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István Kenesei (; born 29 March 1947) is a Hungarian linguist, professor emeritus and corresponding member of the Hungarian Academy of Sciences. His research focuses on generative grammar, theoretical linguistics and foundational problems of syntax, semantics and morphology. He works both in Hungary and around the world, and has published in English and Hungarian.

Biography and career
He was born on 29 March 1947 in Budapest, Hungary. He took M.A. degree at the Eötvös Loránd University, Faculty of Arts in English studies in Budapest in 1970.
He started his academic career at the Department of English Studies at the Attila József University (JATE), Szeged and he became an educator and a research fellow in 1971.

He received his dr. univ. (doctor universitatis) degree in 1974.
He took candidate (C.Sc.) of Linguistics degree in 1980.
In 1982 he was appointed to an associate professor (docent, reader).

He was appointed to the head of the department, and he acted as the chairman from 1985 until 1986.

He was awarded Doctor of Science (D.Sc.) degree in Linguistics in 1992.

In 1993 he received the title of university (full) professor.
From 1997 until 2000 he was the Vice-Rector for Science, Research Development and Grants, JATE.
From 1993 until 2000 he acted as a subprogram leader of Theoretical linguistics in the Graduate School in Linguistics at the JATE

In 2000 the universities and colleges in Szeged were integrated into the University of Szeged.
From 2000 until 2017 he was the chairman of the united Graduate School in Linguistics and he was a member of the Council of the Graduate School in Linguistics and a VIP member of the doctoral school.at the University of Szeged.

From 2002 to 2017 he managed the Research Institute for Linguistics, Hungarian Academy of Sciences (HAS) as its director until his retirement.

He was elected to corresponding membership of the HAS in 2016.
In 2017 the honorific title of professor emeritus was conferred upon him.

He is a notable and respected scientist both in Hungary and around the world and developed significant research and professional relationships.
István Kenesei lectured as a visiting professor at several universities of the world: University of Delaware in Newark, Delaware, Ca' Foscari University of Venice in Italy and Utrecht University in Netherlands.
His working papers were issued in both national and international prestigious professional research scientific journals, and 156 books and scientific articles were published.

Committee memberships

Editorial board memberships
Általános Nyelvészeti Tanulmányok (General Linguistic Studies Serial)
Approaches to Hungarian; John Benjamins, Amsterdam
Comprehensive Grammar Resources; Amsterdam University Press, Amsterdam
LingDok: Nyelvészeti Doktoranduszok Dolgozatai (Theses of PhD Students in Linguistics); JATEPress, Szeged
Acta Linguistica Hungarica
Pragmatic Interfaces, Equinox, London

Carrier-related public activities
2016 Corresponding Member of the Hungarian Academy of Sciences (HAS)
2013 Member of the Academy of Europe (Academia Europaea)
2003–2004 Visiting Fellow, Collegium Budapest - Institute for Advanced Study
1998 Visiting Scholar, Clare College, Cambridge, England
1997–2001 Széchenyi Professorial Fellowship, Hungarian Ministry of Education

Achievements
His main fields of interest are in the generative grammar and theoretical linguistics with special respect to the foundational problems of syntax, semantics and morphology. Within the framework generative grammar of linguistics he revealed the relationship between the cognitive and the syntactic factors of linguistic theorizing.

Awards and honours
2007 Order of Merit of the Republic of Hungary, Knight's Cross
2002 Országh László Prize, Hungarian Society for the Study of English

Works

Books
Kenesei I, Vago R, Fenyvesi A 2010: Hungarian, London: Routledge, 508 p. (Descriptive Grammars Series)

Selected papers
Lipták Anikó, Kenesei István 2017: Passive potential affixation: syntax or lexicon?, ACTA LINGUISTICA HUNGARICA / ACTA LINGUISTICA ACADEMICA 64: (1) pp. 45–77.
Kenesei István 2014: On a multifunctional derivational affix, WORD STRUCTURE 7: (2) pp. 214–239.
Kenesei I 2013: The role of creativity in the cognitive turn in linguistics, INTERNATIONAL REVIEW OF PRAGMATICS 5: pp. 270–291.
Kenesei I 2009: Quantifiers, negation, and focus on the left periphery in Hungarian, LINGUA 119: (4) pp. 564–591.
Kenesei I 2008: Funkcionális kategóriák, In: Szerk.: Kiefer F Strukturális magyar nyelvtan 4.: A szótár szerkezete. Budapest: Akadémiai Kiadó, 2008. pp. 601–637.
Kenesei I 2007: Semiwords and affixoids. The territory between word and affix, ACTA LINGUISTICA HUNGARICA / ACTA LINGUISTICA ACADEMICA 54: pp. 263–293.

References

1947 births
Writers from Budapest
Linguists from Hungary
Academic staff of the University of Szeged
Living people
Members of the Hungarian Academy of Sciences
Philosophers of science
Eötvös Loránd University alumni


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Fernando Casasempere
Fernando Casasempere (b. 1958, Santiago de Chile, lives and works in London) works with clay, ceramics and industrial matter, redefining the possibilities of these materials for contemporary sculpture. Through a fascination with the imprint left by humans on the earth, Casasempere draws on archaeology, geology, landscape and classical and modern architecture to subvert sculptural archetypes, while speaking to urgent global ecological and social concerns through the lens of his native Chile.
Following a busy year - including the solo exhibitions Terra at the San Diego Museum of Art and Scratching the Surface at Bloomberg SPACE, a selection for the Loewe Prize shortlist from more than 3,000 entries, and the unveiling of two major new commissions at Henrietta House and Soho Place - I had the pleasure of interviewing Fernando in his studio in Hackney to discuss his practice, his relationship with sculpture, and why it is a medium so suited to addressing some of the most urgent societal and ecological issues of our time.Â
Fernando Casasempere, Installation view of Terra, 2022. San Diego Museum of Art. Photo by Ron Kerner, courtesy of the artist
Your work deals with some of the most pressing issues of our time, including climate change, extractivism and our relationship with the earth. In what ways is sculpture a useful medium to address these issues? What can sculpture offer us now?Â
Fernando Casasempere, Arch, 2014. Porcelain, 174 x 60 x 85cm. Photo by Kristina Salgvik, courtesy of the artist
Well, I always say, more than the sculpture it's art that has the privilege to have a voice - like now, with you interviewing me. And I think art needs to speak to these very important issues to raise awareness. I'm a more three-dimensional person, so I think in some ways sculpture chose me, and then I chose sculpture to talk about these issues. But I think it's something about the presence of sculpture, and the possibility that three-dimensional objects give you. Because you can be involved: like with some of the rooms in my recent exhibition Terra at the San Diego Museum of Art (2022). You walk through the idea, you are involved in the idea. And I think that helps much more, it creates resonance, because it's a physical thing - there's a physical response. Which is why I always say, when people are complaining about graffiti in town - I think it's because it intercepts people's paths as well. And that's what sculpture is about too. It's a physical presence and then people can really interact: they either need to avoid, or confront it. So, you can really put people in front of an idea, or immerse them in it, in a way that is perhaps less direct with other media.Â
You often draw a comparison between geology and your work as an artist. I'd love to hear more about this.
It's funny, because I've been thinking lately about why geology is so important for me. I'm a guy from a country with the biggest earthquakes on planet earth unfortunately. I think there are over 40 living volcanoes in Chile. This presence of geology, of the melted material inside the volcanoes, the aliveness of the earth, has been with me and has been a part of me since I was born. When you live in Chile you're always hearing about the tectonic plates, the American plates, there's a plate in the centre of Santiago, so we're incredibly connected to all of that. And what is the connection with what I'm trying to do? I think the most similar understanding Europeans might have is with fracking. What comes to your mind when you think of fracking? It's what's underneath, the core, the damage that happens inside. We are damaging and breaking the earth, and the earth trembles in response. When I think about fracking, I have the same feeling as when I'm thinking about tectonic plates, or the earthquakes in Chile. It immediately transports you to the core of the planet.Â
Fernando Casasempere - Soho Place -Thierry Bal -13 copy_SN
Volcanoes are the greatest ceramicists - because the power of fire melted inside is concentrated in all this magma, which is no more than all these minerals that come from the heat from the centre, from the core of the planet. And from time to time, the volcano explodes, it sends it all out, and when it freezes and consolidates it becomes a new material, a new rock, a new mineral. And that's what we do with ceramics as well, somehow - my new work around the corner from Tottenham Court Road station is called Geology Rebuilt (2022). As a sculptor working with ceramics, I pulverise all these minerals into a mix, but they still have iron and all kinds of components, and I then put them reconfigured, into the fire. Then, when the kiln is cold, that mix becomes something else, it becomes this new geology, this new material. Which is why I compare what I do with volcanoes, why I say all the time that they are the best ceramicists in the world.Â
Fernando Casasempere, Installation view of Scratching the Surface, 2022. Bloomberg SPACE, London. Photo by Michael Harvey, courtesy of the artist
Your practice reflects a profound connection with the landscape of your native Chile, and it manifests materially in the works that you make. I'd love to hear about your clay mixes, and what first prompted you to use waste matter in them?Â
Since I started working with clay, I made a very conscious decision: I wanted to belong to the masters of my continent, to pay my respects to the Native American masters of my continent. I wanted to make clay talk, and to talk in a really contemporary way and to go to the limit of the medium. And that's why it's such a joy for me to make works like Geology Rebuilt (2022) or other large projects, because they really push you to the limits of what is possible. In order to achieve these kinds of ideas, you need to remake and rethink, to try to make the impossible happen - for example, a 200kg solid block of porcelain was supposed to be impossible, and it's done. In order to do that, I have to do thousands of tests - testing not only the materials, but also the temperature of the kiln, how fast it can rise or fall, all of that. In 1991 it all started when I received a scholarship to study new materials and incorporate these in the clay. And then I traveled in Chile, and, you know, Chile is a mineral country: we are rich in copper, iron, lapis lazuli and lithium. We are very blessed in that way, but now with a new consciousness we need to approach these materials in a different way. And I thought, those materials are already so well-known. What if I use the waste, the sub-product of extracting those minerals, the consequence of extractivism, in order to play a part in reframing the conversation around our collective responsibility to come up with solutions for the climate crisis.Â
Fernando Casasempere, View of Geology works in the artist's studio, 2022. Courtesy of the artist
Could you speak a little more about the issue of extractivism in Chile, and how it affected your work and practice?Â
It's an enormous question, and I think it's a very different view to that of people living in so-called developed, first-world nations. To understand extractivism in Chile, I think it's also important to contextualise it: we are one of the countries with the lowest environmental impact on the earth, and we are one of the countries that is going to be most affected by climate change. So can we afford not to extract, not to use what we have? What are the social implications of that, in terms of poverty, and the resulting lack of resources to fund education, with all the consequences that would bring? For me, the word is: cooperate. Raise awareness, and find better, more climate-efficient methods. But first of all, I think first-world countries need to reckon with the damage they have done to the planet. We need to find a balance, and I hope talking about it, and answering questions, might make room for real conversation.Â
Well, there's a huge ecological paradox - we're trying to move to a green, renewable-led, battery-powered future to replace oil and gas, but of course those batteries operate with minerals, which have to be mined to power this green revolution. And those processes are likely to have devastating environmental consequences, and also damaging social consequences to communities. So how do we move away from oil and from gas - which we absolutely need to transition away from - and find new alternatives without repeating the errors of the oil economy?Â
Fernando Casasempere, Installation view
of Salares and Mortars in Terra, 2022.
San Diego Museum of Art. Photo by
Ron Kerner, courtesy of the artist_2
Yes! And the main conversation and where we need to go is really towards a new movement, where we need to do less, produce less. We need to make long-lasting, high quality things where we don't need to replace things every 5 years, or every 10 years. In the 1950s, home appliances worked for twenty years. Now planned obsolescence is factored into everything - otherwise capitalism, which is the cancer of the planet, also won't grow. So it's about that as well - de-growth. Allow poorer countries to develop mindfully, but also think of a new approach where larger, richer countries are not abusing the planet.Â
Going back to sculpture: some works, such as those in your wall-based Salares series, push the limits of what is possible with materials like clay, and with it, the parameters of what we perceive and recognise as sculpture. Could you tell me more about your experimentation across two and three dimensions?Â
First of all I'm an artist, and as an artist I need to research and to move forward and change. I want to make my material talk. So I use raw clay to do something new, and I want to use the clay in the most expansive way possible: raw clay, porcelain, stoneware, low temperature clay, glazed and unglazed. And secondly, given how much of my inspiration is the landscape of my country, I want to talk about the salt flats, I want to talk about the surface of the planet, not just the geology, not just the core or the inside. So those were the main motivations for me with this series, as well as to try to explore in two dimensions. Moving in some way into the realm of painting enriches my work as a whole, and of course makes me quite excited to get up in the morning to try something new.
Fernando Casasempere, Salar, 2022. Clay and India ink on felt
And like you say, moving into an almost painterly dimension enriches the sculptural process, because it challenges what sculpture can be.
Exactly - and honestly, you can see through that series how sculptural I really am, because my "painting� as such is very material, and although it is two-dimensional, it is layered and thick, and there's the materiality of both felt and ceramics. Matter, and materials, have really attracted me since I was ten years old. Whenever I went to the museum I would stop in front of paintings that were by Tà pies and artists like him, you know? Incredibly rich in material.
Yes! He's such a good example of an artist whose paintings were almost more like sculptures than paintings. And in a related vein: ceramics are not normally associated with sculpture, and have historically been relegated to the realms of craft or design. How did your interest in ceramics begin, and what made you turn to this material to produce your sculptural works?Â
Everything started while I was growing up, seeing pre-Columbian art. For me it was unbelievable material, to see what they achieved. But then, the most interesting thing is, the indigenous peoples of the Americas didn't have a problem with the distinction between a vessel and a sculpture. For them, a vessel is a sculpture in itself. They made faces on vessels, or zoomorphic shapes, they made portraits of their people on the vessels - the Incas as well as the Mayas. So I have never been able to, and would never separate the sculpture from the pot. For me these two are kind of together. The challenge for me was to do something different. I can pay homage to them, but with my own sculptural language. I am obviously not indigenous, but I have enormous respect for their aesthetic traditions and feel like I have so much to learn from those visual languages. Much of what they were doing such a long time ago hasn't been accomplished in contemporary art. And when I decided to study art and went through a process of intellectualising everything, I realised I belong to those traditions - not to the white marble I was studying. So it reinforced my idea of the importance of ceramics, and how I should approach sculpture.
To that point - artists working with sculpture often turn to classical European traditions for inspiration. Instead, you really celebrate pre-Columbian art in your practice. I would love it if you could tell me more about some of the influences that have led you to develop your aesthetic.Â
Yes, pre-Columbian art is one of my greatest influences. But when you talk about pre-Columbian art in Latin America, it's a political issue. Indigenous people in the south of Chile have been protesting to reclaim their land, and to be recognised in the constitution. People outside of that sphere are not keen to address the indigenous roots of the country, and even to recognise the rich artistic heritage we have from the indigenous people of Chile. People feel uncomfortable. And that is one of the biggest mistakes. So I deliberately want to talk about pre-Columbian art, and the enormous impact it has had on my practice, because we need to recognise these traditions. Indigenous peoples are masters in art, and in many other things - in their approach to health, and how they use the planet: we need to learn from indigenous people.Â
And one thing that's amazing about pre-Columbian art, which I learned when I studied it, is that it is one of the purest forms of expression in the world. Because at the time, they had no knowledge of other civilisations. For example, the Mediterranean civilisations knew about other civilisations. And one of the best examples is Venice - with its crossover with the Byzantine empire, and Roman influences. But the art of the pre-Columbians was so unique because it came only from them. I was in awe when I learned that. But when I started studying ceramics I thought I had to leave Chile, because ceramics is not something you learn or do in Chile, for many of the same reasons. And anything connected to indigenous practices is still seen as lesser than in Chile and it's not celebrated, and not taught. So the consequence is we don't have a very good school of ceramics in Chile. I felt like I needed to leave Chile, but at the same time I didn't want to study much of European art because I didn't want to be influenced during that time. Then when I moved away from Chile, later on I started to bring in some European references. But the resonance of pre-Columbian art is on my mind all the time.  Â
Clay seems to be making a comeback in the world of contemporary sculpture, and contemporary art more widely - why do you think that's happening at this particular point in time? Why is there such renewed interest in clay?
I think it's because the art world is reviewing itself, reckoning with itself. You know, I think for a long time that material, and the artists working with it, felt somewhat relegated. And historically mediums have been relegated in art history - as have people. Look for example, at what has happened with the female gender. Suddenly the art establishment realised the importance of female artists and the unfairness of the history of art without women. I think the recognition of clay now, is part of a revision. And I hope that it truly is a review in earnest, and not just a market trend, which happens a lot in the art world and can be quite dangerous.Â
Fernando Casasempere, Vessel (ripple), 2019. Courtesy of the artist
You've previously talked about the pot - that most elemental piece made by ceramicists - as your version of a watercolour. I love that analogy - can you tell me more about that?Â
Well, like I always say, there's a feeling that we need to defend or justify ourselves all the time regarding the distinction between art and craft, and I feel like in the past that defense wasn't very convincing, people weren't very invested in defending the material and its dignity. If a painter touches on all aspects of their medium, the total body of work is going to be much more interesting. And for me it's exactly the same, and it's what I want to do with my practice. I experiment with temperatures, with scale, I've made tableware, everything. We don't think about it all the time now, but it was an enormous step for civilisation when humans made the dish, which separated the food from the earth: fewer illnesses, fewer infections. Why don't we celebrate and honour that? And that's why I say that the pot is my watercolour. Don't ask me if I'm a ceramicist or a sculptor: I work with clay and I want to explore every aspect of it. My sculptural blocks, which are large pieces, and weigh a ton - with these works I'm talking about bricks! About bricks and mortar, and other very important applications of the materials. Bricks are ceramics, and I'm not ashamed to make that connection explicit.Â
These binaries between ceramic versus sculpture, art versus craft - they're not particularly useful any longer, they're incredibly reductive.Â
I agree. The line for me is the quality. What I might be embarrassed by is a bad pot. Or a bad sculpture. And one thing hasn't been touching, or connecting with the other. We've been quite shy to explore the endless possibility of clay. And I think when people start to do that, the art ecology responds to it. Because it's about breaking boundaries, about going further. Like when Michelangelo said when he smashed the nose of one of his too-perfect sculptures, and said to it "talk!â€� That is our challenge and that is our duty. To make the material talk, and to talk in different ways.Â
Fernando Casasempere, Vessel (Folded Organic Form), 2019. Courtesy of the artist
Your series Vessels (Organic forms), which includes works like the one shortlisted for the Loewe Prize this year, is not necessarily anthropomorphic, but bears a direct correlation with the body. How do you make these works? What do you think sculpture can add to our understanding of space, and of our bodies in space?Â
For these works I make a big balloon, each one has a different shape, and then when the consistency is correct I use my own body and then I start to compress the clay, and then to carve it: I make a curve deeper, or exaggerate the part where a part of the balloon comes out into the space. That's when the conversation between the artist and the piece begins. And I'm still developing these pieces, because I really enjoy them and there's a lot there to be discovered. This perfection or mix between the utilitarian, and the resonance of vessels and sculpture, and the perfection when you use the body. There's something about the scale of the body that makes the proportion almost perfect. And that I like very much. And at the same time,  when you use your body, I try to achieve almost the relationship the body has with a handle. Or like in sculptures of saints, where people touch the sculpture in a specific place, and make a mark and the patina is gone. It's kind of the same, when you touch the handle of a vessel or a jar - there's direct contact, a direct relationship between your body and the piece.Â
Fernando Casasempere, Installation view of Out of Sync, 2012. Somerset House, London. Photo by Tom Mannion, courtesy of the artist
Your work oscillates between large-scale installations - like Out of Sync (2012) at Somerset House, or your monumental installation at the Bellas Artes Museum (2016) in Chile, as well as Murmurations (2022), a piece recently installed at Henrietta House in London - and small, intimate works. Often your largest sculpture is made up of tiny individual components, many small pieces that make up a whole. Â What do you enjoy about playing with scale?Â
of Drawing in the Air, part of Mi Andadura,
2016. Museo Nacional de Bellas Artes, Santiago de
Chile. Photo by Tom Mannion, courtesy of the artist
I both enjoy it and it's a process where I'm learning at the same time. Because when you work on these very intimate small pieces, like a cube of 10x10cm, I notice how painful the back of my neck is while I work! You really are in that piece, it's in your hand, so the approach is completely different. And then I remember when I was making the piece for Somerset House (Out of Sync, 2012), which was composed of 10,000 individual ceramic flowers, I had a kind of lightbulb moment - I was treating every piece like a unique work up until then. But then I thought, I have to think about the total, about the whole: so I started to perforate each flower in different directions to add a stem to it, so that as a group, there's movement. And these moments are enormously enriching for my practice. And it's funny, I always say, every material has its own size. For example, a watercolour that is 2m x 4m - you rarely see that, I'm not sure it exists. And I think it's because the material has a voice, each material has a scale. It's the same with ceramics - that is the logic of the brick. You can multiply the elements to create scale. The technicality of the kiln, the scale it allows for, all of that needs to be in consonance, or in conversation with the material.Â
Fernando Casasempere, Murmuration,
2021. Henrietta House, London.
Photo by Philip Durrant, courtesy
of the artist and CBRE
I like working on both large and small sculptures. These monumental pieces, these large scale works, normally come out of a commission, or an invitation. What I like about that is that they put you in a position you never expected. Like with Somerset House - I never, in my entire life, thought I would make flowers. And I did. Because flowers are a very charged subject - like painters trying to paint a ray of light. But for that specific place I thought that was the best thing to do, to use flowers to talk about what I wanted to address: an earth, and a climate that is out of sync. So it's really interesting when you're placed in a completely different scenario to that of your regular practice. And then also how people respond to it, because it's definitely more public, and that's also very interesting to see. But I also like the intimate works - when I do these enormous projects, which sometimes take a couple of years, I start to miss my other work in the studio! Everything enriches everything else, that's how I think about it.Â
When you're making the components of an enormous piece, like your work at Somerset House - what is that process like psychologically? It involves a lot of repetition, and I wonder whether you experience it as a kind of meditation?
It's definitely like a kind of meditation. I like that continued repetition, and in a way it's when I was exploring with that in the studio that I had such a lightbulb moment, and it changed my entire idea for that particular installation (Out of Sync, 2012). That's the kind of silence and meditation you go into when you're repeating these little pieces to make a larger whole. And I think because I was doing that, I realised, it's not about the flower - it's about the total meadow.
View of Fernando Casasempere's Studio. Courtesy of the artist
What are you working on now in the studio?Â
The past year has involved a lot of traveling, with lots of visibility for my work, including a large solo exhibition at the San Diego of Modern Art (Terra, 2022). I'm grateful for all the opportunities, but I'm also missing my routine, my time in the studio, to follow through with the thread of an idea. So I'm making new pieces now. I'm pursuing existing threads but in completely different ways. I recently tried to make a new colour with the clay. For me one of the most interesting things is the dialogue with the material, and the way that in ceramics, the colour and the texture help you to transmit an idea. I feel like an artisan, if I do the same thing again, and again and again. Of course you have to stop and develop an idea until you master it. But let's say, I feel more connected with Ai Wei Wei than with other artists - in the sense that he's always experimenting, but in completely different ways: from the bicycle sculptures, to the sculptures with furniture…I really like that, and I really like seeing work by artists like him. I feel a kind of kinship with him, but the difference of course is that I only use one material, and explore all its different facets: that is my challenge.Â
Casasempere has exhibited extensively and his work is in collections including the Victoria & Albert Museum, London; Museum of Fine Arts, Boston; Harvard Museum, Cambridge; Museum Boijmans Van Beuningen, Rotterdam; Contemporary Art Museum, Osaka; Musée des Arts Decoratifs, Paris; International Museum of Ceramics, Faenza. His internationally renowned installations include the critically acclaimed Out of Sync (Somerset House, London, 2012) and Back to the Earth (New Art Centre, Salisbury, 2005). Selected exhibitions include: Solo: San Diego Museum of Art (2022); Bloomberg SPACE (2022); Seoul Museum of Craft (2022); Casa America, Madrid (2020); Ivorypress Gallery, Madrid (2019); Parafin Gallery, London (2018); Tomio Koyama Gallery, Tokyo (2017); Museo Nacional de Bellas Artes, Santiago (2016). Group: Frieze Sculpture Park, London (2016), Sculpture in the City, London (2016), Sotheby's Beyond Limits, London (2008), New Art Centre, Salisbury (2008), Jerwood Foundation, Alcester (2007).
Author: Inês Geraldes Cardoso
Inês is a curator and writer based in London, and works closely with artist studios on curatorial projects, production and development strategies. Her research interests include ecology, land art, feminism, new materialism, language, fiction and text in art. Her practice draws on her background in Art History and Social Anthropology from the University of St Andrews. She is a graduate of the MA in Curating Contemporary Art from the RCA, and has collaborated with institutions including Folkestone Triennial, UP Projects (London), Create London, Bluecoat (Liverpool), Kunstverein Munich, Toronto Biennial, Kai Art Center (Tallinn), Art Night (London), The London Contemporary Music Festival (London), Open Space (London), MeetFactory (Prague), SitxtyEight Art Institute (Copenhagen), Fondazione Sandretto Re Rebaudengo (Turin), the Curatorial Program for Research (Baltic Sea), and Kunsthalle Lissabon (Lisbon).
Art on Roofs–and Beyond
Go to Art on Roofs–and Beyond
A traveler's search and what he found
Go to A traveler's search and what he found
Art as political provocation?
Go to Art as political provocation?

redpajama_set_name: RedPajamaCommonCrawl


Welcome to the Maps Resource for the American Redoubt!
We are in the midst of building this massive database so you have a one stop shop for edited and produced maps to help you find your way.
If you have an idea or request for a map please email us by using the Contact form, and we will get it done!
Off of this parent page there will be numerous maps over time so come back each week and see what we have accomplished!


The 2nd live event of the F1 New Balance Esports Pro Series took place at Paul Ricard, Silverstone and Spa-Francorchamps.
A lot of energy was felt through the wet French qualifiers, with Marcel Kiefer qualifying in P4, finishing the race in fifth position.
Mads Sørensen was ahead for a brief moment due to an alternative strategy, but unfortunately suffered a track-limit penalty, finishing the race in P12.
The second qualifying session represented a big opportunity for Hype Energy eForce India.
With the weather clearing up, Fabrizio Donoso Delgado returned to the car to qualify in P2 with Marcel Kiefer right behind in P4.
With Donoso in the lead after overtaking championship leader Brendon Leigh on the Hangar Straight, he suffered a 5 second penalty due to speeding in the pits, which resulted in a total penalty of 15 seconds. With no hope to recover, Donoso finished his second race in P14.
Kiefer went ahead and battled it out with Salih Saltunc, before being involved in a collision. He was still able to claim P3, securing his second podium of the season.
Another podium to celebrate and a third place in the championship to fight for in the final round.
The 3rd and final race started strong with Donoso in P3.
Unfortunately another time penalty of three-seconds due to exceeding track limits meant that he had to settle for P7. Kiefer faced damage to his car in the opening stages, which lead to him finishing outside the points.
Through an eventful 2nd event, Hype Energy eForce India is now one point away from 3rd position in the 2018 Championship.
Make sure to tune in to the final live show which will feature four races, including a double points season finale in Abu Dhabi on November 16th and 17th.


As a counterbalance to "Maryland Dad Wants June 30 to Be 'National Student Data Deletion Day'" (June 30, 2017), it might be good for Education Week to review and expose all the data that schoolchildren give away online to Facebook, Snapchat, and Instagram, as well as how much of that information can becollected and sold by unknown companies. It should be noted that some data-collection items as listed in the article, including browsing history, schoolwork, student-created emails, and other data are stored in multiple places—on vendor sites, in cookies on the individual computer, within the internet-filter systems that are designed to keep the students safe, and by the recipient of electronic communications. As a result, such information is nearly impossible to find and delete. Schools do not "collect" the above information; it is part of the information age.
When parents worry about what their children are giving away online, they will see that schools are not the threat. Google, Facebook, and other social-media platforms are what parents should be aware of. They will also see how hard it is to scrub their child's digital footprints from the internet. I doubt they would want to pay the schools to do the scrubbing they are hoping for.


Other posts on the Russian pages used stilted language or phrases rarely found in American English. Yet their use of borrowed ideas and arguments from Americans, which were already resonating among conservatives and liberals, demonstrated a deft understanding of the political terrain. The Russians also paid Facebook to promote their posts in the feeds of American Facebook users, helping them test what content would circulate most widely, and among which audiences….


← La Pasta du Fermier !!! Healthy … Very Healthy and Tasty !!!
For the Lovers of German Wine Sauerkraut !!! La Choucroute !!! Bon Appétit !!!
Posted by institutanca on January 7, 2013 in Bio Org Natural Cosmetics " Provence & Maroc "


Places to go in Birmingham for food, drinking & shopping — Sian Victoria.
My favourite places to go in Birmingham for food, drinking & shopping!
As much as I love travelling and exploring new cities, I am always happy to come home to my own city of Birmingham. Where I have many great memories eating and drinking my way around this fantastic cosmopolitan city that just seems to be getting better and better, thanks to all the new developments and unique independent eateries and bars popping up.
If vintage clothing, quirky home ware, vegan food, live music and independent businesses are your thing, then the Custard Factory is where you should be. It's located in Digbeth, the creative, digital and media quarter of Birmingham. To see more photos I've taken snaps, visit my Digbeth post.
The old, dark and miserable New Street train station has been transformed into a bustling Grand Central, home to a fantastic range of food outlets, bars and an incredible flagship John Lewis store.
Resorts World Birmingham is a multi complex destination shaped like a cruise ship. It's located near the NEC, Birmingham Airport and Birmingham International train station. Inside the newly built Resorts World, you can find outlet shopping, a fantastic spa, Cineworld, a four & five-star hotel, a conference centre and an incredible range of restaurants serving food from all other the world. Such as Italian fine dining, south American and beers imported from all over the world. See Resorts World Birmingham for all my guest posts of the resort.
The Mailbox is Birmingham's most stylish destination for designer shopping and has a fantastic Harvey Nichols. There's also a vibrant nightlife, with plenty of restaurants and cocktail bars next to the canal, Aluna Bar is my favourite! If you want a 360 degree view of Birmingham than visit the Marco Pierre White restaurant in The Cube, where you can also find a hotel and spa. See my restaurant review of Marco Pierre White, Osteria Rodizio Rico and Cafe Rouge that are located at the Mailbox.
Exploring the Jewellery Quarter is a great way to learn and see the city's history, by checking out all the historic buildings on a guided tour. There's also independent shopping and eateries. See my restaurant review of Ana Rocha Bar & Gallery and 1000 Trades.
The Bullring shopping centre is home to the iconic bull, who's always happy to pose for selfies with the tourists and dress up for seasonal events. The Bullring is also home to the most distinctive Birmingham landmark, that is Selfridges. Whether you have the cash to splash on designer labels or not, it's worth having a wander around to check out the eye-catching displays, especially around Christmas time.
Victoria Square is usually where seasonal events are held, such as the popular Frankfurt Christmas market. Nearby is also where you can find the Birmingham Museum & Art Gallery, which is well worth a visit. My two favourite places to eat at near Victoria Square are Chung Ying and the Edwardian Tearooms in the Birmingham Museum & Art Gallery.


The newest video message from the general overseer's office is Just a Minute. You can take the title to the bank, because that's the amount of time that you'll be spending in these quick devotional videos that are scheduled to be released once a week.
The latest edition of Just A Minute is located at the link below. To view past weeks, click on the archives.
If you are on social media, you can also find Just a Minute on the Church of God's social media channels Facebook and Twitter (@COGHQ). Share it and tweet it!


Dozens of people were killed when an ISIS car bomb tore through a busy market in the Sadr City neighborhood on Wednesday morning. Hours later, the city was hit by two more blasts.
Three bombs hit Baghdad on Wednesday, killing dozens of people in the bloodiest day the Iraqi capital has seen this year.
On Wednesday morning, ISIS claimed responsibility for a huge car bomb that tore through a busy Baghdad commercial area in the Sadr City suburb on Wednesday morning, killing at least 63 people.
"It was such a thunderous explosion that jolted the ground. The force of the explosion threw me for meters (yards) away and I lost conscious for a few minutes".
Some reports suggested many were critically injured, and that the death toll was expected to rise further. Many of those killed include women and children, the BBC reported.
Sadr City is a largely Shiite neighborhood in the north of Baghdad. ISIS is a Sunni militant group that sees Shiites as apostates.
An AP reporter in Baghdad described a scene of shocked residents walking through the mangled wreckage to help the victims amid blood-stained streets and smoke billowing from ground floor buildings.
This video posted on Facebook shows the damage in the aftermath of the attack.
AP has also released footage of the aftermath.
On Wednesday afternoon, two more explosions hit the city in quick succession.
The second blast hit the district of Kadhimiya. Anonymous police and medical sources reportedly told AP that 18 people had died when a police station was targeted, with 5 of those killed policemen. However, Reuters reported that the death toll was 15. Some 34 people were injured, AP reported.
A short while later, a third explosion hit a commercial thoroughfare in western Baghdad. Police sources told AP and Reuters that 7 people had died.
There were no immediate claims of responsibility for the afternoon's attacks.
The previous deadliest attack in Baghdad this year was when twin blasts hit a market in Sadr City in February, following the death of an influential cleric. Some 70 people died.
While ISIS has suffered a number of territorial defeats in Iraq recently, Wednesday's bombing shows it is still capable of launching bombing attacks in the country, particularly in crowded urban centers.


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Downtown Burbank Arts Festival to showcase artists, animators and now crafters
Vistors of the Burbank Town Center at last year's festival were able to see artwork completed by Burbank students.
(Ross A. Benson)
By Anthony Clark Carpio
The annual Downtown Burbank Arts Festival has been a great way for the public to interact with local artists and animators, and, next week, organizers hope the event introduces attendees to crafts.
From 11 a.m. to 7 p.m. next Saturday and Sunday, San Fernando Boulevard between the Burbank Town Center and Holiday Inn will be the place for those who want to get their fill of all things related to arts and crafts.
As usual, the public can attend the free event to meet with animators and artists associated with the Creative Talent Network to see them illustrate pieces in person.
New to this year's event will be the addition of the Jackalope Indie Artisan Fair, which will feature about 100 vendors who are experts in hand-made crafts, said Mary Hamzoian, the city's economic development director.
"[Jackalope and the Creative Talent Network] are two different groups, and they bring different perspectives to the arts festival," Hamzoian said.
Additionally, the event will include several musicians playing acoustic instruments who will be roaming throughout the crowd and performing.
Hamzoian said the city's recent partnership with A&R Worldwide, which hosted its annual MUSEXPO music convention earlier this year, inspired her to also showcase local musical talent during the arts festival.
The Downtown Burbank Arts Festival is arguably the downtown area's anchor event. Though the annual car show and winter wine walks are popular, Hamzoian said the arts festival continues to attract thousands of people on a regular basis.
"Because it's a two-day event, it brings in a lot of people, and we're trying to make it more diverse so that more people come to support the local businesses," she said. "It's a great outdoor spring event, and it isn't compacted in a few hours."
For more information about the Downtown Burbank Arts Festival, visit dtnbur.com.
Anthony Clark Carpio
Anthony Clark Carpio is a reporter with the Burbank Leader. He joined the Times Community News staff on New Year's Eve 2012 and covers everything from the City Council to community events. He has a journalism degree from Cal State Northridge. Before reporting in Burbank, he was a reporter with the Huntington Beach Independent and a freelance reporter for the Pasadena Sun, the La Cañada Valley Sun and the Santa Clarita Signal.
Public gives input on express bus line that would connect the valleys
Metro has been seeking input on its 18-mile bus rapid transit project from North Hollywood to Pasadena.
Valley residents pressure airport authority to end Hollywood Burbank noise
Residents from the south San Fernando Valley and a former airport director are pressuring Hollywood Burbank Airport officials to address their noise concerns.
Burbank High School seniors will need to pay again to keep graduations on campus
Burbank Unified staff, led by Supt. Matt Hill, will give this spring's graduates the option for a second straight year to fundraise just under $40,000 to keep graduations on-campus or not solicit any money and hold commencement ceremonies at the foot of rival Burroughs High School.
Blood drive draws community support and memories of a fallen student
Some disregarded sleep; others heeded the call to service to honor the life Burbank High School student Evie Swierczynski, who passed away in October 2018.
Question & Answer: Providence High School's new head of school happy to be home
After a 23-year hiatus, Los Angeles County native Scott McLarty returned home by accepting Providence High School's vacant position as head of school this March.
Chabad of Burbank invites public to new Torah dedication ceremony
After using two secondhand Torah scrolls for the past several years, the Chabad of Burbank will have a new set of scriptures to call its own.
Burbank study aims to create safer streets for pedestrians, bicyclists
As modes of transportation continue to evolve, Burbank officials have been studying ways bicyclist and pedestrian safety can be improved throughout the city.
Burbank, Los Angeles County officials discuss housing and homelessness issues
Burbank's housing goals and the issue of homelessness were key topics covered this week when the Burbank City Council met with Los Angeles County Supervisor Kathryn Barger.
Burbank YMCA summer camp aims to instruct students, win over benefactors
Two battles were playing out at the sixth annual Burbank Community YMCA Learn, Grow, Thrive summer camp at Emerson Elementary School.


Our friends at Ghostly Intl just started pre-orders on the "Zoots", a reimagining of the African Kalimba, a staple in Tropical House. Equipped with pitch-shift and looping capabilities, we're looking forward to what producers will do with this. Click here for more info on the Zoots.
Congrats are in order for Scratch NYC's own DJ Fingersmith, who came in 2nd in the DMC Regionals! You can follow DJ Fingersmith on Instagram here.
DJ Craze and Jon1st touched down in London and delivered in this set @ Boiler Room HQ. Check out their entire set in the video below.


in my e learning offline exit button working fine but once i uploaded to server that exit button not working. E learning completely created in action script and jss. can any one find the solution for this?


Tex and I both frequent the same acupuncturist, a wonderful woman called Huang Yu (her real name!). She puts needles in us and gives us Chinese herbs in a valiant attempt to cure what ails us, or at least to make us a little healthier. She learned her medical arts in China but has been in the US long enough to know that Americans are a special breed, sometimes needing to be treated with kid gloves and a good sense of humor.
Tex has always been plagued with restless legs at night, and as she ages, it's been getting worse. Huang Yu is determined to help her with this extremely unpleasant and disruptive syndrome, and has been needling her and giving her Chinese herbs like there's no tomorrow. After a visit with her mentor, a Taoist master who lives in New York City, Huang Yu recently let Tex know his advice for an extra added ingredient to her herb mixture: silk worm poop.
"Don't tell your wife!" she giggled.
It doesn't. Hey, lots of people eat insects, and if a little worm poop can cure my sleepless hubby, then so be it!
"Doesn't taste like anything," Huang Yu assured us.
Goose poop, on the other hand, must taste ambrosial, given the way Thatcher our dog gobbles it up at every opportunity. The problem for everyone is that when he needs to poop, there can be a situation, as goose poop just doesn't do anything good for his digestion. Witness the events this morning: I was, of course, in a rush, after having gotten everybody out the door, fed, equipped with lunch and homework, some of them even kissed (not Seth "I don't need you for anything, mom" god, no), and I was just going to merrily run Thatcher around the block so he could pee and poop, then hie me to my therapist appointment (oh, my sainted therapist, I do love her so!).
I will spare you the details, but they included cancelling therapy and lots of bleach.
Although this little incident completely disrupted my morning plans, and although I hate to miss seeing my wise and loving therapist, I actually found myself in a rather jolly mood about it all. The dog really needed me. Then I really needed to clean up. Then I really needed to have a bowl of soup to sustain me. I was really being there now! Here. Whatever. And it felt pretty good.
I'm back on the go, now, and getting ready to head out again for more errands, more meetings. But I've had a bit of a rest, oddly, as the past hour has actually been quite rigorous physically. A rest in my head and spirit.


text:
In the year that the legendary African-American filmmaker Spike Lee turns 60, it's hard to not appreciate the cultural relevance of his work – whether it tackles the politics of race or explores the beauty of artforms like jazz in Mo' Better Blues. Most people agree MBB isn't Spike's best film, especially as it followed the ground-breaking Do The Right Thing. But it's still worth a watch – and Sunday's 3pm screening at the Rio Cinema in Dalston will feature an exclusive performance from a saxophonist who will play alongside the film's score.
It's all part of the Spike is 60 film festival which kicks off with Mo Better Blues (a day before Spike's actual birthday on the 20th) then runs across the year before wrapping up with a screening of Chiraq in November. Find out more about Sunday's event and the festival here.
Mo' Better Blues
Rio Cinema
Somewhere you should go… Chuku's Nigerian tapas pop-up lounge
Three brilliant hotels you should visit for your next London staycation
Love films? Love Orange and the BAFTA Awards 2012
Somewhere You Should Go… Fashion Film Festival
Something you should see.. Wild Style
Something you should see… Stop Making Sense
Something you should see… Weekend (London Film Festival)


Whether you're looking for an alternative to mashed potatoes or looking for the Italian version of a Southern favorite (grits) polenta recipes cover all kinds of culinary bases. We like them as much with roasted chicken as a main as we do topped with salsa or some other deliciousness as appetizers. We like polenta fried, we like it creamy and cheesy—we just like it, that's all. So get out the yellow cornmeal and prepare to make something awesome!


text:
The Research Foundation of State University of New York Selects Huron
Consulting Group's ecrt(R) Solution for Effort
Huron Education Software Solution Helps Universities and Research Institutions Manage Effort Reporting
CHICAGO, Oct 12, 2011 (BUSINESS WIRE) --
Huron Consulting Group (NASDAQ: HURN), a leading provider of business consulting services, today announced that The Research Foundation of State University of New York (RF) has selected its ecrt(R) solution for effort reporting.
Huron's ecrt solution facilitates a compliant approach to effort reporting by integrating with an institution's various financial, payroll and research administration systems. The RF processes more than 16,000 certifications per year for State University of New York (SUNY) campuses. The ecrt solution provides the RF with an official record of grant related effort and addresses reporting needs with an at-a-glance dashboard of certification completeness. The automated functionality of the ecrt solution enables quick management follow-up, minimizes mathematical errors in quantifying effort, improves data accuracy, provides audit capabilities, and facilitates greater compliance.
"We need a system that responds well to the working life of faculty and administrators on campus. Huron's ecrt solution has the flexibility to accommodate the unique effort reporting process required by many SUNY research institutions," said Garry Sanders, vice president of sponsored programs administration at the RF. "The program will help streamline processes, making it easier for staff supporting complex university operations."
The web-based ecrt solution will allow the RF to:
Enable a certifier to quickly and easily complete the certification task.
Foster a simplified and standardized institutional approach to effort reporting.
Provide for increased institutional compliance.
"The functionality of the ecrt solution minimizes an institution's effort reporting compliance risk and is very straight-forward for faculty members to use in completing their certifications," said Gregory Bedell, managing director, Huron Education. "We look forward to supporting and standardizing effort reporting at such an important university system."
About The Research Foundation of State University of New York
The Research Foundation of State University of New York (RF) exists to support SUNY. Serving SUNY for over 60 years, the RF is the largest, most comprehensive university-connected research foundation in the country, supporting over $1 billion in SUNY research activity annually and facilitating university-industry-government partnerships to accelerate the growth of sponsored program and applied research opportunities. Areas of supported research encompass a vast range of disciplines including life sciences and medicine; engineering and nanotechnology; physical sciences and energy; social sciences; and computer and information sciences.
Founded in 1951 as a private non-profit educational corporation, the RF works with academic and business leadership to support essential research and discovery that translate into invention, innovation, entrepreneurship, economic opportunity and public benefit across New York and throughout the world. For more information visit the RF website, read the RF Fact of the Day and connect with the RF on Facebook.
About Huron Education
Huron Education is the premier provider serving the unique needs of the higher education industry. Our team of professionals, each with extensive knowledge and experience in the business of higher education and academic medical centers, delivers comprehensive services to the industry and partners with institutions to improve business performance across the enterprise. Our professionals draw from their experience working in the strategic, financial, operational, and regulatory aspects of higher education to develop and implement the most effective consulting and software solutions. Huron Education has helped more than 90 of the nation's top 100 research institutions improve their performance so they can continue their traditions of extraordinary achievement.
About Huron Consulting Group
Huron Consulting Group helps clients in diverse industries improve performance, comply with complex regulations, reduce costs, recover from distress, leverage technology, and stimulate growth. The Company teams with its clients to deliver sustainable and measurable results. Huron provides services to a wide variety of both financially sound and distressed organizations, including healthcare organizations, Fortune 500 companies, leading academic institutions, medium-sized businesses, and the law firms that represent these various organizations. Learn more at www.huronconsultinggroup.com.
SOURCE: Huron Consulting Group
Huron Consulting Group
Jennifer Frost Hennagir
jfrost-hennagir@huronconsultinggroup.com


text:
Q: How can I use an align environment flush right? Is there an option analogous within the align environment to the left align for right align, i.e. fralign.
MWE:
 \documentclass{article}
 \usepackage[fleqn]{amsmath} % Instead have [freqn].
 %\usepackage[fleqn]{mathtools} Something that will also work for mathtools as well.

\begin{document}

\begin{align*} % Would be fralign* instead.
    \sin 2x &= 2sin x\cos x \\
    \cos 2x &= \cos^2 x-\sin^2 x &
\end{align*}

\end{document}

A: Without specifying a package option to amsmath, you can use the flalign[*] environment and add some (unused) alignment characters & to typeset the equation flush right:

\documentclass{article}
\usepackage{amsmath}% http://ctan.org/pkg/amsmath
\usepackage{lipsum}% http://ctan.org/pkg/lipsum
\begin{document}
\lipsum[1] \setlength{\abovedisplayskip}{0pt} \setlength{\abovedisplayshortskip}{0pt}
\begin{flalign*}
  &&\sin 2x &= 2\sin x\cos x \\
  &&\cos 2x &= \cos^2 x-\sin^2 x
\end{flalign*}
\lipsum[2]
\end{document}

The adjustment to the lengths \abovedisplayskip and \abovedisplayshortskip (both set to 0pt) was merely to reduce the gap above the flushed equation. This may not be necessary in the document in general.

redpajama_set_name: RedPajamaStackExchange


text:
opportunitiesforafrica
Horn Diplomat
Home Africa SJS and UNSOM conclude three-day journalists training on Freedom of Expression: Rights...
SJS and UNSOM conclude three-day journalists training on Freedom of Expression: Rights and Responsibilities in Mogadishu
MOGADISHU, Somalia, 03 January, 2021 – Somali Journalists Syndicate (SJS) in partnership with the United Nations Assistance Mission in Somalia (UNSOM) concluded a three-day training for more than 30 Somali journalists on Freedom of Expression: Rights and Responsibilities in Mogadishu between 30 December, 2020 – 1 January 2021.
The journalists training covered key topics including: rights and responsibilities of journalist; differentiation between political campaign adverts; ethical reporting inline with the right to Freedom of Expression before, during and after Elections as well as rights and safety of women reporters. SJS distributed a translated Journalists Code of Ethics, which was first drafted in 2019.
On the last day of the training, eight panelists from the media houses, community advocates and civil society members joined trainees to discuss on Freedom of Expression, its importance and challenges for journalists and Access to Information for the people's right to know followed by a question and answer session for the participants.
Nasteho Mohamed Omar, a female freelance reporter with Radio Afgoye and Tusmo TV spoke about the specific challenges her female colleagues faced to carry out their duties.
"Female journalists face special challenges that have led to a decrease in the number of reporters going to field assignment. I am delighted to learn very appropriate topics such as the safety of women reporters during the elections, the responsibility of journalists and the ethical way of reporting. I have traveled from Afgoye district, Lower Shabelle region to attend this training," she said "I am now ready to undertake reporting assignment and thanks to SJS and UNSOM for the arrangement of this training."
Speaking at the panel discussion Diini Mohamed Diini, the former chairperson of the independent Somali Civil Society Coalition and former senior journalist referred the power of the journalists as the Fourth Estate in order to protect the public interest with bravery and professionalism.
"If we fail to have an honest media that is capable to carry out its duties without fear or favor, that is when our public interest disappears. I strongly call for end of yellow journalism. It is a disgrace to the profession and is a threat to the principles of truthfulness and objectivity required for the journalists," he added.
Media directors from Goobjoog Media, SBC TV, Tusmo TV and Eryal TV praised SJS efforts to protect Press Freedom, Freedom of Expression and the rights of journalists. Media directors clearly underlined that Somali people cannot effectively diminish their risk of becoming infected when they are denied accurate information, or when the government's actions undermines trust in the public domain.
Goobjoog Deputy Director Abdiaziz Ahmed Gurbiye narrated his ordeal when he was arrested for writing an article on Covid-19 pandemic in April 2020, noting Freedom of Expression as a constitutional right enshrined in the Somali Constitution.
"I was targeted and charged for only doing what I am supposed to do as a journalist. SJS was one of the organizations that stood with me. It is very concerning that fellow journalists are being subjected to constant threats and intimidation. We need to be united and strong," Mr. Gurbiye said.
Mohamed Osman Makaran, the chairman of Somali Media Association (SOMA) proposed SJS journalists' union, and media managers need to partner in a united voice to safeguard Freedom of Expression for the public interest and to make sure that our media houses continue to advocate towards accountable and transparent governance in Somalia.
"The reality is that we still need to have a unified voice. Recent joint efforts by SJS and SOMA have begun to create a collective and a united movement to defend freedom of expression and the rights of the journalists in Somalia, but we need to strengthen it," said Mr. Makaran who has travelled from central town of Beledweyne said.
In his concluding remarks, Abdalle Ahmed Mumin, the Secretary General of Somali Journalists Syndicate (SJS) said Freedom of expression is a fundamental human right and called for journalists not to hesitate to defend it when that right is violated. He thanked ambassador James Swan, the Special Representative for Somalia and Head of the United Nations Assistance Mission in Somalia (UNSOM) for his commitment to support Somali journalists.
"Freedom of the press is essential to enable democratic, free and participative societies. Strengthening the capacity of our journalists at this critical time ahead of the election is vital for both journalists the entire Somali community. Due to the experiences in the transitions, the media and journalists safety is entirely at risk, if the journalists are not properly trained," said Mr. Mumin.
"I thank the United Nations Assistance Mission in Somalia (UNSOM) and the UN Secretary General's Special Representative, ambassador James Swan for his continued support to the Somali journalists in this critical time. I want to praise the role of the brave female and male journalists who have paid the price to serve for the truth at all times," SJS Secretary Mumin concluded.
"Let me conclude by saying that safety of Somali journalists, and their ability to pursue investigations and disseminate information for public interest during and after elections without censorship or threats, is a key element of democracy and good governance. Therefore journalists should be seen as protectors of the public interest," Mr. Mumin added. (END)
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Ethiopia And Turkey Hold Joint Economic Commission
Beforehand planning: The new coronavirus strain


We don't have yet a set of reusable controls to build smartphone apps but we've been asked to make the code available that we used to build the simple OpenNTF smartphone app. You can download this code now from here.
The project contains a very simple sample app for webkit based smartphone devices. The main thing that is demonstrated is the ability to switch between pages without doing a browser refresh. Instead Ajax is used to load the documents. The sample also shows various other smaller things like a stylesheets that looks similar to native apps and how to hide the address bar.


text:
The Beguines - A Brief Overview
In the history of the Roman Catholic Church there has only been one religious movement that was started by women and remained predominantly female throughout its history. These were the beguines (French) or begijnen (Dutch/Flemish). The exact origins of the movement are unknown, but it was definitely centered around the Low Countries and probably started in the late 12th century, though they spread to what are now France and Germany as well.
I wonder who she's talking to.
[A drawing of a beguine from Des dodes dantz, 1498, printed in Lübeck]
[Source: Wikimedia Commons]
These were women who dedicated themselves to a religious life while still living within the world. In other words, while they were not nuns, they were not lay people either. They devoted their lives to God, making promises similar to the vows of nuns: poverty, chastity, and obedience. Promises, not vows. Nor did they seclude themselves from the world as nuns did. Beguines lived and worked in cities. Where there were enough of them, they built their own chapels and homes around secluded courtyards. Where they were fewer, they lived with everybody else.
Some beguinages/begijnhoven are still inhabited, though not by beguines. I'm not sure about this one.
["Kortrijk Begijnhof," photographed by Lamadude]
They have often been compared to the begging orders of Saints Francis and Dominic since they lived and worked for and with the poor in cities, but there is a key difference: for the most part the beguines supported themselves. They were employed in every occupation open to women in the Low Countries of the 12th, 13th and 14th centuries. They owned property individually as members of no other religious order did. It is easier to compare them to Franciscan and Dominican tertiaries* and in some cases it is very difficult to tell whether to place a woman in the category of beguine or mendicant tertiary.
This confusion over categorization is the overarching theme I see here. In their lives they crossed the boundaries of religious and lay, of social class, and, through their reputation for extreme holiness, heaven and humanity. Because of this they were venerated. For a time.
*Lay persons who did/do not take religious vows, but participate(d) in the works of the Order and lived according to some of the Order's rules.
Cities of Ladies by Walter Simons
Beguines and Beghards - Wikipedia
Beguines - Catholic Encyclopedia
Beguines - Kenyon.edu
Note: These websites present as fact some information that is currently being or has recently been disputed by historians. It's interesting stuff, but take it with a grain of salt.


text:
Антон Цеков Балтаков е български офицер, генерал-майор.

Биография
Антон Балтаков е роден на 16 януари 1896 г. в с. Тръстеник. Участва в Първата световна война (1915 – 1918), като на 5 октомври 1916 г. е произведен в чин подпоручик. Служи в 1-ви артилерийски по. На 30 май 1918 г. е произведен в чин поручик, от 30 януари 1923 г. е ротмистър. Служи в 8-а жандармерийска конна група. Бил е военен аташе в Гърция. През 1928 г. като ротмистър за кратко е начело на разузнаването. От 1930 г. служи във Военното училище, след което от 1932 г. е началник на секция в Щаба на армията. От 1933 г. е в щаба на 3-та пехотна балканска дивизия, като същата година е произведен в чин майор. През 1934 г. е назначен за началник-щаб на 3-та пехотна балканска дивизия, а от 1935 г. е на служба в 4-ти армейски артилерийски полк, като по-късно същата година е назначен за помощник-командир на 3-ти армейски артилерийски полк. На 6 май 1936 г. е произведен в чин подполковник и същата година е назначен за военен аташе в Атина. През 1938 г. е назначен за началник-щаб на 2-ра армейска област, на 6 май 1940 г. е произведен в чин полковник и същата година е назначен за началник на отделение в Щаба на войската.

През 1941 г. полковник Балтаков е назначен за началник-щаб на 1-ва армия, след което от 1942 г. е назначен за командир на 21-ва пехотна дивизия. В периода 30 март 1943 – 13 септември 1944 г. е командир на 22-ра пехотна дивизия, като на 6 май 1944 г. е произведен в чин генерал-майор. Пленен е от германците на 4 септември 1944 година в Ниш и изпратен във военнопленнически лагер Офлаг-8 след като България преминава на страната на Съюзниците. Уволнен е от служба през 1944 г. Осъден е на смърт от четвърти върховен състав на Народния съд. Според Поля Мешкова и Диню Шарланов смъртната му присъда не е изпълнена. През 2012 г. е издадена книга за него, озаглавена "Генерал в изгнание". Генерал Балтаков умира на 8 април 1984 г. на 88-годишна възраст в Орегон, САЩ. Погребан е в гробището Willow Cemetery в Lucas County.

Семейство
Генерал Антон Балтаков е женен и има 2 деца.

Военни звания
 Подпоручик (5 октомври 1916)
 Поручик (30 май 1918)
 Ротмистър (30 януари 1923)
 Майор (1933)
 Подполковник (6 май 1936)
 Полковник (6 май 1940)
 Генерал-майор (6 май 1944)

Източници

Източници

Генерал-майори от Царство България
Български дипломати
Тридесет и седми випуск на Националния военен университет "Васил Левски"
Български военни дейци от Първата световна война
Български военни дейци от Втората световна война
Осъдени от Народния съд
Български военни аташета
Носители на орден "За храброст" IV степен
Военнопленници през Втората световна война
Родени в Тръстеник

redpajama_set_name: RedPajamaWikipedia


text:
Universal will ditch Virgin to clinch EMI: British jobs threat if label is sold to avoid European competition fears
By Jon Rees
Published: 16:13 EST, 14 July 2012 | Updated: 16:13 EST, 14 July 2012
Spotlight: Virgin is home to several music stars, including Joss Stone
France's Universal Music is prepared to sell Virgin Records, one of the outstanding names in the history of British pop, in order to get the go-ahead from regulators for a £1.2billion deal to acquire EMI, which owns the label.
Universal, the world's biggest recorded music firm, is drawing up proposals this weekend to cut the market share it would have after buying EMI, especially in Britain and France, to meet European Commission concerns on market dominance.
It will present its proposals to Brussels this week and it is understood that it will offer to sell Virgin Records – potentially putting British jobs at risk – as the price for getting the deal passed.
Virgin's first release was Mike Oldfield's huge hit Tubular Bells in 1973.
The firm was sold by founder Sir Richard Branson to Thorn EMI in 1992 for £560million, which he used to fund his Virgin Atlantic airline.
Virgin had signed the Sex Pistols after they were sacked by EMI. The punk band then released the single God Save The Queen during the Queen's Silver Jubilee in 1977.
EMI now operates subsidiary divisions known as Virgin Music in countries such as France and Germany as well as Britain. Virgin's artists today include Professor Green, Bryan Ferry and Joss Stone.
Better late than never - the signs of an Olympic bounce as sports equipment sales pick up
Bolland: Wait and see, Belinda will help us win the womenswear war - M&S chief pins hope on new style director as he defends strategy to reverse sales slump
Universal is understood to have a list of up to 20 potential buyers, including music companies, private equity firms and even pension funds, for divested assets. It is also looking at offloading recorded music catalogues and ending music licensing deals.
The company, which declined to comment, is understood to be hopeful that any divestments would be made at the same profit multiple it intends to pay for EMI. But sources suggest Universal might have to make asset sales of 20 per cent or more to get the deal through. The EC has sent Universal a 200-page statement of objections.
The company, which is understood to have told the EC initially that it did not believe it should sell any part of the combined business, is in a difficult position because of the structure of its proposed deal.
It has agreed to pay EMI's owner, US investment bank Citigroup, £1.2billion regardless of whether the deal goes ahead.
So though Citigroup would try to sell EMI to another buyer should the deal fall through, Universal is committed to making up the difference in the price if Citigroup sells it for less than £1.2billion.
All-New Dacia Sandero supermini will hit UK market later this year


As good as Tom Brady is at playing NFL quarterback, Rob Gronkowski was just as good at playing NFL tight end — weird to type "was" for the first time. Sure, when the ol' legacy talk kicks up, there's an expected volume of yeah-buts that follow debates about either of these guys. But in both cases, the right answer is an objective-subjective one — easily evidenced, pretty straightforward, and ultimately overwhelmingly obvious. The games were all recorded.
Gronk was bound to call it quits eventually, as every player at some point must do. He did so — somewhat unexpectedly — Sunday night in an Instagram post. Players play. And then players retire. But only in the rarest occasions do they leave a body of work that you can't reasonably ask any more of.


text:
Плане́та — однозальный кинотеатр («моноэкран») в московском районе Очаково-Матвеевское, расположенный возле сквера имени Анны Герман и круглого дома в Матвеевском. С 1992 года не использовался по прямому назначению, с 1997 года после небольшого пожара полностью заброшен. В июне 2019 года в рамках программы реконструкции советских кинотеатров снесён, ведётся строительство нового здания.

История
В СССР повсеместно практиковалось строительство небольших кинотеатров микрорайонного значения по типовым проектам, а их посещаемость была высокой. Кинотеатр «Планета» открылся в 1969 году для нужд нового микрорайона «Матвеевское». Он пользовался большой популярностью. В 1980-е в фойе были установлены аркадные автоматы.

После распада СССР «Планета», как и многие аналогичные кинотеатры, утратила популярность и уже в 1992 году показ фильмов в ней прекратился. Кинозал арендовала организация «Свидетели Иеговы», на месте касс открыли продуктовый магазин, а в фойе появилась меховая ярмарка и мебельный салон. При этом кинотеатр административно был подчинён муниципальному кинозрелищному предприятию «Кинотеатр "Звёздный"». В 1997 году в кинозале произошло возгорание, горели печатные материалы иеговистов. После этого эксплуатация здания кинотеатра полностью прекратилась.

Планы по реконструкции

В 1997 году московские власти активно готовились к проведению Всемирных юношеских игр и инициировали строительство ряда спортивных сооружений. В частности, планировалось реконструировать «Планету» и преобразовать её в спортивный центр, а помимо того, построить в Матвеевском самый большой в Европе аквапарк. Последний в итоге оказался недостроен и впоследствии снесён, а к «Планете» даже не подступились — вместо реконструкции произошло масштабное расхищение выделенных средств.

Идея реконструкции «Планеты» путём сноса старого здания и строительства нового возникла в 2003 году, когда Правительство Москвы издало соответствующее постановление. Согласно ему было принято предложение префектуры Западного административного округа о проектировании и строительстве до 31.12.2007 культурно-досугового центра в Матвеевском на месте подлежащего сносу здания кинотеатра. Под это дело были выделены 60 млн рублей, однако планы так и не были реализованы. В 2008 году постановление было признано утратившим силу.

В 2008 году кинотеатр было решено продать с обязательным условием использования его по прямому назначению — по многочисленным просьбам местных жителей. Однако желающих приобретать здание с таким обременением не нашлось. Поэтому в 2010 году он был передан на баланс «Объединённой дирекции по управлению имущественным комплексом киносетей» (ГУП «ОДУИКК»).

В 2014 году компания «Эдисонэнерго», аффилированная с девелопером ADG Group, за 9,6 млрд рублей приобрела у города 39 старых кинотеатров, большинство которых были заброшены. По заявлениям Департамента строительства Москвы, планируется комплексная реновация кинотеатров и превращение их в многофункциональные культурно-общественные центры. Некоторые эксперты сомневаются в коммерческой успешности такого формата. В рамках программы старое здание «Планеты» было снесено в июне 2019 года. Планируется, что новое здание будет построено во втором квартале 2020 года. Однако на конец января 2022 года строительство кинотеатра не закончено.

Примечания

Бывшие кинотеатры Москвы
Снесённые здания и сооружения Москвы
Очаково-Матвеевское


text:
Q: R: xmlParse incorrectly "adding" extra " AND " to URL link, parsing fails I am attempting to parse xml output from the NIH's pubmed system. I have already generated my URLs to parse, but the xmlParse() function appears to be adding extra " AND " text into my URLs that contain operators.
For example:
url <- 'http://eutils.ncbi.nlm.nih.gov/entrez/eutils/esearch.fcgi?db=pubmed&term=smith+m[author]+AND+science[journal]'
di <- xmlParse(url)
dl <- xmlToList(di)

This results a "NULL" IdList (where the results should be):
> dl[["IdList"]]
NULL

Checking the QueryTranslation reveals the problem (see: extra AND):
> dl[["QueryTranslation"]]
[1] "smith+m[author] AND +AND+science[journal]"

Any idea what's going on there? This is occurring with every search field or type of query that I construct that has an operator such as "AND" or "OR".
A clean parse that finds 20 papers for reference:
> url <- 'http://eutils.ncbi.nlm.nih.gov/entrez/eutils/esearch.fcgi?db=pubmed&term=smith+bm[author]'
> di <- xmlParse(url)
> dl <- xmlToList(di)
> length(dl[["IdList"]])
[1] 20

A: Assuming you want to do this from scratch instead of a package I mentioned above:
Use httr first, to retrieve payload, which doesn't mess up the URL
library("XML")
library("httr")
url <- 'http://eutils.ncbi.nlm.nih.gov/entrez/eutils/esearch.fcgi?db=pubmed&term=smith+m[author]+AND+science[journal]'
res <- GET(url)
di <- xmlParse(content(res, "text"))
dl <- xmlToList(di)
unname(unlist(dl[["IdList"]]))

[1] "25745065" "25430773" "25395526" "25104368" "24458648" "24264993" "24052300" "23869013"
[9] "23363771" "22936773" "22116878" "21940895" "21330515" "21097923" "20966241" "20150469"
[17] "19407144" "19150811" "19119232" "19119226"


Register for tickets here on Eventbrite OR call 316-992-4464 to register and pay in cash at the event to avoid ticketing fees!
For this month of April, join the IRC Wichita and Dorcas Nsimire for a cooking demonstration benefitting the IRC!
Learn how to make Congolese-style Ugali, Chicken, and Fried Plantains!
Dorcas will walk participants through the steps to share a traditional and delicious dish with you from her home country of the Democratic Republic of the Congo. One that she says, "Once you try this, you'll want to learn how to make it!"
All ingredients will be prepped beforehand, and all kitchen materials will be provided. Ticket purchase covers one meal cost. Event guests are invited to cook and/or converse in a casual and warm setting and enjoy a nice dinner together afterward! Come to watch and learn, cook and eat with us!
Thank you to St. Andrew's Episcopal Church in Derby for donating their kitchen facility and our event sponsor Dillons Community Donations!
Proceeds raised from this event will go towards resettlement funds for refugee families. These funds help cover basic needs including groceries, household items, bus passes, rent and utility payments, and more. As our refugee families work toward self-sufficiency through gaining employment and financial stability, these funds cover the associated costs of rebuilding a new life here in America, creating a strong safety net for a successful start.
About our chef: Dorcas arrived in Wichita, KS in 2016 when she was 18 years old. She entered junior year at North High School with only two years to finish high school. Despite this, Dorcas took summer classes throughout those two years and successfully graduated from High School. She is among the first in her community to do so. Currently, she is earning her Associates through a WSU Tech and WSU partnership. Long term, Dorcas plans to pursue a Bachelor's Degree in Engineering. She is personally motivated by the challenge to represent minorities and women in the industry.


text:
Author`s name Dmitry Sudakov
Russian Patriarch's Visit to Ukraine Proves Political Rather Than Pastoral
World » Former USSR
Patriarch of Moscow and All-Russia Kirill arrived in Ukraine for a ten-day pastoral visit. The first destination point was Kiev that once had been the capital of Russia. The Kiev Pechersk Lavra, one of the most important temples of the Russian Orthodox Church, is situated in Ukraine's capital.
This visit proved to be a political one rather than a pastoral one. The reason for this is that the questions of religion and politics are strongly connected with each other. The government of the country actively supports Orthodox churches under the Kiev Patriarchate which are not recognized by the Moscow Patriarchate.
The Pro-Russian forces in Ukraine support the preservation of church unity with Russia symbolized by the Canonic Ukrainian Orthodox Church under the Moscow Patriarchate. The majority of the Orthodox faithful of the country belong to this Church.
Thousands of people gathered for religious procession in the centre of the city. At the same time about 300 members of a local nationalist organization tried to interfere with the action, shouting provocative slogans. There was a scuffle with the Orthodox Cossacks, though it proved impossible to disrupt the procession.
The nationalists disliked the speech delivered by the head of the Russian Orthodox Church on the St. Volodymyr Hill. "Kiev is our common Jerusalem, and it is Kiev where the Russian Orthodox faith came from," Patriarch Kirill said.
"We will pray for peace and prosperity in the country and the "unbreakable unity" of the Russian and Ukrainian peoples," Kirill said. After that the Patriarch held a session of the Holy Synod of the Russian Orthodox Church in the Kiev Pechersk Lavra.
Ukrainian President Viktor Yushchenko welcomed Patriarch Kirill. Taking into consideration the fact that the Ukrainian President repeatedly supported the idea to make the Ukrainian national church independent from the ROC, the conversation obviously proved uneasy.
The fact that Yushchenko welcomed the Patriarch is not so indicative as the fact that he did not come to meet Kirill at the airport. It is worthy of note that Yushchenko followed Patriarch Bartholomew I of Constantinople everywhere a year before, seeking his recognition of Kiev's self-appointed patriarchy, albeit unsuccessfully.
Prior to Kirill's visit, the Ukrainian president made several provocative gestures. Firstly, Yushchenko called Filaret, the self-proclaimed leader of the Ukrainian Orthodox Church, the religious advisor of all Orthodox Ukrainians. Yushchenko also awarded a medal to Pavel Movchan, the leader of Ukraine's nationalist movement, who released a number of statements attacking the Russian Orthodox Church.
As for Yulia Tymoshenko, she behaved ambiguously. On the one hand, she took no actions against the ROC and did not apply to Bartholomew for recognition of the separatist Ukrainian Orthodox Church under Kiev Patriarchate like Yushchenko.
On the other hand, Andrey Shkil, the former leader of Ukraine's nationalist organization, is in her bloc. Besides, the Bloc of Yulia Tymoshenko includes a whole congregation of Protestants from the south-east of the country.
Viktor Yanukovich behaved as a genuine Orthodox Christian. He met Kirill at the airport and took part in the religious procession.
As for the Ukrainian Greek Catholic Church, its representatives disliked the visit of Patriarch Kirill: the church stands against the religious unity of Russia and Ukraine.
Patriarch Kirill's visit to Ukraine had a great value. For this country the visit is connected both with the choice of religion and the political future. The visit of Patriarch Kirill may lead to "orange counterrevolution". The visit of the head of the ROC was a triumph. Thousands of people took part in the religious procession from the St. Volodymyr Hill to Kiev Pechersk Lavra. Kirill's visit is capable of changing a course of history in Ukraine.
This visit may have a beneficial effect. Kirill has laid foundation for missionary work which might bring both spiritual and political results.
Vadim Trukhachev
Russia successfully completes testing Kinzhal missiles in the Arctic


The S-Bella class canal boats.
The engineered oak flooring is laid throughout the boat giving the boat a real warm and homely feel and appearance leading you into the open plan living/dining area where you are furnished with a sofa and armchair, a TV and radio and a table is also provided for you to pull out so you can enjoy a dining area.
Freshly laundered bedding is supplied for each crew member, as per your requirements. Additional bedding is available upon request. Towels are also supplied - one medium sized towel per crew member, and one hand towel per bathroom. Dressing Gowns are also provided.
The luxurious kitchen is fully equipped and has a 4 burner gas cooker with grill and oven; refrigerator; sink and drainer; saucepans; cooking utensils; crockery and cutlery appropriate for the number of berths. There is plenty of storage space and work surfaces.
The bathroom consists of a lovely shower suite within subtle and high end decorative surroundings, spacious and light, there is a wash hand basin, electrically operated flush toilet and shower and a 240v shaver socket .
12v mobile phone charging point (please remember to bring your own car charging lead). The 2kw inverter supplies 240v electricity to certain appliances and to a socket on the boat and there are USB charging points. There is LED lighting fitted throughout Bella and also some under gunnel mood lighting that can be altered to reflect the mood and the occasion of your special trip.


I had never worked with a picc line before. Since our son was coming to live with us after surgery and had contracted a staph infection, I was about to learn what to do. He was going to need an I.V. drip 3 times daily. National Pharmacy was going to furnish the medication for them. A nurse working for National, Miss Alison, came to rehab and taught me how to give the I.V. drip and how to flush the tubes. She must have been a great teacher because I didn't mess-up on doing it.
The staff at the pharmacy were wonderful. Any time I needed supplies, all I had to do was call and the would even deliver them to our home.
I can truthfully say that this is one of the best group of people that I have has the privilege of working with. I am very thankful for them. My son has now completed 6 weeks of I.V. therapy and is doing well.