text:
Cooking Advice
Vegan Inspiration
How Slimming World Taught Me To Cook
Before starting the healthy-eating plan, all I could do was over-cook pasta.
By Anna Lewis
When I left home to move to London for a career in journalism (I had two weeks of work experience booked in at a 'lads mag'. Nothing more), I'd never cooked a meal in my life. No, actually I had cooked a meal – I'd over-boiled filled pasta on many occasions and pierced the film of more ready meals than you've had hot dinners. But as far as actually creating a meal from scratch, an egg sandwich with a side of T-Bone Steak Roysters crisps was as close as I'd come.
Not once did I think that maybe I ought to get Mum to teach me how to make some of her signature dishes before I got on the train to Liverpool Street ('Tuna Fish And Noodles' – aka tinned tuna, cream, tagliatelle and frozen peas – and Panhaggerty were what she was known for around our way). I guessed I'd just muddle through on Super Noodles or toast or Super Noodles on toast.
But a diet of lager and Super Noodles on toast, plus meeting a rather nice boy with whom I'd sit on the sofa; stuffing my face, soon took its toll on my waistline, and before I knew it, I'd put on 3st. Not quite the plan.
I realised something would have to change, and after speaking to a friend whose mum had been doing it for years, I decided popping along to a Slimming World group was a good shout.
A post shared by Annsie Slim World (@annsieslimworld)
When I got there, I was welcomed with open arms by a room full of men and women who were in the same boat as me, and I felt safe.
But I soon realised that if I wanted to do this properly, I was going to have to learn how to cook.
Don't get me wrong – you can most definitely follow Slimming World's healthy eating plan without having to cook meals from scratch, but knowing exactly what is going into your food from the get-go certainly helps you keep track of exactly what you're eating.
And, personally for me, this seemed like a good excuse to kill two birds with one stone. which seemed weird considering one bird was my weight-loss, while the other was me learning to cook. It seemed counter-intuitive, but boy did it work!
I can't remember exactly what the first meal I would have cooked from scratch – starting with writing a shopping list, which included pots, pans and utensils seeing as basically all I had in my kitchen cupboards was a tin opener and some mis-matched plates – but it would have been something like Spaghetti Bolognese - a meal I still make weekly.
The feeling of accomplishment I felt as I tucked into the first mouthful was enough to make me want to do it all again tomorrow, which was lucky seeing as, despite the fact I thought I'd made enough for two nights, we scoffed the lot. I was proud of myself, okay? Plus, all that peeling carrots and dicing celery can really work up an appetite.
As the days went on and my weight went down, I found myself trying more daring recipes. The types of recipes that have more than five ingredients, which up until now, I'd have automatically sacked off thinking, "ain't nobody got time for that". Except, now I did have time for that, because I'd made time for that seeing as I was enjoying it so much.
Burmese chicken curries were being whipped up on weeknights, comforting cottage pies lovingly slow-cooked for hours at the weekend, and, when time was in fact an issue, stir-fries were getting thrown together; but still with a sense of pride and curiosity into how to make something go from a simple dish to food worthy of a post on Instagram.
On many occasions – if I do say so myself – I've wowed friends with my shakshuka when they've come over for brunch, and better than that, I've stunned my family into silence when I've not only offered to cook for them, but also served up a dinner that smells, looks, and – most importantly – tastes great.
They've not been around to watch me go from soggy, supposedly fool-proof ready-made tortellini to three-course dinners, that are so tasty you'd never guess they were made from recipes I've adapted to fit Slimming World's healthy eating plan. That might only be that I'm not cooking with oil, but using Frylight instead (that's right – food can still be delicious even when it's not dripping in oil). It still blows my family's minds what I've achieved because they've not seen me cooking practically every day for the last nine years and become confident with flavour combinations and cooking techniques.
Again, the thing I've found with Slimming World is, if you know exactly what's going into your dinner, you're able to make sure it fits with the healthy eating plan aka there are no hidden ingredients that will jeopardise your weight-loss journey. And it is a journey – it's just up to you if you choose to take the route that gets you there fast, but is a little more restricting, or the route where there's more freedom to still have treats.
I joined Slimming World nine years ago. At one point I'd lost over 4st, but in the spirit of transparency, I'm probably teetering more towards being 2st lighter than the first day I stepped on those SW scales. And seeing as we can blame everything on lockdown these days, I blame being stuck at home with access to my fridge for that. But that's fine.
Before setting foot into that community centre and deciding to make a lifestyle change, I'd never have guessed I'd ever be such an accomplished cook and so passionate about food that I could have a job cooking and writing about food for a living, but here I am: News Editor of Delish UK.
Baking Helped Me Overcome My Lockdown-Anxiety
Like this article? Sign up to our newsletter to get more articles like this delivered straight to your inbox.
Anna Lewis News Editor Anna Lewis is the News Editor at Delish UK, which means she's always either writing about food, cooking food or eating food.
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Delish, Part of Hearst UK Delish participates in various affiliate marketing programs, which means we may get paid commissions on editorially chosen products purchased through our links to retailer sites.


text:
Prince Estate Shopping Unreleased 'Purple Rain' Concert Film to Streaming Services
by Usman Qureshi – Fri, May 5, 2017
According to a Billboard report, Spotify executive Troy Carter, who is now also as an advisor to the Prince estate, is helping negotiate a deal that could give a major streaming service exclusive rights to a concert Prince had filmed in 1983, featuring songs that would end up on the 'Purple Rain' soundtrack the following year. The rights to make a documentary about the film are also being discussed, claims the source.
Even though Carter works for Spotify, the Prince estate is talking to a range of Spotify's rivals including Apple Music. The film of Prince's Aug. 3, 1983, performance in Minneapolis not only includes deuted several of the songs released on "Purple Rain," but also additional footage that a buyer could use to produce a documentary about the making of the film.
The potential multimillion-dollar deal, which hasn't yet been completed, could be the latest prize in the competition among streaming companies, a battle that has been ratcheting up lately as top players shell out millions for exclusive content that can help them stand out from the pack.
Warner Music Group, which owns the rights to the Purple Rain soundtrack, is separately releasing an expanded edition of the album in June, which will include a 2015 remastered version of the original album, and a concert DVD from a March 30, 1985 performance by Prince and the Revolution at the Carrier Dome in Syracuse, New York.
Apple has also recently obtained exclusive rights to stream a documentary about Sean "Diddy" Combs, which will be premiering on Apple Music on June 25.
Unicode to Discuss Proposals for Emoji Related to Science, Planets and Hair
Fri, May 5, 2017

redpajama_set_name: RedPajamaCommonCrawl


Following the release of epic rock biopic Bohemian Rhapsody, you can now find out just what it was like to be on the road with legendary band Queen through Peter Hince.
Peter first met Queen in 1973, when they were just a humble support act, and subsequently went to work for them full-time until their last tour with Freddie Mercury in 1986.
In this fascinating talk – via the medium of stories and unique photos taken from years of touring – Peter will take you onstage, backstage, inside the recording studio, providing a truly exceptional insight into how four totally different personalities became one of the biggest bands on the planet.
Queen – Behind Closed Doors is at International Students House, Marylebone, on Monday 12th November at 7pm. Tickets cost £12 – £15. Book online at uk.funzing.com.
Buy Peter Hince's book Queen Unseen and find out more about Peter's photography at peterhince.co.uk.


10 Things To Be Thankful for ….
When you think about the past year what are you most grateful for? Are you grateful for the job you have or the one you expect will come? Are you still wishing for something big and wonderful to come into your life? Opportunities abound and the future lay bright and sunny but do you ever stop and give thanks to what you have today?
Thank you for all of the many chances I have to grow, learn and become who I am really meant to be in my career.
Giving thanks for all of what you have now allows you to make room for all of the new opportunities that are just waiting for you.


text:
Ex-Scribing the Choroegraphic Mind "" Dance & Neuroscience in Collaboration
Glenna Batson, PT, ScD, MA
Professor Emeritus (applied)
Independent research fellow
University of Coventry, Coventry, UK and Trinity Laban Conservatoire of Music and Dance, London, UK
www.glennabatson.com
Today, one of the most compelling conversations in trans-disciplinary engagement is the exchange between dance and neuroscience. Over the last decade, dancers and neuroscientists have come together to create live artscience laboratories in which to explore the processes underlying "choreographic cognition" and the embodied mind. Whether creating, performing and viewing dance, complex multi-modal physical and mental processes emerge indicative of high levels of creative thinking. Cognitive processes generated in dance making have potential benefits that stretch beyond aesthetic aims. Such benefits are tangible and extend into many different sectors of society: humanitarian, sociocultural, scientific and medical. The last decade fostered a number of formal dance-science exchanges and projects, with significant outcomes -- statistical and practical, aesthetic and scientific. Despite initial momentum, the field remains fragmented, with poor visibility. Creative clusters have not advanced theories or methods to evolve a focused discourse. While major funding sources have fertilized the ground beyond the pilot level in Europe, US funding sources have little grasp of the importance of this topic and its cross-disciplinary impact. Although dance affords extensive opportunities and benefits for the academy and for the welfare of society at large, projects face barriers to advancement, including clarity of a strategic vision, funding, access, and underdevelopment or resources, and substantive commitment and cohesion across disciplines. Several directions are needed to address these barriers. These include alliances forged within educational and cultural institutions to create environments that fully support cross-disciplinary creative research.
Among the most important cultural movements of the 21st century, artscience collaborations lead in research and pedagogy (Edwards 2011). While these interdisciplinary currents carry enormous momentum in many sectors of art, science, and technology, dance is yet to become a recognized player, both within and outside of the academy. Between 2009 and 2012, the publication Leonardo (the International Society for the Arts, Sciences and Technology) put out an international call for submission of interdisciplinary curricula. Of the 70 courses received (largely from the U.S., both undergraduate and graduate), none involved dance (http://www.leonardo.info/index.htm and http://www.utdallas.edu/atec/cdash/).
Within the last decade, efforts have been made to document the degree to which dance has impacted positively on social capital and wide sectors of community cohesion (Guetzkow 2002; Mitchell, Innoue and Blumenthal 2002; Reid 2011). Results have shattered the perception that dance is an esoteric, elite discipline devoted solely to 'art making.' As a distributed art form (Kirsh 2011), dance finds its (meta)physical axis in collaboration. Dance "excribes," meaning that through dance, processes unfold that make the implicit clear and explicit. Particularly relevant are the ways in which dancers physicalize thought. Dance is a prime example that cognition is for action. The kinds of problem generating and problem-solving in dance extend well beyond aesthetic values (deLahunta 2004). Further, today's dancers lead "hybrid lives" (Risner 2012: 185), sourcing from everywhere, far beyond the studio to find work and inspiration for research in unusual and uncustomary niches within society. The compendium of skills trained in dance impact on a range of sociocultural impact: material, psychopersonal, physiological and intellectual benefits (http://blog.worldprime.org/post/dance_research).
The processes of dance making are a unique form of embodied thinking and offer a unique window into our capacity for creativity and design. Today, cognitive neuroscience has chosen dance as its muse. Over the last decade, a rich dialogue has developed between neuroscientists and dancers. The dialogue addresses many issues around 'embodied cognition' in a movement-based art form that impact widely on both the intelligentsia and society at large.
The exchange is illuminating new ways of conceptualizing the interrelationship of thought and motor skill. Highly interactive forums and subsequent projects in applied research on choreography and neuroscience, new technologies and behavioral methodologies have evolved - computer languages and algorithms in software engineering, motion-capture analysis, and neuro-imaging, among them. New strategies and expertise are emerging with utilization of new materials and technologies in practice-led research. Leading the initiatives were key choreographers from Europe and Australia, including William Forsythe (Ballett Frankfurt), Wayne McGregor | Random Dance UK, and Shirley McKechnie and Catherine Stevens, University of Melbourne. Each has generated projects close to home, with research extending several centers for cognitive neuroscience in the US (David Kirsh, University of San Diego and Scott Grafton, University of California at Santa Cruz). These pilot initiatives were multi-directional, multi-dimensional and practice-led, engaging a wide range of information technology and digital media. Outcomes have been significant and are not reserved solely to creative products. Rather, these engagements affect our theoretical understanding of across a number of domains "" cognitive and affective neuroscience, phenomenology, neuropsychology, and human movement science. Topics include (but are not limited to) embodiment, embodied cognition, motor control and motor learning, kinesthetic empathy, performance and motor skill optimization, and health/welfare of multiple populations.
Despite the enthusiasm and commitment of a growing body of international researchers, advancement of this nascent field remains stymied by various barriers (outlined below). These hinder the ease of engagement and execution of projects holding initial promise. Generally, the field remains fragmented. Little research in this area is being generated in the U.S., and few connections are being made with European and other world counterparts. Overall, the vision for the field-as-discourse needs to be clarified with better development and utilization of resources to create consilience and cohesion, both within and outside of the academy.
To work towards a truly viable, reliable and sustainable trans-disciplinary engagement, the following barriers need to be overcome:
1. Ecovalidity "" Identifying and affording access to feasible sites (physical and virtual) where research can be dance-specific. This includes issues of type, size, location, accommodations and removal of excessive encumbrances that potentially alter or limit the legitimate dance environment; Yet, these environments ideally can incorporate the technology needed for investigation;
2. Feasibility - Developing models of engagement that allow for realistic time and scheduling to carry out research for all engaged parties and resources. This includes embedding in the research design the mutual feasibility of time and use of resources, as well as garnering realistic time-sharing for those project managers and researchers across the various disciplines;
3. Training - Establishing short-term cross-disciplinary training and sharing of expertise in both the vocabulary of respective disciplines, methodologies and technologies; Training will help avoid the "salad effect" of interdisciplinary projects which are only disciplinary in name;
4. Partnerships "" Business and Sociocultural partnerships are needed to broaden the dialogue in ways that facilitate the democratic engagement of all participants. In this way, we build the trust and commitment to integration and fertilization of this unique knowledge culture, avoiding top-down and bottom-up hegemony;
5. Financial Support- While major funding sources have fertilized the ground beyond the pilot level in Europe, US funding sources have little grasp of the importance of this topic. Identifying a range of funding sources that, collectively, could share the financial burden in supporting research and in turn, reap benefits, philanthropically and financially;
6. Cost-Effectiveness - Prioritizing cost-effective technologies and management of material and non-material resources. This means developing a clear sense of the ratio of resources-to-product outcomes;
7. Precise/Concise Research - Bringing precision to the research questions raised so as to generate concrete and useful data that best supports the speculations and hypotheses. This requires building carefully on previous research designs and honing the new hypotheses to avoid impasse due to imitations within the technologies themselves.
8. Incentives. Further, collaborations should provide a substantive outline and methodology for artists to find pathways into fruitful engagement with scientists and vice versa.
9. Global Portals of Visibility "" Many current interdisciplinary dance-neuroscience projects are operating as islands within campuses or as single artist-scientist project grants both within and outside of academia, with little to no knowledge, visibility, collaboration or sharing of resources
10. Future Legacy - Such data should in part be destined towards supporting the initial scientific evidence of the effectiveness of dance within artscience collaborations by way of dissemination and archiving (both digital and material);
11. Broadening the community of stakeholders, both academic and non-academic, will provide portals for shared ideas. They can be local, regional, national, or international specialists and databanks that provide grounding in theories, themes and practices. These communities will be committed to the passion of innovation while respecting the ethics of intellectual property and human resources;
12. Community Sustainability - Identifying the ways and means of generalizing results from these collaborations to multiple sectors of the lay public, including underprivileged, disadvantaged, otherwise 'abled' populations and the wider sphere of lay public engagement.
The plan is to turn constraints into workable incentives. These elements include concrete utilization of human resources, tools, laboratories and other working environments, funding initiatives, education and training in cross-methodologies, and other conditions that would support the trans-disciplinary vision.
The following practical solutions to these barriers are based around 3 main initiatives:
Action 1 "" Feasibility
Goal(s): Moving towards true trans-disciplinarity in which neither discipline becomes the other, but participates fully in the mutual engagement. This avoids the "Salad Effect" of Interdisciplinarity, in which two or more knowledge bodies agree to generate collaborative work, but whose results remain disparate, fragmented and lacking in epistemological or practical utility.
Generic Stakeholders "" Universities (including deans to students), research funding sources, both inter- and extra-academic, professional societies and philanthropies, cultural industries, funding sources for the arts, community building and health and welfare.
Targeted Regoinal Stakeholders - A consortium of North Carolina Triangle and Piedmont universities - Interdisciplinary professors/teachers/students within the academy, particularly "translational" medical centers and organizations (e.g., Translational Science Centers of Wake Forest University Baptist Medical Center and Duke University Medical Center), or where interdisciplinarity has become part of the university vision (Duke University, Wake Forest University, Winston-Salem State University, Center for Design Innovation, Dance departments at Duke, Wake Forest University and North Carolina School of the Arts, and other university departments with which there are memoranda of understanding for research, such as University of Wyoming and Winston-Salem State University, Forsythe Technical College, and the Center for Design Innovation.
Suggested Actions ""
A. Establish focus group(s) for dance-cognitive science within the university consortium, generated, organized and implemented by students with the major purpose of brainstorming on relevant topics, locating, collating and exploiting resources. The focus groups will take several forms:
" First, as networking 'artscience cafes' to take place at Krankie's Café in Winston-Salem and Open Eye in Durham, NC. Here, professionals from the neuroscience and dance world in the associated academies in the larger North Carolina Triangle area will be invited to lead and participate in roundtable discussions.
" Offering Live webcasts and web-forums, which could also be connected to existing Dance-Science podcasting sites, such as DanceTech.Net.
" Formal research conference for dancers, scientists, other academicians and the lay public to provide the scope and benefits of choreographic cognition. The conference will highlight current examples of research dance as a live laboratory where dance making has been explored through digital technologies.
B. Pursue Intra- and extra-mural grants to support sustain initial educational seminars, research training, and interdisciplinary courses; Further, identify funding sources that would provide initial seed money for pilot research, and research training, substantive applied dance-science projects, and provide adequate media publicity; access to related educational seminars and conferences; and Recruiting and offering stipends to a cadre of graduate/undergraduate and community workers to help with mechanics of implementing projects as they materialize.
Potential Stakeholders:
These funding sources will include Translational Science Center- and other intra-mural grant opportunities, the Dana Foundation, insurance companies such as MetLife (those with a track record for funding dance-science initiatives), and arts foundations such as the Mary Biddle Duke Semans foundation.
Action 2 "" Visibility
Goal(s) "" Promote the visibility of the groundswell of work from Action 1 in order to reinforce local, regional, national, and global sustainability; Join forces with other networks that already are spearheading initiatives in this area.
A. Initiate and manage an interactive website (including weblog) that has several tiers "" regional, national and international;
B. Ground Level Networking and Publicity;
C. Organize local versions of TED;
D. Search out, contribute to, and participate regularly in, dance/science websites that already routinely provide podcasts and other interactive forums "" chiefly, Dance-Tech.Net http://www.dance-tech.net/
Targeted Stakeholders:
University digital media laboratories within the consortium, with student/faculty support for building dance-cognitive neuroscience networks "" Sourcing for social networking sites and other media that would offer platforms for visibility. Examples include:
Action 2 "" Measurable Impact
Goal(s) - Provide material evidence of success of liaisons and collaborations; Define and substantiate the basis for success of liaisons and collaborations, as well as the mutual benefit mutual benefit of research; Move towards discourse.
A. Community engagement - Interactive seminars with artists, scientists and lay public to find niches outside of choreography that would benefit by dancers' physicalized form of cognition (examples)
a. Business/Community Partnerships (e.g., of topics: Problem-Solving in Business Through Dance; Improving Learning through Training Attention "" High School; Dance and Health; Memory and Movement in Aging; Dancing with Challenges (Parkinson Disease);
b. Bring together choreographers and dancers, cognitive scientists, neuroscientists, and other academicians, scientists, and those in digital media and other technologies, for short, intensive, outcomes-based workshop series. The first workshop would address the needs specified above and emphasize strategizing to solve the problems. Outcomes would be targeted towards the feasibility and realization of select projects to be implemented within a 1-year period.
B. Organize and implement outcomes-based interdisciplinary courses for under/graduate students. Courses would be designed to help students gain fluency in areas of intersection between disciplines, breaking through initial conceptual prejudices about their differences. These courses would be offered as single electives or as part of cross-campus visions for artscience trans-disciplinarity;
a. Developing, honing and validating tools and methodologies through piloting research and providing structured feedback and evaluation;
b. Build a student-faculty consortium of researchers dedicated to short, succinct, time-limited, measurable pilot research on dance and cognition;
c. Transmission and dissemination of results "" both scholarly and practical "" through formal and informal publications, documentaries, web submissions, conference presentations, sustainable community initiatives, etc.
Generic Stakeholders: The consortium of universities and their extended network with national and international universities, dance/dance science organizations, neuroscience and cognitive science organizations, cultural industries and museums, private sector investors and community partners, publishers and digital media industries.
Targeted Stakeholders ""
Examples of University-based Centers
Center for Creative Entrepreneurship, Wake Forest University
HASTAC the Humanities, Arts, Science, and Technology Advanced Collaboratory at Duke University
Examples of Arts organizations -
American Dance Festival, Durham, NC
Contact Quarterly, a Journal for Moving Ideas
National Dance Education Organization
International Association of Dance Medicine and Science
The Mary Duke Biddle Foundation
Examples of funders supporting interdisciplinary arts-science initiatives
The Wallace Foundation
The Dana Foundation
Pew Charitable Trust
Examples of Community Partners
John Hope Franklin Institute
Local Art Museums, such as SECCA (Winston-Salem) and Nasher Museum (Durham)
Mayor and other key political figures
The waters already are stirring in small eddies within a number of universities across the North Carolina Triangle and Piedmont regions of the State of North Carolina. It is only a matter of organizing our efforts with passion, vision, and rigor in elaborating outcome based efforts. To my mind, university students can play a significant role in jockeying a fleeting topic into a discourse of substance.
Burns, S. Mapping Dance: Entrepreneurship and Professional Practice in Dance Higher Education. Lancaster, UK: Palatine Higher Education Academy, 2007.
deLahunta, S. Separate Spaces: Some Cognitive Dimensions of Movement. Diffusion online journal. http://diffusion.org.uk/species_of_spaces/D_SOS_Delahunta_A4.pdf, accessed November 2011.
Edwards, D. (2011). Artscience: Creativity in the Post-Google Generation. Cambridge, MA: Harvard University Press, 2011.
Mitchell, W. J., Inouye, A.S., Blumenthal, M.S. Beyond Productivity: Information, Technology, Innovation, and Creativity. Washington, D. C.: National Academies Press, 2003.
Moran, J. Interdisciplinarity: The New Critical Idiom. 2nd. ed. London and New York: Routledge, 2010.
Guertzkow, J. How the arts impact communities: An introduction to the literature on arts impact studies, Taking the Measure of Culture Conference July 7-8, Princeton University, Princeton, N.J., 2002.
Reid, T. Art-Making and the Arts in Research Universities. 4-6 March 2011. Ann Arbor, MI: 2012. Prhtt//arts-u.org/wp-content/uploads/2012/03/ArtsEngine-National-Strategic-Task-Forces-Interim-Report-March-2012.pdf>.
Risner, D. (2012). "Hybrid lives of teaching and artistry: A study of teaching artists in dance in the USA", Research in Dance Education 13, 2, pp. 175-193.
Ex-Scribing the Choroegraphic Mind "" Dance & Neuroscience in Collaboration
http://www.glennabatson.com
Today, one of the most compelling conversations in trans-disciplinary engagement is the exchange between dance and neuroscience. Over the last decade, dancers and neuroscientists have come together to create live artscience laboratories in which to explore the processes underlying "choreographic cognition" and the embodied mind. Whether creating, performing and viewing dance, complex multi-modal physical and mental processes emerge indicative of high levels of creative thinking. Cognitive processes generated in dance making have potential benefits that stretch beyond aesthetic aims. Such benefits are tangible and extend into many different sectors of society: humanitarian, sociocultural, scientific and medical. The last decade fostered a number of formal dance-science exchanges and projects, with significant outcomes — statistical and practical, aesthetic and scientific. Despite initial momentum, the field remains fragmented, with poor visibility. Creative clusters have not advanced theories or methods to evolve a focused discourse. While major funding sources have fertilized the ground beyond the pilot level in Europe, US funding sources have little grasp of the importance of this topic and its cross-disciplinary impact. Although dance affords extensive opportunities and benefits for the academy and for the welfare of society at large, projects face barriers to advancement, including clarity of a strategic vision, funding, access, and underdevelopment or resources, and substantive commitment and cohesion across disciplines. Several directions are needed to address these barriers. These include alliances forged within educational and cultural institutions to create environments that fully support cross-disciplinary creative research.
Within the last decade, efforts have been made to document the degree to which dance has impacted positively on social capital and wide sectors of community cohesion (Guetzkow 2002; Mitchell, Innoue and Blumenthal 2002; Reid 2011). Results have shattered the perception that dance is an esoteric, elite discipline devoted solely to 'art making.' As a distributed art form (Kirsh 2011), dance finds its (meta)physical axis in collaboration. Dance "excribes," meaning that through dance, processes unfold that make the implicit clear and explicit. Particularly relevant are the ways in which dancers physicalize thought. Dance is a prime example that cognition is for action. The kinds of problem generating and problem-solving in dance extend well beyond aesthetic values (deLahunta 2004). Further, today's dancers lead "hybrid lives" (Risner 2012: 185), sourcing from everywhere, far beyond the studio to find work and inspiration for research in unusual and uncustomary niches within society. The compendium of skills trained in dance impact on a range of sociocultural impact: material, psychopersonal, physiological and intellectual benefits (http://blog.worldprime.org/post/dance_research).
The processes of dance making are a unique form of embodied thinking and offer a unique window into our capacity for creativity and design. Today, cognitive neuroscience has chosen dance as its muse. Over the last decade, a rich dialogue has developed between neuroscientists and dancers. The dialogue addresses many issues around 'embodied cognition' in a movement-based art form that impact widely on both the intelligentsia and society at large.
The exchange is illuminating new ways of conceptualizing the interrelationship of thought and motor skill. Highly interactive forums and subsequent projects in applied research on choreography and neuroscience, new technologies and behavioral methodologies have evolved – computer languages and algorithms in software engineering, motion-capture analysis, and neuro-imaging, among them. New strategies and expertise are emerging with utilization of new materials and technologies in practice-led research. Leading the initiatives were key choreographers from Europe and Australia, including William Forsythe (Ballett Frankfurt), Wayne McGregor | Random Dance UK, and Shirley McKechnie and Catherine Stevens, University of Melbourne. Each has generated projects close to home, with research extending several centers for cognitive neuroscience in the US (David Kirsh, University of San Diego and Scott Grafton, University of California at Santa Cruz). These pilot initiatives were multi-directional, multi-dimensional and practice-led, engaging a wide range of information technology and digital media. Outcomes have been significant and are not reserved solely to creative products. Rather, these engagements affect our theoretical understanding of across a number of domains "" cognitive and affective neuroscience, phenomenology, neuropsychology, and human movement science. Topics include (but are not limited to) embodiment, embodied cognition, motor control and motor learning, kinesthetic empathy, performance and motor skill optimization, and health/welfare of multiple populations.
1. Ecovalidity "" Identifying and affording access to feasible sites (physical and virtual) where research can be dance-specific. This includes issues of type, size, location, accommodations and removal of excessive encumbrances that potentially alter or limit the legitimate dance environment; Yet, these environments ideally can incorporate the technology needed for investigation;
2. Feasibility – Developing models of engagement that allow for realistic time and scheduling to carry out research for all engaged parties and resources. This includes embedding in the research design the mutual feasibility of time and use of resources, as well as garnering realistic time-sharing for those project managers and researchers across the various disciplines;
3. Training – Establishing short-term cross-disciplinary training and sharing of expertise in both the vocabulary of respective disciplines, methodologies and technologies; Training will help avoid the "salad effect" of interdisciplinary projects which are only disciplinary in name;
4. Partnerships "" Business and Sociocultural partnerships are needed to broaden the dialogue in ways that facilitate the democratic engagement of all participants. In this way, we build the trust and commitment to integration and fertilization of this unique knowledge culture, avoiding top-down and bottom-up hegemony;
6. Cost-Effectiveness – Prioritizing cost-effective technologies and management of material and non-material resources. This means developing a clear sense of the ratio of resources-to-product outcomes;
7. Precise/Concise Research – Bringing precision to the research questions raised so as to generate concrete and useful data that best supports the speculations and hypotheses. This requires building carefully on previous research designs and honing the new hypotheses to avoid impasse due to imitations within the technologies themselves.
9. Global Portals of Visibility "" Many current interdisciplinary dance-neuroscience projects are operating as islands within campuses or as single artist-scientist project grants both within and outside of academia, with little to no knowledge, visibility, collaboration or sharing of resources
10. Future Legacy – Such data should in part be destined towards supporting the initial scientific evidence of the effectiveness of dance within artscience collaborations by way of dissemination and archiving (both digital and material);
12. Community Sustainability – Identifying the ways and means of generalizing results from these collaborations to multiple sectors of the lay public, including underprivileged, disadvantaged, otherwise 'abled' populations and the wider sphere of lay public engagement.
Action 1 "" Feasibility
Goal(s): Moving towards true trans-disciplinarity in which neither discipline becomes the other, but participates fully in the mutual engagement. This avoids the "Salad Effect" of Interdisciplinarity, in which two or more knowledge bodies agree to generate collaborative work, but whose results remain disparate, fragmented and lacking in epistemological or practical utility.
Generic Stakeholders "" Universities (including deans to students), research funding sources, both inter- and extra-academic, professional societies and philanthropies, cultural industries, funding sources for the arts, community building and health and welfare.
Targeted Regoinal Stakeholders – A consortium of North Carolina Triangle and Piedmont universities – Interdisciplinary professors/teachers/students within the academy, particularly "translational" medical centers and organizations (e.g., Translational Science Centers of Wake Forest University Baptist Medical Center and Duke University Medical Center), or where interdisciplinarity has become part of the university vision (Duke University, Wake Forest University, Winston-Salem State University, Center for Design Innovation, Dance departments at Duke, Wake Forest University and North Carolina School of the Arts, and other university departments with which there are memoranda of understanding for research, such as University of Wyoming and Winston-Salem State University, Forsythe Technical College, and the Center for Design Innovation.
Suggested Actions ""
" First, as networking 'artscience cafes' to take place at Krankie's Café in Winston-Salem and Open Eye in Durham, NC. Here, professionals from the neuroscience and dance world in the associated academies in the larger North Carolina Triangle area will be invited to lead and participate in roundtable discussions.
Action 2 "" Visibility
Goal(s) "" Promote the visibility of the groundswell of work from Action 1 in order to reinforce local, regional, national, and global sustainability; Join forces with other networks that already are spearheading initiatives in this area.
A. Initiate and manage an interactive website (including weblog) that has several tiers "" regional, national and international;
D. Search out, contribute to, and participate regularly in, dance/science websites that already routinely provide podcasts and other interactive forums "" chiefly, Dance-Tech.Net http://www.dance-tech.net/
University digital media laboratories within the consortium, with student/faculty support for building dance-cognitive neuroscience networks "" Sourcing for social networking sites and other media that would offer platforms for visibility. Examples include:
Action 2 "" Measurable Impact
Goal(s) – Provide material evidence of success of liaisons and collaborations; Define and substantiate the basis for success of liaisons and collaborations, as well as the mutual benefit mutual benefit of research; Move towards discourse.
A. Community engagement – Interactive seminars with artists, scientists and lay public to find niches outside of choreography that would benefit by dancers' physicalized form of cognition (examples)
a. Business/Community Partnerships (e.g., of topics: Problem-Solving in Business Through Dance; Improving Learning through Training Attention "" High School; Dance and Health; Memory and Movement in Aging; Dancing with Challenges (Parkinson Disease);
c. Transmission and dissemination of results "" both scholarly and practical "" through formal and informal publications, documentaries, web submissions, conference presentations, sustainable community initiatives, etc.
Targeted Stakeholders ""
Examples of Arts organizations –
Risner, D. (2012). "Hybrid lives of teaching and artistry: A study of teaching artists in dance in the USA", Research in Dance Education 13, 2, pp. 175-193.


text:
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Expert-Recommended
We've consulted with our team of licensed nutritionists and dietitians to bring you informed recommendations for food products, health aids and nutritional goods to safely and successfully guide you toward making better diet and nutrition choices. We strive to only recommend products that adhere to our philosophy of eating better while still enjoying what you eat.
I'm a Doctor and Here Are 5 Takeaways From Trump's Medical Evaluation
Donald Trump shared details of his COVID symptoms—here's what you need to know.
By Kenneth Perry, MD FACEP
One week after the initial diagnosis of COVID-19, President Donald Trump had is first live interview on Tucker Carlson Tonight on Fox News. Speaking with Dr. Marc Siegel from the White House, the President shared his diagnosis, treatment, and recovery details.
Although Trump's medical team had been giving updates throughout his hospitalization, it was the first time that the President was able to give details of his symptoms before his hospitalization and how he has felt since returning to the White House. As an Emergency Physician, here is what I was able to learn from his interview. Read on, and to ensure your health and the health of others, don't miss these Sure Signs You've Already Had Coronavirus.
President Trump Felt "Moderate Fatigue"
The major symptom the president reported was moderate fatigue. "I didn't feel very strong," he stated when asked about what symptoms he had before entering Walter Reed Medical Center last week.
Fatigue is one of the most common symptom patients have experienced from COVID-19, with close to 70% of patients reporting at least mild fatigue. There appears to be no correlation between the disease severity and the extent of the fatigue. According to a recent study out of Ireland, the fatigue that is caused by COVID-19 can be debilitating, causing some patients to be unable to work even 10 weeks after the onset of symptoms.
The president seems to have been spared from severe exhaustion, as he returned to the White House just a few days after the initial diagnosis and is already discussing being back to normal work hours.
President Trump Experienced Cough
Dr. Siegel asked the president what tests he got while hospitalized at Walter Reed Medical Center, such as X-rays and CT scans. The president reported that he had at least one CT scan while in the hospital. "Initially, I think they had some congestion in there, but ultimately it tested good. And with each day it got better. And I think that's why they wanted me to stay frankly, but the CAT scans were amazing," he said. The finding of inflammation in his lungs is most likely the reason for the intermittent oxygen treatment the president received while in the hospital. COVID-19 can cause irritation and damage in the lungs. This damage can cause patients suffering from COVID-19 to have oxygen levels that are dangerously low.
RELATED: I'm a Lung Doctor and Here's How to Tell if You Have COVID
President Trump Wants to Donate His Convalescent Plasma
When asked if he was going to donate his plasma to help with research and treatment, the president was very willing to do so. Convalescent plasma is a process whereby a patient who has recovered from a disease donates their blood. Proteins and antibodies are in a part of the blood called the plasma, which is a clear-appearing liquid. This antibody-rich product is then used to treat patients who are currently infected with the disease. The theory is that your body may not make antibodies in time to reduce the extent of the virus before very concerning side effects occur. It is a treatment that is currently allowed by the FDA, given the lack of other treatments for COVID-19.
President Trump Was on Dexamethasone
According to President Trump, some of the medications that he was given while in Walter Reed were continued when he returned to the White House. This is not surprising as he reported some inflammation in his lungs, which would be treated with steroids. Trump was on dexamethasone until today, according to reports. This is common for patients with COVID-19, as the National Institutes of Health recommend dexamethasone treatment for COVID-19 to minimize some of the most concerning symptoms such as severely low oxygen levels.
President Trump Have Been Re-Tested
Dr. Siegel also asked the President if he is currently without any symptoms and if he has had a COVID-19 test to prove he no longer has the active disease. When asked if he has been retested, he responded, "I haven't even found out numbers or anything yet, but I've been retested. And I know I'm at either the bottom of the scale or free."
This is a very difficult situation for the healthcare community. Patients have been found to have positive COVID-19 swabs days to weeks after initial presentation. This is going to be very important as Trump returns to his normal schedule of work at the White House as well as the campaign trail. If he is truly negative, the implication is that he doesn't have any active virus in his respiratory tract that could cause others to become infected.
President Trump Seemed to Be in Good Shape
Courtesy of Fox News
The president was able to speak in normal sentences throughout the interview and did not seem to be overly short of breath at any time, which is a very good sign. There are obvious benefits to being the president, with much of his treatment being offered to him because of his status. But in the end, his disease course seems consistent with many patients who will contract COVID-19. As for yourself: To get through this pandemic at your healthiest, don't miss these 35 Places You're Most Likely to Catch COVID.
Kenneth Perry, MD FACEP
Dr. Perry is an active practicing physician and Medical Director of an Emergency Department in Charleston, South Carolina. Read more
Coronavirus // Doctors // News
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Jennifer Daskal is an Assoc. Prof. of Law at American Univ. Washington College of Law, where she works in the fields of criminal, national security, and constitutional law. From 2009-2011, she was counsel to the Asst. Attorney General for National Security at the Dept. of Justice and previously was senior counterterrorism counsel at Human Rights Watch. She is a graduate of Brown University, Harvard Law School, and Cambridge University where she was a Marshall Scholar. Her scholarship has appeared in multiple law journals and she is a frequent commentator in the press. She is an Executive Editor of the Just Security blog.


It's finally gotten chilly here in New York. We even had wet, windy weather yesterday, which called for woolen items on all extremities. (including wrapping an alpaca silk blanket around the sleeping-baby-in-a-sling (no way was I going to take her out of the sling, thus waking her up, to get her into a warmer individual get-up - we've had a rough few days here with the little one) to take Isobel to school. And poor Isobel has a cold (the oozy kind with a goopy cough), though she seems in good spirits most of the time.
Not a lot of knitting around here, which, of course, doesn't help my mood. In doing the multitudes of laundry lately, I get to spend time *near* my stash (it's in a bookcase across from the washer/dryer) but no time with it, though I hear various skeins calling out. I am about two thirds of the way up the front of my niece's Aran sweater, and once that's done I can get cracking on some birthday (Isobel) and Christmas (everyone else) knitting. The second sock has turned into subway knitting reserved for Thursday evenings when I go to my writing class.
Oh, in an "only in New York" moment, Isobel was scouted by a talent agency assistant Sunday on the subway, though the young woman said she usually works with five and ups, so we have a little time.
On a lovely Friday afternoon in October in New York, we pledged our troth publicly, making official our long-standing private intentions. The bride wore blue and carried a peacefully sleeping babe. The groom wore grey and translated the reading from The Odyssey himself. Our ring bearer and flower girl also served as the paparazzi. And our dear friend performed the ceremony with grace and emotion, while our other dear friend (her husband) recorded the events in still and moving pictures and witnessed the marriage. Their son was the third paparazzo. The small ceremony was followed by champagne, red velvet cake, and sushi.
Icarus seemed the proper choice of covering, as I'd started to knit it when Nick and I reconnected. Plus, the color, incidentally, was just right for the dress.
Many thanks to everyone for their well wishes in the last post.
Mods: Used sock yarn instead of Worsted, though this is the Heavyweight sock yarn. And I decreased one repeat of the lace out of each arm to make them snugger (and save on yarn), then knit the cuffs back and forth.
What fun! I've made a bunch of February Baby Sweaters, so it was a no-brainer to knit this one up (along with everyone else). I'm not thrilled with my buttonholes, but I think that's my only problem with the sweater. It should be a useful knit to have this winter, since it's wooly yet lacey, and our apartment tends to be overheated.
In more exciting news than an FO, I'm getting married tomorrow!
The first time I knit a sock I didn't realize it was such a big deal for people. I decided to make a birthday stocking (like a Christmas stocking) for Isobel, so just a really big sock in worsted weight yarn: shocking pink Malabrigo to be exact. So soft and shockingly pink. I followed the pattern I had for normal socks (the great Family Socks from Yankee Knitter), using bigger yarn and needles but the same stitch counts for the sake of my sanity.
Seemed kind of like no big deal. Why were some people so obsessed with knitting socks? And why were others so flummoxed by "turning the heel"? I guess I turned the heel. I mean, the thing had a place for a heel. Well, if you were a giant anyway.
It's kind of like cooking. Why are people so impressed with a home-cooked meal. If you follow the recipe (and don't lose your head), you should come up with a reasonable facsimile of dinner. But people are so impressed when you follow directions. Does no one else follow directions? I'm the only one, aren't I. Being the good girl isn't always easy, but I do end up with a tasty dinner. And socks with heels.
There are heel-less socks, though, called bed socks. Just a tube with a closed toe. They don't fit well in shoes but are cosy for bed or padding around the house.
I haven't knit any of those yet, though I'm finally (three years later) making a pair of socks for myself. The yarn is a gorgeous colorway from Madeline Tosh called Twilight, with shocking pink (again with that color), navy, and brown and green in between: the pink of sunset-tinged clouds, the blue of the night sky, and the dusky shade of the trees as the light fades.
These will be special socks just for me, unlike the socks I made for Peter. He was in rehab, and it seemed like the right thing to do, make him a pair of socks. I even followed the old wives' tale and knit a strand of my hair and one of Isobel's into the socks. It's supposed to bind the recipient to you. (Should have noticed the other one about knitting socks for your boyfriend: he'll walk out, but he was my husband.) So, it seemed like the right thing to do, since he was going to come back home. No one had asked me if I wanted him to. The good girl would, of course. Funny how that didn't work out. Making that pair for him. Does he still have them? Does it matter?
The pair for me are knit differently, toe-up to use as much of the gorgeous yarn as possible and with a short row heel to avoid picking up stitches, which I tend to do badly. His were just a lesson in construction, and I've learned a lot since then.
*I've just started a memoir writing class, and one of the exercises we did was to write about something we did for the first time. This was my essay. The photo is of the start of my second sock. I used Judy's Magic Cast-On, which I learned knitting up the Amy March Slippers around Mother's Day. It creates a toe that fits my pointy feet very nicely. And I used a short-row heel gleaned from various places online, including Wendy's Generic Toe-Up Sock.
Mods: None, aside from dropping a needle size (I'm learning that as a thrower, my knitting is a little loose, so I often need to go down a needle or two to get gauge). Oh, I did make the fingers longer, as we Wilsons have loooong fingers and toes.
I liked this pattern and plan to knit Julia's Entangled for myself when I wrap up Holiday Gift Knitting (hereafter referred to as HKG). My original plan for this yarn had been socks for my grandmother, as she told me the Amy March Slippers I knit her for Mother's Day never even went in the drawer but right onto her feet. But then I heard some felting stories from folks who had knit socks with this supposedly superwash yarn only to end up with ornaments and didn't want that to happen. So for HKG I may knit Grandma a pair of socks from my STR stash.
Yes, I may knit socks. In fact I'm knitting myself a pair now, and it's not as tedious as I thought. I'm doing toe-up with Judy's Magic Cast On and plan to do a short row heel. The yarn is some gorgeous Madeline Tosh in the Twilight colorway from Purl Diva.
Tomorrow I'll try to blog the Surprise Jacket and Bootees for my nephew, but Penelope has had a cold, so it's a piecrust promise: Easily made, easily broken. Wish me luck.


Hi. This is Kyle from APS and I'm here to show you how to measure halyards on a keelboat. You would need to do this if you don't have your boat's measurements, or if you're racing and you don't have access to your one-design measurements, or you just simply want to measure these right on the boat.
All you're going to need is a 100-foot fiberglass tape measure. You don't want to be using a metal one as they can kink. Let's get started. I'm going to measure this main halyard and it will represent measuring any halyard… I'll talk through the differences between doing the main, jib or spinnaker as we go through this.
On my tape measure I have a piece of halyard leader that is tied on here very securely. I'm making sure the shackle is closed tightly and I'm going to simply just tie the end on here. I'm going to do a couple of overhand knots, at least three. When doing these, if this were to come apart, somebody is going up in a harness or a bosun's chair to retrieve this. An ounce of prevention, tape your knots when you're doing these kind of things so they can't come undone. Hold this down and I'm just going to simply tape my ends so they can't untie themselves.
Okay, so that's ready to go up. As a one-man operation here, I'm going to hold this in one hand, keeping my fingers away from this and I'm just simply going to sky the halyard, pull it all the way to the top. Once I'm there, I'm going to clutch or cleat it off.
Now, I would be tempted to just take this up to where I would attach it to the mainsail and say that's the length. Well, that's not necessarily the case because this has dual purposes. This main halyard could be a topping lift for the boom. If that were the case I would put the boom down on the deck and I would bring this back and measure to the end of the boom which is going to be longer than just attaching it to the mainsail. This cruising boat where I have an aerated toe rail, I might be storing my main halyard over here so it doesn't bash and make noise on the mast. That's my first measurement.
If this were a jib halyard, I would not measure it just to the head of the jib on the deck. Maybe I store it down on a pad eye even lower, on the deck or I use that halyard as a lift for my dingy through a whisker pole. Think about the longest extension of the working end of that halyard. Spinnakers, same thing. Where am I launching it from? Is it coming out of the companionway? Is it on the deck on the bag? Is it coming out of a forward hatch? When I'm dowsing it, where is it going? How long does that halyard need to be to get it down below or down that hatch, and that's the point to which you want to take this measurement.
Now to do the second measurement which is the length that's inside the mast, that's a little simpler. I'm just going to walk forward. I've got my halyard skyed and I'm just going to go down here to the turning block and I'm going to pull this very taut. It's a windy day. I can take my measurement here. It would be the same for whether it was the main, the jib, the spinnaker, and I've got my two lengths.
We've got our two measurements. We've got the halyard going up the mast and coming down. I'm going to start from right here in measuring my deck length needs. Right at the turning block where I stopped before, I'm just going to run back to just behind the clutch here and I'm going to note that around seven feet.
The last line measurement I need to take is the actual tail. What's the maximum number of wraps that I would ever put on this winch, and then what's the longest length that I would ever need? I'm thinking that's probably pretty good so I'm just going to mark that. Take this off, grab my tape here, run it that length and I'm looking at 12 feet.
I've got my four actual line measurements. I've got from the very end of the halyard up and then I usually add a foot at the top because the tape didn't go all the way up flush against the crane or the sheave box and the line's got to travel inside and possibly over a second sheave so I just add a foot in there so I don't miss anything. I've got the first length, I'm adding a foot at the top, my down length and my two measurements here and that's the length of the halyard that I need.
To determine the cut length of rope needed to make a measured halyard (finished halyard length), add 2′ for an eye splice in the working end (for high tech or double braid eye splices), and add 1′ if you will have a reeving eye (Flemish eye) in the other end.


Are you a flower fan? Help Susan create a new organic facial scrub!
Welcome to the Magic Land. Explore all scenes and find hidden objects.
Stretch your arm down into Santa's toy sack and see if you can get an awesome gift.


text:
Suelle do Prado Oliveira est une joueuse brésilienne de volley-ball née le  à Curitiba. Elle mesure  et joue au poste de réceptionneuse-attaquante. Elle totalise  en équipe du Brésil.

Biographie

Clubs

Palmarès

Équipe nationale
 Coupe panaméricaine
 Vainqueur : 2011.
 Finaliste : 2008.
Championnat du monde des moins de 20 ans
Vainqueur : 2005.
 Championnat d'Amérique du Sud  des moins de 20 ans
Vainqueur : 2004.

Clubs
 Championnat du Brésil
 Vainqueur : 2011.
 Finaliste : 2008, 2009, 2014.
 Coupe du Brésil
 Vainqueur : 2008.
 Finaliste : 2007, 2014, 2015.
Championnat sud-américain des clubs
Vainqueur : 2014.

Distinctions individuelles
 Championnat du monde des clubs de volley-ball féminin 2014 : Meilleure réceptionneuse-attaquante.

Notes et références

Liens internes
 Équipe du Brésil de volley-ball féminin

Liens externes

  Son profil sur le site de la FIVB
  Site officiel de son club

Joueuse brésilienne de volley-ball
Naissance en avril 1987
Naissance à Curitiba

redpajama_set_name: RedPajamaWikipedia


text:
module AlprRuby
  VERSION = '0.3.0'.freeze
end


text:
1371 Church Street Extension
Clague Playhouse, 1371 Clague Road. Proceeds will be used towards the purchase of a new street sign. 10 a.m.-3 p.m. 440-331-0403 or clagueplayhouse.org. Olmsted Community Church, 7853 Main St.,
Vanguard Properties is a full service real estate company located in the San Francisco Bay Area with offices in San Francisco, Marin, and Sonoma County.
The U.S. Department of Agriculture (USDA) prohibits discrimination against its customers, employees, and applicants for employment on the bases of race, color, national origin, age, disability, sex, gender identity, religion, reprisal and, where applicable, political beliefs, marital status, familial or parental status, sexual orientation, or if all or part of an individual's income is.
Methodist Home For Children Jobs Bible Verse Hymns And Spiritual Songs hymns and spiritual songs with gratitude in your hearts to God. Thoughts on today's verse We sing when we are happy. We sing when we are heartbroken. Today we sing out of gratitude. God is not only. The Old Testament, which was the original Hebrew Bible, is a compilation
Mar 12, 2019 · Home taken off the market on March 12th, 2019. View homes for sale near 148 Crow Trail Toronto, or learn if this home sold today!
Ontario's Best Butter Tart Festival is almost here! The Town of Midland's 7th Annual Butter Tart Festival is this weekend! Soon our downtown will be flooded with sweet treats, vendors and amazing entertainment for the whole family!
10th St., (414) 271-1371. Church: Morning Star Productions presents "Bible Smugglers" interactive theatre for families, starting every 15 minutes from 2:30-4 p.m. and 6:15-8 p.m. Oct. 28, (repeats.
Rehearsals 7-9:30 p.m. Mondays at First United Methodist Church, 263 E. Mill St., Akron, beginning Aug. 23. Call Roy Sanders at 216-831-2080, ext. 323. Beck Center for the Arts. 17901 Detroit Ave.,
The companies listed below are those that have paid their licence fees in full, and have collected their licence documents for the respective telecommunications undertaking before the era of reclassification of Licences into Class and Individual Licences.
This article is a timeline of the history of Edinburgh, Scotland, up to the present day.It traces its rise from an early hill fort and later royal residence to the bustling city and capital of Scotland that it is today.
Aurora Denver Church Of Christ The Porch Church is a christian church in aurora and centennial with relevant teaching, Baptism is going public about your faith in Jesus and communicating to the world your heart-felt. 19401 E. Chenango Drive, Centennial, CO 80015. Eastern Hills Community Church. I'm New; About Us. As we follow Jesus, we discover that He makes life
This article is intended to show a timeline of events in the History of Birmingham, England, with a particular focus on the events, people or places that are covered in Wikipedia articles.
Enter a company name and click [Search] to filter the results. Click [Clear] to clear the filters and search. Click [Done] to exit.
239 Market St., Westlake. Beck Center for the Arts. 17801 Detroit Ave., Lakewood. All roles available Roald Dahl's "Matilda, the Musical." 2 p.m. Saturday, Feb. 16 and 6:30 p.m. Sunday, Feb. 17 by.
1371 Clague Road, Westlake. Morris at 216-795-7070, ext. 236. Legacy Singers. St. Thomas Episcopal Church, 50 E. Bagley Road, Berea. Seeking adults, teens and children for 2014-15 season.
Postal codes A postal code (known in various countries as a post code, postcode, or ZIP code) is a series of letters and/or digits appended to a postal address for the purpose of sorting mail.
Pilgrim United Church of Christ. Call 440-951-7500, ext. 103. Director: Ann Hedger. Performances: April 19-May 4. Details: go to fineartsassociation.org/theatre/audition. Hudson Players. Barlow.
Volunteer arm of Family and Consumer Sciences within the NC Cooperative Extension. — Liberty ECA Club, 1 p.m., fourth Tuesday, at members' homes • Janice Evans, 704-279-3953 — Locke ECA Club, 1 p.m.,
82nd Street Theatre. Abundant Life Community Church, 10143 Royalton Road. For an appointment, email Julia Wolff at [email protected] Clague Playhouse. 1371 Clague Road, Westlake. Sam Bobrick's.
21: Community Board 1 (Arlington — Castleton Corners — Clifton — Concord — Elm Park — Fort Wadsworth — Graniteville — Grymes Hill — Livingston — Mariners Harbor — New Brighton — Port.
Bid Date WIN(s) Municipality Description Date Posted/ Updated; 6/5/2019: 024319.00 & 024319.55: Kossuth TWP and Topsfield – Region 5: Base Reconstruction/024319.00 is located on Route 6 beginning 0.46 of a mile east of the Kossuth Topsfield town line and extending west 0.06 miles./024319.55 is located on Route 6 beginning 2.54 of a mile west of the Kossuth Topsfield town line and extending.
Bible Verse Hymns And Spiritual Songs hymns and spiritual songs with gratitude in your hearts to God. Thoughts on today's verse We sing when we are happy. We sing when we are heartbroken. Today we sing out of gratitude. God is not only. The Old Testament, which was the original Hebrew Bible, is a compilation of many sacred Jewish scriptures that
1371 Clague Road, Westlake. Legacy Family Singers Chorus. St. Thomas Episcopal Church, 50 E. Bagley Road, Berea. Seeking new members (children, teens and adults ages 8 and up), especially tenors.
THE LEHIGH VALLEY Chapter 1371 of the National Active and Retired Federal Employees with a program given by Dr. Corey Kishner, Allentown, who will discuss the thyroid, its care and related tests, noon.
DRUG AND ALCOHOL SUPPORT: — Al-Anon, noon at First Presbyterian Church, 308 Broad St., side. Call: Lisa: 570 420-1327, ext. 3015. MILFORD MASONIC LODGE meeting at 7:30 p.m., at the Lodge on 4th.
Akron First United Methodist Church. ext. 10. Come prepared with a 1950s or '60s vocal selection (accompanist provided). Director: William Roudebush. Performances: Sept. 16-Oct. 15. Details on the.
Listed here are all GED (in Missouri: HiSET) prep facilities and testing sites in and around Saint Louis. HiSET testing includes five subtests.
Pilgrim United Church of Christ. Clague Playhouse. 1371 Clague Road, Westlake. Seeking three women and a man for Tom Dudzick's "Miracle on South Division Street." 7:30 p.m. Tuesday and Wednesday,
1371 Clague Road, Westlake. Steppin' Out Show Choir. Olmsted Community Church, 7853 Main St., Olmsted Falls. Open House for women who like to sing. 7-9 p.m. Wednesday, Nov. 20. Details: call Carol,
Tenth Street Theatre: In Tandem Theatre presents "All the Great Books (Abridged)," 8 p.m. Oct. 13; 4 and 8 p.m. Oct. 14; 2 p.m. Oct. 15; 7:30 p.m. Oct. 18-19, (through Oct. 29), 628 N. 10th St., (414).
1371 Clague Road. For an appointment, call 216-831-8601, ext. 5103 or e-mail [email protected] Steppin' Out Female Show Choir. Olmsted Community Church, 7853 Main St., Olmsted Falls. Seeking.
Dealing With Spiritual Gates Pdf CHAPTER 1. HINDU RELIGION. Silent adorations to Satchidananda Para-Brahman, Who is the silent Witness of all minds, Who is the Indweller in all beings, Who has projected this world for His own Lila or sport, Who is the support for this world, body and mind and all movements, and Who is the foundation for all
Founded in 1264, Merton College is the oldest college in either Oxford or Cambridge and its buildings are among the oldest and most interesting in Oxford. The large 14th-century chapel contains substantial medieval stained glass and a spectacular tower crossing. The college buildings overlook the atmospheric, cobbled Merton Street on one side and the expansive Merton Field on the other.
1371 Clague. Methodist Church. Rehearsals 7:30-9:30 p.m. Fridays at Fine Arts Association, 38660 Mentor Ave., Willoughby. Details: contact Phyllis Speirs at 216-486-5481 or email [email protected]
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text:
Armed Sources
Former PTSD Foundation counselor charged with altering military discharge papers
By Lindsay Wise	on June 29, 2012 at 10:50 AM
The former director of counseling at a nonprofit for veterans in Houston was charged with altering his military discharge papers after the Houston Chronicle reported that he had been lying about his …
VA gave gamblers, addicts and thieves control of disabled vets' money
By Lindsay Wise	on June 18, 2012 at 12:33 PM
How did chronic gamblers, drug addicts, psychiatric cases and convicted thieves get permission from the U.S. Department of Veterans Affairs to manage disabled veterans' money? A Houston …


From 1975 to 1997, Nippon Animation produced a number of TV series based on renowned classics of the Western Literature. These series eventually came to be known as the World Masterpiece Theater.
The Trapp Family Story was Nippon Animation's WMT creation for year 1991. It is based on the the same story that produced the award-winning classic musical 'The Sound of Music'; considered one of the greatest screen musicals ever made.
This series is based on a real family and true events and tells the story of a young postulate, Maria Kutschera, who, after proving overly energetic to be a nun, for the Mother Abess and other nuns in the Nonnberg Abbey, is sent off to work in the beautiful town of Salzburg, in Austria, as a governess for Captain Trapp's seven mischievious children.
The Von Trapp family is run by a naval officer, a seemingly cold-hearted lonely widower, Captain Von Trapp. Seeing how badly his children need a mother, he proposes to the Baroness Schraeder, a mutual friend of his beloved family friend Max Detweiler. The baroness soon realizes that it's actually Maria – with her warmth and love for the children- whom the Captain is actually in love with.
The picture-perfect happiness of the newly formed Trapp family, with Maria vonTrapp now included, is almost ruined when Hitler, ascending to power, forces Von Trapp to decide whether to join the Nazi party–which he despises–or force his family to leave their home forever.
Due to this unfortunate circumstance, the family loses it's complete capital that year, and she establises a family chorus with her husband's children, which soon begans to achieve fame.
Being an officer loyal to the emperor, Trapp is forced to leave Austria after it's annection to the Third Reich, and the Von Trapp family emigrates to the US.
This story is a wonderful classic with with elements of excitement, tragedy, romance as well as great music.
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This is why we can't have nice things. Helicopter lands in California park during super bloom
Posted 10:50 am, March 27, 2019, by Tribune Media
LANCASTER, Calif. -- Officials with the Antelope Valley California Poppy Reserve near Lancaster never thought they'd have to warn people not to land a helicopter in the middle of the fields – that is, until someone actually did.
In light of that recent event, a warning was posted to the reserve's Facebook page on Tuesday morning.
"We never thought it would be explicitly necessary to state that it is illegal to land a helicopter in the middle of the fields," the post stated. "We were wrong."
A visitor took this photo of the helicopter landing in the middle of the poppy fields. It was shared on the Antelope Valley California Poppy Reserve Facebook page on March 26, 2019.
Apparently, a couple landed the helicopter in the field and began hiking off a nearby trail within the reserve, which is about 50 miles north of downtown Los Angeles and part of the California State Parks system.
The hike didn't last long, however, as law enforcement immediately intervened, according to post. They tried to contact the couple, who promptly ran back to the helicopter and flew away.
The incident drew a largely negative response from Facebook users, many who were stunned by the entitlement of the act.
"Money buys arrogance and sense of entitlement and privilege," one user commented. "What it apparently doesn't buy is common sense and decency."
It also drew sarcastic comments from those critical of the incident.
"Well excuse us!! We needed to be there. In fact it was demanded of us by our Instagram followers! My wife colors pictures of flowers and I collect butterfly carcasses and fly helicopters for a hobby. We had to go ourselves as we could not afford a professional guide. Our budget is only $500,000 a month," read one tongue-in-cheek remark.
Still others managed to tie it to another high-profile story in Southern California: the college admissions scandal.
"They were probably celebrating bribing their way into USC," one user wrote. Another invoked the names of Lori Loughlin and Mossimo Giannulli, who have been charged in the scheme.
Super Bloom causing some issues
Like other parts of California, the Antelope Valley poppy reserve has experienced a super bloom of wildflowers in the past few weeks due to the region's wet winter.
That super bloom has created problems in some areas, most notably at Lake Elsinore's Walker Canyon, where city officials had to implement traffic and parking restrictions on weekends in order to control what was described as "Disneyland-size" crowds.
So far, the Antelope Valley poppy fields haven't been inundated with the same overwhelming throngs of visitors as Lake Elsinore, though it too has seen large crowds.
At one point this past Saturday, the parking lot had to be closed, according to Steve Ptomey of California State Parks.
"All of our parking was full, so we had to close the park to parking temporarily, and as people left, we would let that same number of people in," he said.
With the poppies now in full bloom, state parks officials issued a reminder to those visiting the fields to stay on official trails only and not go into the flowers to take photos.
"Walking in the poppies creates dirt patches and may result in a ticket," they warned.
Picking or destroying the wildflowers is also a violation of state law.
Officials also warned visitors to watch for Mojave green rattlesnakes, which are generally active on warm days and in hot evenings.
A full list of rules and regulations, as well as directions and other information, can be found here.
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Bringing you the latest insights on the Singapore Property market.
SG Property Reviews is primarily a Singapore property blog dedicated to providing its visitors with the best real estate insights.
As a Singapore Real Estate Blog we provide guides on how to purchase Singapore Properties and the latest updates in the Singapore real estate market.
We also cover reviews on various properties in Singapore.
Our aim is to be one of the top property blogs in Singapore and we can only do so by giving our visitors the very best in Real Estate content.


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News / Foreign Policy
Blinken warns Haitian migrants against making 'dangerous' trip to US
Saturday, 09 October 2021 7:40 PM [ Last Update: Saturday, 09 October 2021 7:40 PM ]
US Secretary of State Antony Blinken (L) standing alongside US Ambassador to Mexico Ken Salazar during a visit to the US Embassy in Mexico City, October 8, 2021. (Photo by AFP)
US Secretary of State Antony Blinken has warned Haitian migrants against making the "dangerous" trip to the United States, where they are at risk of being whipped by agents on horseback and kept in squalid conditions.
Blinken said on Friday that asylum-seekers heading to the US were not only at "tremendous risk along the entire route", but also, upon entry to the United States they still faced dangers.
Under fire, Biden administration suspends horse patrols
Under fire from human rights groups and some progressive Democrats, the Biden administration has temporarily suspended the use of horse patrols in Del Rio, Texas.
Blinken attempted at a news conference in Mexico City to dissuade Latin American asylum-seekers against heading to the US, insisting that promises of a better life were lies.
"Unfortunately, ... various groups are spreading false information about what possibilities exist for those coming to the United States," Blinken said, warning, "The journey is profoundly dangerous, and it will not succeed, and we are working to make sure that people understand that."
The Biden administration has come under fire for its inhumane treatment of Haitian asylum-seekers fleeing from violence and persecution.
Images from Del Rio, Texas showed US border agents on horseback whipping, beating and mistreating hapless refugees.
Vice president says 'deeply troubled' by US treatment of Haitian migrants
Vice President Kamala Harris has condemned the US treatment of Haitian migrants at the southern border.
Vice President Kamala Harris condemned the ill-treatment of Haitian asylum-seekers at US southern borders.
"What I saw depicted, those individuals on horseback treating human beings the way they were was horrible," Harris told reporters after images circulated on social media showing US border agents on horseback using whips on migrants seeking asylum.
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Texas governor defends US agents who whipped migrants
US treatment of Haitian migrants evoked 'times of slavery'
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Green tea is one of the healthiest beverages that you can add to your diet. Because of the way it's processed, this type of tea contains an amazing amount of antioxidants and polyphenols, two ingredients that give green tea some incredible health benefits.
Although green tea is the world's most consumed beverage next to water, drinking cup after cup can get boring. Luckily, there are other ways we can reap the benefits of this incredible beverage. Brewing green tea and adding it to dishes or adding green tea powder to recipes, particularly desserts, can pump up the flavor as well as adding incredible health benefits. Using matcha green tea powder is especially easy when trying to boost your green tea consumption. Learn more about green tea and view this from Kiss Me Organics and be on your way to better health with the addition of green tea into your diet.
A boring cup of plain green tea can easily be kicked up a notch with a few added ingredients. During the hot months, iced tea drinks are a great way to cool down and be healthy at the same time.
Bring water to boil in a pot and then remove from heat. Add the berries, tea, and honey and stir well. Let the mixture sit for about 15 minutes and take out the tea bags and strain the berries out. Cool the liquid to room temperature and pour into a pitcher. Let it get cold in the refrigerator and enjoy!
Judging from the long lines at places like Starbucks and Jamba Juice, smoothies and frappuccino are a popular drink, especially in the warm summer months. Smoothies are easy to make at home with a blender and a few simple ingredients. A green tea smoothie can be made using either brewed tea or powder.
Pop all ingredients in the blender and mix it up. Other berries or fruit can be added along with things like ground flax seeds, protein powder, spinach greens or whatever else you can imagine, boosting the health benefits of this drink even further.
Blend all ingredients in a blender until smooth. You can add orange juice or almond milk instead of or in addition to the yogurt.
Start the morning right with some delicious pudding for breakfast. The chia seeds add even more disease-fighting antioxidants and omega-3s.
Measure one of the tablespoons of chia seeds into a blender with the milk, oats, sweetener, vanilla, and green tea powder and blend. Transfer the pudding to a bowl and stir in the remaining chia seeds. Let the mixture sit in the refrigerator until it's a pudding-like consistency. You can make this the night before for a quick yummy breakfast the next day.
Who says ice cream has to be bad for you? This green tea ice cream is made with coconut milk, a super healthy alternative to traditional cow's milk. And with the addition of natural sweeteners, a bowl of this ice cream is not just delicious, it's good for you.
Add all ingredients except for the xanthan gum into a blender and blend until smooth. Then add the xanthan gum and blend again, adding more green tea and/or honey for flavor. Transfer the mixture to a bowl and let it chill for a few hours. If you have an ice cream maker, you can pour the mixture into the pre-chilled bowl and make according to your product's instructions. If not, just pour the mix into a freezer safe container and freeze. Stir the mixture every hour or so to aerate it.
You don't necessarily need a specific recipe to enjoy the benefits of brewed green tea and matcha green tea powder. Sometimes just adding it into the ingredients of a meal you're already planning to cook is enough to kick your meal up a notch with its added health benefits. Brewed green tea can be used in place of water in soups, salad dressings, lemonade, marinades, and more.
Green tea powder can be combined with different spices to add texture and flavor to meals. Add it to a fish or chicken bake by combining it with the breadcrumbs and spices you use to roll the fish or meat in.
Steep green tea bags in hot water and add honey, salt, pepper, and any other spices you like. Marinate your meats and vegetables in the mixture for a few hours before cooking and the sweet tea sauce will give your food an incredible flavor.
In Japan, the popular dish Ochazuke is made by pouring hot brewed green tea over a bowl of rice and letting the rice steep in it to soak up all the flavor and nourishment of the tea. The addition of savory ingredients like seaweed, wasabi, Japanese pickles, sashimi, and scallions turns a bowl of plain rice into a delicious hot meal.
It's easy to incorporate green tea into your diet with a little creativity and imagination. There are tons of ways to get this amazing health food into your daily regimen. You will want to experiment with both brewed tea and green tea powder for a wide variety of delicious results.
Louise Morrison is passionate about eating healthily and nourishing her body, as well as her mind. She writes articles about the top foods to eat, and which to avoid at all costs.
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Tarpon Springs is the largest greek city in Florida. You can eat at one of the many authentic greek restaraunts, or visit some of the famous attractions.
21-acre living history museum home to some of Pinellas County's most historic buildings.
More than 28 historic structures and features, some dating back to the 19th century, include a school, church, sponge warehouse, railroad depot and store and a variety of historic homes.
Early pioneer life is exhibited throughout the village. Skill demonstrations occur regularly.
Hours: Tuesday - Saturday 10 a.m. - 4 p.m.; Sunday 1 - 4 p.m.
A unique blend of Florida native plants, and beautiful exotic tropicals, displayed in both natural and formal gardens.
The natural wonder of this site also provides a natural habitat for Florida's fabulous wildlife.
Open 7 days a week, - gates open from 7 a.m. - 7 p.m.
Welcome Center is open: Monday-Friday, 8 a.m. - 5 pm.


The ADIFOAM series of products are liquid defoamers with both defoaming and antifoam efficacy that offer a high efficiency in the elimination of foams.
The foams generate problems in hydraulic systems as they cause errors in the operation of level probes, transfer pumps, equipment samples and others, in addition to producing alterations in the biological purification systems, therefore, they are of great importance the use of defoamers.
Servyeco has developed an extensive range of defoamers designed to meet a wide variety of needs in wastewater and industrial wastewater treatment.
The ADIFOAM Series is composed of different types of defoamers. Among them we find products formulated based on mineral oils, vegetable oils, silicone derivatives and esters of fatty acids.
The ADIFOAM series consists of silicone-free and silicone-free defoamers that contain a high concentration of active material, so that the effectiveness as antifoam is very high.
Some of these products are free of silicone that do not contain mineral oils, nor EBS, in this way, they are highly biodegradable products and, therefore, very suitable for biological liquors.
This series avoids the problems derived from the formation of foams by eliminating them and preventing their later reappearance.
In the ADIFOAM range we find food grade defoamers. Some of these products can be used as food defoamers and others can be used in water in contact with food. These are products authorized by the FDA (US Food and Drug Administration), indicated for the control of foam within the food industry and annexes.
In some of the products, the stabilizing materials of the emulsion contained in the product favor the correct mixing and distribution in systems with a large volume.
The sectors in which foam problems can appear are very diverse, since they are linked to wastewater generation and treatment processes in physical and chemical biological systems and also to water circuits such as refrigeration circuits and evaporative condensers.
These products are used in any process that presents foam problems such as treated water, homogenization rafts with agitation or aeration, biological reactors, control and collector boxes, distillation and vacuum systems and paper manufacturing. The selection of each chemical will depend on the surfactants present in the water, the engineering and the water quality required.


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Kyle Sandilands Says He 'Conned' the Public Into Getting Vaccinated Through 'National Campaign'
"I'm fit and proper to do the national campaign to con everyone into getting vaccinated."
By Staff Writer March 23, 2022 March 23, 2022
Radio host Kyle Sandilands has said he "conned" the public into getting vaccinated against COVID-19 through a national vaccination campaign.
In a short snippet shared on social media, the Australian shock jock slammed New South Wales Police during a recent show, saying he had "problems getting a liquor licence" because he was not deemed "a fit and proper person."
Sandilands noted the hypocrisy of the move, noting that he was apparently "fit and proper to do the national campaign to con everyone into getting vaccinated."
"But the police, they're a**holes for—this is just trouble," he said. "I also had problems getting a liquor licence, also, New South Wales Police, because I'm not a fit and proper person. I'm fit and proper to do the national campaign to con everyone into getting vaccinated."
Kyle admits he conned the Australian Public. pic.twitter.com/eQkEOsr5ax
— Q the Bubbles (@QtheBubbles) March 22, 2022
Last year, the KISS 106.5 host recorded a pro-vaccine rap video that was played during ad breaks on Network Ten and MTV.
Prime Minister Scott Morrison congratulated Sandilands for the video titled, Get Vaxxed Baby, saying his kids loved it.
NSW Health Minister Brad Hazzard similarly praised the song, describing it as "fantastic."
The track, which is set to the tune of Vanilla Ice's Ice, Ice, Baby, has had just over 94k views on YouTube.
Published by Staff Writer
Caldron Pool is a politically and theologically conservative website providing news and opinion on current events.View all posts by Staff Writer
Caldron Pool is a politically and theologically conservative website providing news and opinion on current events.
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package com.github.dynamo.core.services;

import java.util.List;

import com.github.dynamo.core.model.TaskExecutor;

public class PluginOption {

	private LabelledClass taskClass;
	private List<LabelledClass> executorOptions;
	private Class<? extends TaskExecutor> value;

	public PluginOption(LabelledClass taskClass, List<LabelledClass> executorOptions, Class<? extends TaskExecutor> value) {
		super();
		this.taskClass = taskClass;
		this.executorOptions = executorOptions;
		this.value = value;
	}

	public LabelledClass getTaskClass() {
		return taskClass;
	}

	public List<LabelledClass> getExecutorOptions() {
		return executorOptions;
	}

	public Class<? extends TaskExecutor> getValue() {
		return value;
	}

}


If you've read my blog at all, you probably know just how cheap I really am. When I started to rebuild my apiary, I started off repairing old rotted boxes. When I ran out the old boxes, I began building boxes from pallets.
Eventually it became a point of pride that I could build my business without taking money from my household budget.
Now that my hives are making a little money, I am reinvesting it. I have finally upgraded to building hives with "store-bought" lumber but 1X12-8′ are more than $16 each and only make a single super.
You will have to stagger your joints. I found a really easy way to do this. Using some scrap wood, cut two strips per super that are 3/8″ X 5/8″ X 16 1/4″.
Next, on two of your 19 7/8″ pieces cut a notch in both ends that is 3/8″ X 5/8″.
Assemble these two pieces to the strips. From here on all you have to do is glue and nail the rest of the boards in place.
When the whole thing is assembled. Set your table saw to 9 5/8″ and trim the bottom of the super. This will make a nice square bottom. Lastly, place a handle 1X2-4″ on each end of the box so that it overlaps the top two end boards.
That's it. It took me about an hour to build each super. I need 200 supers for next year, so that means 200 hours of work just on the boxes. I think a little part of me just died.