard shot. Then less than a minute later, goalkeeper Taylor Ward made a sliding stop to reject a Mia Gurka right side rush and end line cross to the crease.
"We were definitely talking a lot," Moriarty said of the defensive effort. "That's something we've been working on all of our practices and games so far. We were communicating, stepping up.
"We talk in practice a lot about trusting each other, and I think that was a big component of it. And not just the backline but going all the way through the midfield and up to the forwards."
Hinsdale Central's offensive attack asserted itself with a five-minute stretch of solid possession late in the first half. Two Guido shots in the final 5:40 of the half (including a 23-yarder just over the net) were part of the result.
The Red Devils were back on the offensive after the half, highlighted by an Olivia Rayis 36-yard free kick with 34:30 left to play that led to a Lyman chance (denied by a leaping Alberto deflection of Lyman's cross to the crease).
But Hinsdale Central's increasing control of the second half didn't come without some big challenges.
After a foul with 18:45 left, Heery's well-struck 41-yard free kick forced Ward to come off her line to attempt a sliding catch. The ball spun loose on her catch attempt, but defender Sophie Simmons (a non-starter Tuesday) came up big with a block 10 yards out of Cipra's open net rebound attempt.
Less than a minute later, Ward made the save on a back-to-the goal Cipra header try off another Heery free kick (this time from 35 yards).
The Red Devils responded with a flurry of threats, beginning with Alberto's high save on a 22-yard Blake shot with 14:30 left.
Ten minutes later, Lyman's hustle play finally produced Hinsdale Central's memorable first goal of 2019.
"I'm confident in our forwards," Moriarty said. "We've been working on shooting and scoring the last couple of practices, so we were really going for that today.
"It was tough our first two games to not get the results that we wanted, but this game I felt we were controlling a lot of the possession and feeling really strong. I feel it's just a good sign for the rest of the season. We got this first win, and that should get us going for these next couple of games."
Having finally grabbed a 1-0 lead, Hinsdale Central had to rely on its defense to deny a final Nazareth push.
Ward made catches on Roadrunners shots with 4:30 and 2:40 left. Then a long right side send produced a Holly Skrip end line run with 2:05 to go, which ended with Ward's diving block of the cross to the front and an ensuing clear.
Finally with 40 seconds left, Moriarty's send upfield from 35 yards halted Nazareth's final bid to stir up a last rush.
The Red Devils now begin an 11-day spring break before returning to action March 30 against Batavia. When games resume, offense will be the focus.
"High, wide and not so handsome," Modenia joked of the Red Devils' early season scoring woes. "It's the final touch, whether it's a pass or a shot. And we need to clean that up if we want to do more."
But strong finishes like Tuesday's are a very nice first step.
"We were looking for a win to kind of be able to get on a roll," Lyman said. "The last couple of games it was kind of hard to get into a groove. We were all looking to do that and set a good tone for the rest of the season."
Hinsdale Central
GK- Taylor Ward
D- Lauren Oleferchik
D- Sam Moruarty
D- Emily Bagnall
D- Olivia Rayis
M- Sammy Guido
M- Lindsey May
M- Caroline Lyman
M- Jane Bibby
F- Grace Kalis
F- Jackie Blake
GK- Sarah Blair
D- Grace D'Onofrio
D- Grace Heery
D- Kathleen Gerth
D- Holly Skrip
M- Lizzie Cipra
M- Gabriella DiBrizzi
M- Adriana Berrutti
M- Gianna DiFoggio
F- Juliana Iacono
F- Klavdia Georges
Chicagoland Soccer MVP of the Match: Caroline Lyman, sr. MF, Hinsdale Central
No scoring
HC – Lyman (unassisted), 76th minute


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The world space market evolves towards low-cost solutions, electric propulsion is going to supersede current chemical devices over the next few years. Ion thrusters are the most developed electric engines intended for propelling spacecraft during in space maneuvers, offering the highest efficiencies at reasonable power and thrust levels. Ionic thruster of a satellite provided a changes in velocity, which can be achieved over long periods of time. On the other thruster plays an important role in attitude control operation system (ACS) including station keeping, attitude control, misalignment of satellite position, orbit maneuver and deep space missions.
 C. Sánchez, "Design and Performance Analysis Study of an Ion Thruster: Annex," Terrassa, 2016.
 NASA.gov. (2017). Ion Propulsion: Farther, Faster, Cheaper. Available at:https://www.nasa.gov/centers/glenn/technology/Ion_Propulsion1. html.
 R.J. Goldston and P. H. Rutherford, "Introduction to Plasma Physics", London: Institute of Physics Publishing, 1995..
 D. G. Fearn, Angela S. Cox, D. R. Moffitt, " An investigation of the initiation of hollow cathode discharge " Royal Aircraft Establishment Technical Report.
 Park, Young-Chul, "Hollow Cathode Plasma Source Characteristics", Lieutenant, Republic of Korea Navy, Korean Naval Academy, 1982.