Our annual Pasta Fundraiser is underway! Any SCPA student is welcome to participate, and proceeds go towards your SCPA account to help pay for tuition, costumes, etc.
The fundraiser is running now through March 17, 2016. No late orders will be taken; this is the last day before spring break. Packets and order forms are available in the boutique at the SCPA front desk.
Pasta will arrive 3/24-3/27. It will be at Stephanie Luebke's house for those that would like to pick up immediately. As of 4/4 it will be at SCPA for pickup.
Online sales will continue until 4/17. These orders are shipped direct within 3-5 days, free shipping for orders over $50! Please email Stephanie at sjluebkern@gmail.com to get your dancer added to the online order so that your account can be credited.
Make checks payable to SWP Parent Guild. We receive 40% profit from sales; 10% of all fundraising profits go toward the scholarship fund and the remaining 30% profit will be deposited directly into your student's account. Please contact Stephanie at the email above with any additional questions.


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Seyðisfjörður Cruises
View all Seyðisfjörður cruises
Nestled in between the beautiful Mount Strandartindur and Mount Bjolfur in the Eastfjords of Iceland, Seyðisfjörður is a unique place, and home to a unique collection of wonderfully preserved wooden structures.
Regarded as one of Iceland's most picturesque towns, Seyðisfjörður's remoteness makes a visit here even more special. The valley above the town echoes to the sound of the 25 thundering waterfalls formed by the river Fjaroara as it cascades down to a lagoon at the head of the fjord. Gufufoss is one of its very photogenic waterfalls.[ReadMoreMob]
With its small population of some 800 people, Seyðisfjörður is a relaxing place to explore. The Skaftfell Centre for Visual Art makes for a quaint cultural visit and has a pleasant bistro. Fishing, cycling, golf and kayaking are all on hand in this welcoming town.
Fishing Seyðisfjörður
There is a long tradition of fishing in Seyðisfjörður, particularly herring fishing. You can take a boat out to sea with a local fishing expert and try your hand at catching a fish, cleaning and filleting a fish, which you can then even have cooked for you for dinner at the Hotel Aldan restaurant. While out on the boat, keep an eye out for whales, seals, puffins and other sea birds.
The Blue Church
The Blue Church is one of the island's most recognisable landmarks, due to its distinctive blue hue. The church has been destroyed and re-built several times and has even been moved twice. During the summer, you can enjoy one of the weekly concerts, featuring
different music each time, from jazz, to folk, to organ music.
Skálanes
Skálanes is a 1250-hectare nature reserve located off the beaten track at the mouth of the Seyðisfjörður. The nature reserve is owned by Ólafur Pétursson and his family, and is home to more than 40 different species of birds. Skálanes offers a great place for visitors to escape and unwind, boasting imposing snow-capped mountains, a secluded shoreline and vibrant meadows. The area is known for its eider ducks, the feathers of which are responsibly sourced and turned into duvets.
Cruises to Seyðisfjörður
Uncovering the Natural Wonders of Iceland
Departs: Dover • Sat 20 Jun 2020
From whales to geysers, waterways to geothermal pools, the thrilling diversity of Iceland awaits your discovery as you explore three sides of this astonishing country on an incredible 13-night voyage.
On the west coast, stop overnight in Reykjavik – gateway to the wonders of the Golden Circle and the Blue Lagoon; and visit Ísafjörður, for a chance to observe charming puffins on a tour to Vigur Island.
Along the north coast, divert deep into Eyjafjörður all the way to Akureyri, starting point for exhilarating whale watching adventures; and then savour the stunning scenery of Seyðisfjörður in the east.
Icelandic Wonders & Wildlife
An epic circumnavigation of Iceland, this exhilarating adventure packs-in unmissable opportunities to marvel at awe-inspiring natural wonders, dramatic landscapes; magical wildlife; and much more.
Visit Reykjavik, gateway to the Golden Circle's famous waterfalls and powerful geysers; observe puffins at Vigur Island on a boat tour from Ísafjörður; and savour Seyðisfjörður's stunning scenery.
For an experience of a lifetime, you can embark on a magical whale watching tour from Akureyri, to see humpback and minke whales, dolphins and porpoises living freely in their natural habitat.
Whales, Wonders & Waterfalls
Departs: Liverpool • Mon 27 Jul 2020
9 nights • Black Watch • W2021
For a spellbinding taste of one of the world's most awe-inspiring countries, Black Watch will guide you on an epic adventure, taking in remarkable destinations and waterways on three sides of Iceland.
Dramatic landscapes, inspirational wonders and wildlife, and magical experiences are yours to savour, from powerful waterfalls and geysers to stunning sea bird islands and whale watching tours.
See the wonders of the 'Golden Circle', such as the mighty Gullfoss, from Reykjavik; observe puffins at Vigur Island; go in search of humpback and minke whales in their natural habitat; and much more.
Departs: Liverpool • Tue 01 Sep 2020
11 nights • Black Watch • W2025
On an 11-night voyage of epic proportions, you'll take in a selection of the most spectacular scenic wonders and amazing, diverse wildlife for which Iceland is rightly renowned for.
Uncover the gems of the Golden Circle, including the mighty Gullfoss Waterfall and gushing geysers, from Reykjavik; and experience scenic cruising by Hornstrandir, Drangaskörð and Dinosaur Rock.
Visiting Akureyri offers a chance to embark on a once-in-a-lifetime whale watching adventure; while a taste of Eastfjord life in stunning Seyðisfjörður and Eskifjörður is sure to leave you enchanted.

redpajama_set_name: RedPajamaCommonCrawl


Directed by Hopi Allard, our new adidas by Stella McCartney campaign showcases the singular women of The Warsaw Roller Girls, celebrating their camaraderie, determination and spirit.
Hopi is a London-based director and cinematographer recognised for his atmospheric films centred on powerful personal narratives. Read more about him in our Q and A below.
How did you meet the Warsaw Hellcats Roller Derby team?
A few years ago, I stumbled across an article about roller derby. I was surprised to learn that it dates back to the 1930s and was massive in America in the 1950s, televised as a kind of mainstream theatrical entertainment. Nowadays it's still theatrical in some ways, but not at all staged. In this article there were photos of the Warsaw Hellcats. They looked cool, stoic and exuded a confidence and bravado that caught my attention.
What inspired you about the girls?
Well first off, the Hellcats look really cool, each with their own distinct style and personality. Roller derby is a predominantly female sport, but unlike teams of men in contact sport that seem to create a jock like energy, this feels like a much more diverse and welcoming atmosphere. When I first met the team, I was inspired by how tight and family-like they all were on and off the track. Some explained that they felt like introverts or outsiders before finding roller derby and joining the Hellcats had provided them confidence and sense of belonging. Looking at them, I was surprised to hear that and found their personal stories inspiring.
What was your inspiration when making the film?
Amongst other things, I'm always hugely inspired by locations and there is an abundance of striking spots in Warsaw. The collection is great and has these primary pastel colours which we managed to mirror somewhat with the graphic and kind of brutalist locations we found. We decided to shoot on 16mm to enhance these colours in the right way and to give the film a kind of timelessness. A feeling started to emerge. It sounds weird but this tight-knit group of women coupled with the graphic, empty locations started to conjure up a powerfully bewitching, post-apocalyptic subtext in my mind. That probably influenced the atmosphere I then tried to create.
Something that you touched on from the film is the idea that we can all become extroverts when with our closest friends. Is this something that resonates with you?
I wouldn't say that this idea specifically resonates with me. I guess I'm always somewhat interested in the introspective thoughts that we all have. Maybe it was growing up with my psychotherapist father, because even when approaching a fashion film, I seem to push the conversation in that direction, stumbling across people you might not expect to expose those inner conflicts or internal concerns. Those honest conversations definitely spark a visual narrative for me.
Your films often focus on personal narratives and visual language. How did you develop your directorial style?
People are my main source of inspiration and the stories you can stumble across when you take a bit of time out to observe. That said I don't think my films ooze gritty realism, I've think I've always gravitated more to films and music with a visceral or theatrical depth to them. I spent a lot of my younger years watching a lot of 80s David lynch, Cronenberg and Dario Argento films and love the heavy sense of atmosphere. I guess that may filter into the way I observe and present things.
I never planned to be a director but I've always loved film; the process and discipline of it. As a young skateboarder I carried a high-8 camera all over the place with me and was always shooting and cutting on my VCR. My first job in film was at a small studio in North London. I got a job as studio assistant and lighting technician but then fell into editing. I had a random opportunity to assist Oscar winning editor Pietro Scalia on a Ridley Scott movie. It was a great experience that took up almost 3 years of my life. I spent the final year of it in LA where part of my role was to shoot these throw away, low-fi temporary scenes to help make decisions in the editing process. When I came back to England perhaps that spurred yet another side step: pursuing a career as a cinematographer. I stumbled into fashion films and about three years ago I finally started directing. Having done so many roles in film I have huge respect for the process of collaboration.
What was it like working with adidas and Stella McCartney?
It has been a great collaboration. It's nice to be encouraged to approach the sports film format in a free and experimental way.


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Q: How to keep listening to the connected TCP sockets by "select" All my clients sockets do the same thing: send a package every second(22 bytes)
Server code as below:
import select
import socket
import datetime
SList = []

class Tserver:

    def __init__(self, portNum):
        host = '127.0.0.1'
        self.server = socket.socket(socket.AF_INET, socket.SOCK_STREAM)
        self.server.setsockopt(socket.SOL_SOCKET, socket.SO_REUSEADDR, 1)
        self.server.bind((host, portNum))
        self.server.listen(1)

def GETPACK():
    # function for CRC check
    def CRC(DATA_STR):
        return 1

    # generate 100 sockets to listen
    for x in range(100):
        SList.append(Tserver(x+10000))

    inputs = []
    # put in inputs
    for x in range(100):
        inputs.append(SList[x].server)

    while(True):
        ready_socks, _, _ = select.select(inputs, [], [])
        for sock in ready_socks:
            c, addr = sock.accept()
            while(True):
                data = c.recv(22)
                if len(data) == 22:  # To make sure the data-length is 22
                    # Turn the pack string into bytearray
                    data_bytes = bytearray()
                    data_bytes.extend(data)
                    if CRC(data_bytes) == 1:
                        print "Connected from client IP Address:" + str(addr)
                        # ID
                        ID = 256*data_bytes[1] + data_bytes[2]
                        print "ID: ", ID
                        now = datetime.datetime.now()
                        print "now: ", str(now)

if __name__ == "__main__":
    GETPACK()

My server can only print the packages sent by the first connected socket.
And my question is how to print out all message from each ports whenever a package is sent to the server.

A: See this PyMOTW entry for a detailed explanation of how to use the select module to write a select-based server.
The main differences between that example and your code are:
You just create one listening socket - server. There is no need to listen on multiple ports.
The variable inputs will be a list consisting of server and any other open socket connections to clients.
Your service loop will look like:
while true:
  readable, _, _ = select.select(inputs, [], [])
  for r in readable:
    if r is server:
      # handle a new incoming connection
      # this will add an entry to the variable inputs
    else:
      # read some data from socket r and process it

When you attempt to read from a client socket and get an EOF condition, you can close that socket and remove it from the inputs variable.

A: @ErikR  Thanks for your help, i changed my code, and it worked fine.
The reason that my code doesn't work was because of two things:
1.I only create one connection to recv data from my clients.
2.The same connection can't be accepted again for recv, if the clients does't reconnect.(my code doesn't check the exception when clients shutdown)
Code as below:
import select, socket, datetime
SList = []
SconnList = []

class Tserver:
    def __init__(self, portNum):
        host = '127.0.0.1'
        self.server = socket.socket(socket.AF_INET, socket.SOCK_STREAM)
        self.server.setsockopt(socket.SOL_SOCKET, socket.SO_REUSEADDR,1)
        self.server.bind((host,portNum))
        self.server.listen(1)
        print "Server ports: "+str(portNum)

class Sconn:
    def __init__(self, sock):
        self.conn, self.addr = sock.accept()

def GETPACK():
    # function for CRC check
    def CRC(DATA_STR):
        return 1

    # generate 100 sockets to listen
    for x in range(100):
        SList.append(Tserver(x+10000))

    inputs = []
    # put in inputs
    for x in range(100):
        inputs.append(SList[x].server)

    while(True):
        ready_socks,_,_ = select.select(inputs, [], [])
        for sock in ready_socks:
            try:
                SconnList.append(Sconn(sock))
                SconnList.reverse()
                inputs.append(SconnList[0].conn)
            except:
                data = sock.recv(22)
                if len(data) == 22: # To make sure the data-length is 22
                #Turn the pack string into bytearray
                    data_bytes = bytearray()
                    data_bytes.extend(data)
                    if CRC(data_bytes) == 1:
                        print "IP Address:" + str(sock.getsockname())
                        #ID
                        ID = 256*data_bytes[1] + data_bytes[2]
                        print "ID: ",ID
                        now =  datetime.datetime.now()
                        print "now: ",str(now)
                        print ""
                        print ""

if __name__ == "__main__":
    GETPACK()

redpajama_set_name: RedPajamaStackExchange


Please note that this application does not contain Romaji. You will be required to learn the Kana (Hiragana and Katakana) to be able to fully complete this guide. Don't worry though, it's covered in the "Writing System" section.


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When does a game designer's career begin?
October 12, 2021 admin system 0
A few years ago, when I was starting my first game design job, the term "game design pipeline" came to mind.
It meant the process by which developers were recruited to work on games.
I was just starting out, so it didn't ring a bell.
But I knew there were a lot of people who would make games at a very young age, and I was determined to get my foot in the door.
I had been working on a game called "Tyranny" at the time, and at the end of the day, I wanted to make a game that was not only challenging, but that would also entertain me.
So I did a lot more research about the game and its development.
And what I discovered was that a lot were just as passionate about the business side of the game-making process as I was.
And I'm not talking about people who are a little bit of a geek, or who like to read about business and technology in depth.
I'm talking about professionals.
They're the ones who know how to build a game from the ground up, and who are willing to spend hours with their teams to make it their own.
So for the most part, the pipeline of game design begins at a young age.
I worked with a few designers, but they weren't a big group.
The reason was because they were mostly focused on the business end of things.
That's what they were trained to do.
And that's how I got started, too.
So in the beginning, the majority of my work was just getting my head around the game design process.
The team was in a hurry, and we were all trying to make the game as quickly as possible.
As we moved along, though, I realized that I could do more than just help make the art look good.
I could help create an actual game.
That was when I realized, yes, I could make a good game.
The game I was working on at the start was called "Birds of Prey."
It was a turn-based strategy game, set in a world where a group of avian aliens known as the Blackbirds had arrived to take over Earth.
The Blackbirds wanted to eradicate the human race, so they were using a secret weapon known as a "black hole."
The Blackbird's secret weapon was an artifact known as an "Echo Chamber."
The Echo Chamber was a giant device that was used to amplify all sound vibrations in the environment, creating a sort of echo chamber.
The Echo Chambers were placed on all of Earth's continents, but when one was captured, the Blackbird could send the captured Echo Chamber out to all of the surrounding continents and use it to amplify the vibrations that were generated in the Echo Chamber.
The result was that humans could be heard on all continents and even heard within the Echo Chambers.
The problem was that the Blackwinges were extremely territorial, and when they captured a continent, they would only take a few people with them.
To overcome this, the team at Paradox created a system where each Blackbird was assigned a unique location on Earth.
There were only so many locations for each Blackwing to capture, so the team built a system to find the locations where the Blackwings would take off, and then to capture them.
I helped design the Echo Chambers so that they could be used to capture Blackwings.
I built the game around the Echo chambers, and by the end, I had developed a solid prototype that was able to capture a Blackwing, and to make use of it as a platform for the game to begin.
I started to understand the basic idea behind the Black Wings.
By using the Echo chamber, I was able, as a Blackbird, to create a sort
game design pipeline
How to Build a Bigger Game on Mobile?


Nothing's worse than getting a scratch or chip in your brand new paint without a way to fix it. Buy this original GM touch up paint while it is still available in all colors.
Note: Paints or chemicals cannot ship via air and a re non-returnable.


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SOMSD Celebrates National Hispanic Heritage Month
October 1, 2020 By Anide Eustache
The South Orange & Maplewood School District celebrates the positive impact that Hispanic Americans have left on our country. We especially want to recognize and celebrate all of our staff, students, and community members of Hispanic/Latin ancestry.
Each year, Americans observe National Hispanic Heritage Month from September 15 to October 15, by celebrating the histories, cultures, and contributions of American citizens whose ancestors came from Spain, Mexico, the Caribbean, and Central and South America," according to the official government website. It takes place from September 15-October 15 every year.
The day of September 15 is significant because it is the anniversary of independence for Latin American countries Costa Rica, El Salvador, Guatemala, Honduras, and Nicaragua. In addition, Mexico and Chile celebrate their independence days on September 16 and September18, respectively. Also, Columbus Day or Día de la Raza, which is October 12, falls within this 30 day period.
The observation started in 1968 as Hispanic Heritage Week under President Lyndon Johnson. In Presidential Proclamation 3869, available via the Library of Congress, President Johnson wrote, "Wishing to pay special tribute to the Hispanic tradition, and having in mind the fact that our five Central American neighbors celebrate their Independence Day on the fifteenth of September and the Republic of Mexico on the sixteenth, the Congress by House Joint Resolution 1299, has requested the President to issue annually a proclamation designating the week including September 15 and 16 as National Hispanic Heritage Week."
The observation was expanded by President Ronald Reagan in 1988 to cover a 30-day period starting on September 15 and ending on October 15. It was enacted into law on August 17, 1988, on the approval of Public Law 100-402.
October 1, 2020 Filed Under: District News & Announcements, Jefferson, Maplewood Middle School, Marshall, Montrose, Seth Boyden, South Mountain, South Mountain Annex, South Orange Middle School, Tuscan


Asymmetric Key Encryption/Decryption using Keytool.
This blog explains how to create keystores, certificates and trustore. It also explains how the handshaking is done between to parties who wan to communicate securely using asymmetric key Encryption/Decryption.
Below video explains secured message passing communication using asymmetric key system.
For asymmetric encryption/decryption both parties need to crate asymmetric keys which has both private and public key. Then the public key is exported from he keystore and given to the other party. The other party then imports the public key(certificate) into a truststore and used that truststore to encrypt the data.
Remember a public key(certificate) can be used to only encrypt data. The data can be only decypted by the private key.
Below commands generate Keystores, Certificate, Trustore for both parties. Both Parties, yes, because this is a bi-directional assymetric key that means both the parties have their set of key-pairs.
We have now extracted the public key from their respective key pairs.
This certificates can then be added to other parties truststores. Trust stores are a bucket of Open Pad locks.
So now we have trust stores which have public key of other party.
Lets write the code to use these keystores and trusstores.
For a maven project you will need the apache-common-codec jar as a dependency or else just download the jar and paste it in the folder which is in the classpath.
//Client encrypts data by using server public key which is stored in clients trusstore.
//Server encrypts data by using clients public key which is stored in servers trusstore.


11-1: Describe failure and its effect on entrepreneurs.
Learning and further opportunities often come with failure. Failure does, however, come with extreme costs (financial and emotional) that need to be well managed to enable success down the road. If failure is seen as an acceptable step on the path to success, it is much more likely that failure may serve to hone the business and the entrepreneurs behind it.
11-2: Identify several reasons for failure.
Failures come in all shapes and sizes. Common types of failure include deviance, inattention, lack of ability, process inadequacy, poor business process flow, communication uncertainty, and exploratory experimentation.
11-3: Describe the consequences of fear of failure for entrepreneurs.
Fear of failure makes the entrepreneur less likely to pursue and achieve the transformative power of learning from failure.
11-4: Explain the different ways entrepreneurs can learn from failure.
Failure often goes hand-in-hand with experimentation, with each iteration bringing a product or service nearer to the state necessary for market success. Something can be learned from any failure, and it's important that the firm and its founders establish a blame-free climate in which learning can be maximized.
11-5: Describe the significance of "grit" and its role in building tolerance for failure.
Grit is that "special something" that enables people to persevere though prolonged hardship to maintain commitment and achieve long-term goals.


David hails from the Giantdowns - a country called Oultera. A mage of conciderable power using a form of magic called Kamas which seems to be Rune based. He is mostly an artificer - capable of creating some powerful magic items. David created the Exploding Egg and the teleportation disks that The Long Scouts have put to good effect.


text:
Maja Daniels: The Elf Dalia Interview
Posted on July 4, 2019 August 11, 2019 by Brad Feuerhelm
"My initial desire to make this work was my connection and fascination with the language. A language that has existed in my family for hundreds of years but that I do not speak".
Maja Daniels work is somewhat hard to pigeonhole. Its neither archival, nor documentary, yet shares some sincere research into both traditions. Her book Elf Dalia (MACK) is a journey through her own native Sweden, but also the work of another photographer by the nam of Tenn Lars Persson whom Daniel's in effect has resurrected. She has combined her own work with his archival imagery and the result is a cryptic journey through Nordic rites, customs, but also the land from which they both find their roots. She covers regional language, but also regional custom and has joined the past with the present in terms of images to a very successful degree. Maja was kind enough to speak with me on many things including photography, but also ritual, customs and isolation….
BF: The first question that I wanted to present to you regards the use of the archive. For your book Elf Dalia, you were able to juxtapose your images that you have taken from the exact same area in which Tenn Lars Persson had made images nearly a century before. In effect, what you have gone is to re-engage the ghosts of the past found in his negatives with your own work, intertwining the images into a semi-historical document culminating in the book itself. What strikes me as interesting about the use of archive material and something that has a nearly supernatural disposition is the way in which two authors (in this case) are able to communicate through their images-indicating a nearly necromantic facility in which the voice of the dead is in exchange with the voice of the living. This supernatural phenomenalization of your work is perhaps slightly towards the ostentatious, but in effect there do seem to be mechanisms as work suggesting a deeper conversation between yourself and Persson who according to your own research also had an interest in occult affairs. When making the work, did you start with his archive or had you already been involved with the process of making images when you discovered the work? Further, if you had known of his work while processing Elf Dalia, were his images or the rhythm in which you were forming a new narrative present when you were assembling it? Did you have past experience in using such an archive? What conditions were to be met for you to use the work and where was it sourced?
MD: I started making work in Älvdalen in 2012 and discovered the archive of Tenn Lars that same year. A few images in the book were made prior to the discovery, but my whole six-year-long process of putting this work together has been very much centered on the communication between his work and mine. His images have influenced the way I make photographs and the sequencing of the work has been developed with this conversation, or breathing or co-existence in mind.
My initial desire to make this work was my connection and fascination with the language. A language that has existed in my family for hundreds of years but that I do not speak. When thinking about how to express the idea of language visually, the mixing of the content and the form became increasingly important. The more I began to engage with the many aspects around language (dialogue, conversation, expression, statement etc.) that this book is about, the more this connection between content and form grew. For starters, it had to be a book; an intimate reading in the shape of an expression that is the most personal to me; photography, but it wasn't until Tenn Lars' images came into the picture that it all started to really make sense to me. This is really a conversation of sorts. A mute one because I do not speak Elfdalian and visual expression is a fitting communication tool when it comes to preserving tension and mystery, but also, of course, because Tenn Lars and I did not have any conventional communication-capacities at hand. My aim has been to create a performative space where, as you say, the ghosts of the past can co-exist with contemporary life. When I first saw Tenn Lars images I felt the connection straight away. There was a resistance in his work that I recognized in my own. I felt "at home" somehow and completely at ease with the gigantic and scary task (someone else pointed this out to me much later) of putting my contemporary work alongside the lifework of someone who had been dead for a century and whose images already had the "power" of age- Plus, they were generally exceptional.
"This, to me makes the idea of magic less about something supernatural or mystical, or an aspect of modern or post-modern crisis, but rather focuses on an emotional relationship with place through notions of ancestors, folk beliefs and myths".
I have tried to think of the concept of language as a way of relating to what a 'magical experience' could mean in the contemporary world. This, to me makes the idea of magic less about something supernatural or mystical, or an aspect of modern or post-modern crisis, but rather focuses on an emotional relationship with place through notions of ancestors, folk beliefs and myths. By mixing my contemporary images with Tenn Lars' archive my aim was to try to carve out a timeless space whereby mystery, strange events, becomings (past becoming present and vice versa, man becoming animal etc.) and humour can co-exist and where we can think of a 'magical experience' as a creative expression, a sort of language.
During the three years when I was living in the cabin in Älvdalen, longer periods of time were spent editing, simply looking at the 5000 glass plates I had been handed on a USB stick and working out ways to create connections. The Elfdalen Heritage Foundation, who are the keepers of the archive (Tenn Lars was one of the founders of the Foundation) also have a rather extensive collection of written documents by Tenn Lars, mainly published articles in the Foundations' biannual publication. I spent time going through all of those publications, focusing on Tenn Lars' writings to really absorb his spirit. The publication publishes a lot of oral history, old tales and documented experiences from Älvdalen. This was one of Tenn Lars' biggest passions; to tell and retell stories. Sometimes they were funny, sometimes witty and sometimes slapstick. In parallel to this Tenn Lars also wrote articles on the topics that interested him, the span is wide and encompasses articles from "the power of the moon on everyday chores" to more technical texts describing "old techniques of iron production".
I take the risk of sounding a bit weird now but I do actually feel as if I have met Tenn Lars. I do feel like I know him and that he was there with me making this work. Also, risking sounding even weirder, my mother went to see a medium (who had no information about her at all, nonetheless about me and I should say that my mother and I do not share the same surname) to channel some spirits (she does this from time to time). What she got was "a message to pass on to her daughter" from my great-grand father saying he was proud of my work, followed by another message directed to her; that she should not worry, he was looking after me. At this time I had left my life in London to go live in a small cabin in the woods to develop this work. The cabin was not necessarily fit for winter living but I was stubborn and did not care much about the slightly complicated (difficult?) aspects of everyday living. At the time my mother thought I had gone slightly mad but the message from the medium calmed her down. I, on the other hand felt safe and relaxed, despite being alone and a bit "out there" during the winter months. I was living in the 400 year-old log cabin that my great-grandfather had grown up in and could perhaps feel his positive vibe. So, if he was hanging out with me, I am pretty sure Tenn Lars was in the vicinity as well…
Tenn Lars was interested in what used to be called natural magic at the time and this would encompass both science and the occult (knowledge around astrology, alchemy, the hidden power of plants, animals and stones). Despite only five years in school, he pursued self-studies to become an electrician, optician, inventor, photographer and a scientist. In many ways he was a wizard of his time. He brought electricity to Älvdalen and would invite locals to attend lectures in his workshop where he would demonstrate how certain things worked (even deliver electrical shocks to the locals if they paid a few cents), speak about the solar system and the magnetic power of the moon. He was clearly very interested in the moon but this was perhaps not so strange considering how the moon has played an important part in pagan rituals for ages, but also how science in the 1900's had found new and exciting ways of engaging with the moon. What is more exceptional to me is that he taught himself how to build cameras and lenses and then built a telescope to photograph the moon. The unknown fascinated him, maybe obsessed him and I have always felt that way as well.
The people running the Local Heritage Foundation were encouraging about my engagement with the archive. I approached them with support from certain international connections who had shown early interest in the work so they saw it as a possibility of sharing the unknown work of Tenn Lars to a wider audience. I made it very clear from the start that my approach was going to be an artistic one, where I wanted to appropriate the work and combine it with my own. I am not an art historian who would focus on the work in a more classical way, but I also tried to emphasize that I hoped that further engagements (perhaps through me but not necessarily from me) could come out of this first stage. I also held school-workshops with Älvdalens' 10 and 11-year-olds where they, too, got the chance to "activate the archive" and make their own stories based on Tenn Lars' images. It was popular mainly because the archive is so wonderfully strange, not just to me but to most people who start to engage with it. Tenn Lars is showing off so many of his own interests and ruminations within it as well as his sense of humour and wacky personality.
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I had no previous experience in working with archives but I think it is something I am interested in taking further since it has such a wonderful way of creating connections to both the past but also to the future. It can also serve as a way of resolving some of the issues that I have had in the past when it comes to carving out a creative space within photography that goes beyond the silly dichotomy of fact and fiction. Most of my attempts to make work after this experience is engaging with archival material, both still and moving. My most recent addition to this work is a video installation piece where I am revisiting my own archive of video footage that I collected obsessively but aimlessly during a period in 2015-2016 but then left to be processed by time. I collaborated with a sound artist, Jonathan Maurice, who had emailed me out of the blue a few years ago with a whole playlist of sounds that he had made inspired by my image of the boys sitting on the car burning tires (it is in the book). I loved the sound-scapes he had created and I also enjoyed the fact that the connection between us had come out though the work in such a spontaneous way. I asked him if he wanted to collaborate and he immeadiately said yes. We used his sound-scapes as a guide, allowing for them to lead the way for the visuals whilst mixing them with audio and interviews that I had collected from Älvdalen over the years. Of course the recordning of Tenn Lars from 1935 where he speaks about the myth about "The Black Book of Magic" in Elfdalian is in there. In a way the spontaneous process of contamination and co-existing that we adopted in making the video piece is similar to the way I have worked with Tenn Lars images.
"I had no previous experience in working with archives but I think it is something I am interested in taking further since it has such a wonderful way of creating connections to both the past but also to the future".
BF: That is an incredible, nearly epiphanic amount to digest. I will have to pick through all of this a little bit to pose more questions. The first thing in your response that struck me as interesting is how you refer to the work of Tenn Lars-it is almost as if the channeling and use of his archive casts a longer shadow of the body of work than the whole, which includes your images, which I happen to find quite spectacular. I believe you have fallen in love with a dead man! In all seriousness, this idea of how you commune, not commicate with his work is fascinating. The bond between stretches past "in the tradition of" and becomes its own powerful discussion about the endurance of custom, but also image and personal mythology.
The second thing that I picked up on about Tenn Lars is that he must have been something of a polymath. I would loved to have seen his library, inspired fancy in no small doubt by John Dee and Leonardo Da Vinci, volumes situated with little doubt amongst older more regional moon magic observers. The moon makes reference throughout the history of photography from Whipple to de La Rue through to Pierre Molinier (another mystic who only printed by moonlight, so the mythology goes), and forward to 1969. These natural magick elements are present in our histories much longer than we suspect and find their roots in ante-diluvian literature and further back in the literature of stones found in various ancient sites throughout the planet.
The third idea I took from your response was about how photography, language and magick all have an in-built, but varying system of relation to belief and communication and how those three contributions posit a force that is combined in your work to produce a mystical environment in which, despite the interest in the science of astronomy counters the paradigm of belief. Science is somehow at war or peace with the natural magick of the text and the images. I see it in the effluvial wanderings of light leaks in both the images by yourself and Tenn Lars-these spindly tentacles of effervescent fluid which mark the "realities" of the subject of photographic investigation. This perplexing combination begs us to ask the question of what defines history from mythology in traditional environments and how do we come trust or distrust the language of photography, the language of folklore, the language of history and finally, the language of language itself?
What were the most complicated elements of making this project? Was it putting an end to it? Was it determining how to edit the images? Was it gathering the experience to simply create the images themselves or perhaps learning the several languages (image, folkloric and Elfldalian) of Tenn Lars, himself? Do you feel that you have taken from Tenn Lars or that perhaps, he beyond mortality has taken from you, claiming you as a descendent in which his work rises yet again from a place of unknowing?
MD: The connection goes beyond image-making for sure! Maybe it is spiritual, philosophical or probably both. I don't know if love is the word I'd use but a complete sense of understanding or of "getting him" for sure. It is almost as if we share the same spiritual creative lineage of sorts. As if he's my wacky ghost-uncle, or brother, or, well, maybe 'soul-mate' but with an emphasis on 'mate' as in friend. But, sure, there is an element of attraction there… I have always been drawn to people who are openly curious about life, who try to get their head around the big questions, and the small questions and everything in between and the archive Tenn Lars left behind screams of curiosity and a deep fascination with the unknown. I think of our encounter as a "coming home" epiphany of sorts, of totally getting it (his work), but also of making sense of my own trajectory up until that point as well. Having left Sweden quite young to go study abroad, I suddenly and unexpectedly found myself in the stomping grounds of my ancestors feeling at home and making work that seemed meaningful to me after a period in London feeling suffocated within a superficial "struggle of surviving" within the growing bubble of gentrification. I had shared too much space with too many middle class people drinking flat whites in the epicentre of capitalism, who had lost interest in questioning the roots of their privilege. My involvement with Tenn Lars' work (and how that drove my desire to make my own work) became a vessel that allowed me to find a "way out". I am forever grateful.
Tenn Lars has been described as "an original" by fellow locals. A kind and helpful man with heaps of knowledge to share. Älvdalen still has its fair share of eccentrics and overall I have not witnessed a particularly strong need to fit in amongst the locals. Rather the opposite actually. In Älvdalen there is a real sense of pride in being different.
"To me, science fits in there too. Generally, I think we tend to ascribe too much truth to science these days. It has in many ways become the replacement of religion in terms of being something unquestionable".
I'm really glad you point out the connection between language, photography and magic as tools that have the capacity of countering the idea of "the given". To me, science fits in there too. Generally, I think we tend to ascribe too much truth to science these days. It has in many ways become the replacement of religion in terms of being something unquestionable. Coming to photography and art through sociology, a lot of my studies have been focussed on unpicking the idea of science, looking at the random nature of science-making (from the very nature of experiment of course, but also looking at how figures and numbers later ascribed to human behaviour – hoping to make sense of it – are actually produced), and trying to break down the barrier that 'Science' has built up around itself. Having participated in "making" science in the past I am very aware of its "creative" too often hidden aspects. Anyone who has dealt with creating statistics for example knows how malleable a task that is. To me, science is a much more creative and human endeavour than what science tries to be or look like (and I think the field of STS -Science and Technology Studies – with Bruno Latour in the forefront are doing an important job in unpicking this and creating visible parallels between science-making and art-making).
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Having said that, I really like your reading of the light-leaks that appear throughout the book as these hints of "realities" that question. Like some sort of ghostlike conscience that pops up and asks the reader to question what is being presented to them. To me, the direct engagement with specific events from Älvdalen's past are grounded in an urge to question them, to look again and to look differently. These "leaks" became a way for me to allow for something else to be present in the work, to hover over it and to call for a certain hesitation, an unknowing of what we know as 'History', or of the photograph as 'document'.
Historical events highlight a strong local resistance in Älvdalen and the language has clearly played a significant part in this resistance. For example, Älvdalen was the place where the Swedish witch-hunts kicked off in 1668. It was the beginning of a period called "The Great Noise" in Sweden and it all started with 19 girls and one man from Älvdalen being accused of having performed witchcraft. They were all found guilty and executed, beheaded and then burned. The first girl who was accused to be a witch was the 12 year-old Gertrud. A young boy accused her of walking on water. The image and story of Gertrud really etched its way in to my brain. Partly for its religious connotations and visual 'strength' but also as a symbolic reminder of how History is made. The fact that there was this mass-hysteria that broke out in Älvdalen in the mid 1600s whereby children played a crucial role in helping the Church decide who was "good" and who was "bad" (they were the only ones innocent enough to know who had been copulating with the devil) highlights something revealing about how threatening this place was to the authorities. The Church recruited "wise-boys" whose job it was to spot the witches. The wise boys would stand outside the entrance of the church next to the priest and point at people who would then be arrested. Basically the stationed priest had a really hard time "controlling the Elfdalians" because they did not speak the same language as him. I have gone through the correspondence between this locally stationed outsider priest and the "head" priest in Stockholm and the reading is both revealing and scary but also strangely "contemporary" in its depiction of "the other" and the need for the authorities to control him/her. Local resistance is often represented historically as tragic events due to the repercussions (punishment by the state/rulers) of such resistance. The idea of paganism, spirituality or witchcraft has therefore been given negative and "dark" connotations historically. To me however, the "darker" periods in the history of Älvdalen clearly represent resistance, strength, resilience and hope.
By re-imaginging local history and appropriating Tenn Lars' images I am in some ways offering up new readings that in turn opens up to multiple more readings. I want the work to question both that, which has already been established as known and that, which has been discarded as not known or not true. By restaging the act of looking at these archival images, I find that it provides and interesting way of reinforcing both presence and absence, to make different layers of meaning and to allow for the viewer to employ their own imagination in relation to ideas about the past and how we traditionally tend to think of "the Archive" as a somehow neutral space. Of course it is not. The short text at the back of the book serve as a hint to a few events from the past that, in my opinion, make a strong case for the slippery and constant connection between what is established as known or unknown.
As for the most complicated elements of making the project, I think it must be the editing. A lot of images were discarded from the book for extremely subtle reasons. Slight differences in mood or atmosphere could shift the whole reading. However, I am now reusing a lot of what got filtered out in the different iterations of combining our works. For example, some of the images that were not included in the book have now found their way into different exhibition instalments of the work where the images need to serve a very different function than what was needed within the narrative created for the book. The "getting of" Tenn Lars and his world was instinctive, it did not feel complicated or difficult at all.
BF: Yes, dogma, religion and science are kith and kin and refuse to disentangle themselves from the human problem that created them. All are simply a fabricated device for humans to thwart their own mortality in a silly quest for something "more" after our corporeal dissolve. We spend life fighting so hard against the idea of death that we enable a bureaucracy to extol pain, violence and refuse the gift of humility to one another is a desperate quest to be "right" about our fragility. I tend to think the mystical character of many philosophies helps to focus between materiality in the service of alchemy, a deeper appreciation of the physical existence and also the celestial, astrological etc where the grandeur of our perception of the physical universe is honoured as the gift it is without this mortal crutch of complacent denial of its finitude. This is how we come to murder young girls accused of walking on water. That being said, that idea of murdering witches etc has a very long tradition, which is not limited to the fear of the supernatural, but presents an overriding and uncomfortable misogyny. Men were rarely accused of the same supernatural prowess and when they were, they were simply labelled as visionaries, prophets, magicians etc.
On the point of editing and having some access myself to working with archive imagery, I find that you have done a great job in editing the two bodies of work into one book. You have a couple of difficult concepts that you must have overcome from the debating nature of monochrome and color, the presentation between conceptual levels-the magical and scientific and in your work the compunction towards portraiture. The obvious overriding feature is that of time. In a way, the gap you bridged is sort of an update on the area and a continuation of Tenn Lars' own archive. It certainly adds to the folkloric aspects of the Alvdalen people. I wanted to ask about your own interest in spirituality. Did you come from a Judeo Christian background? Do you have a belief system and if so have you begun to re-examine through this process what your beliefs may be now? I actually wanted to reference a movie that I rather enjoyed called The Ritual, which uses Sweden as a backdrop for what is becoming the natural sublime and its horrific tendencies. There is religion involved, but it's much older and sinister. I reference it mostly to see if you have seen it, but to also talk widely on Nordic beliefs and your position within them.
MD: Yes, time! What a fascinating concept it is. For some time when leading up to making this work, I felt increasingly annoyed at how the concept of time and photography are traditionally coupled together and how photography gets interpreted in relation to time as something static. For me, photography gets connected with time in its very active cutting of it. By dislocating the continuous flow we still create a very specific material rootedness in time that make us, shape us as 'selves'. When we cut time, we are doing something; it's an active and important practice of 'sculpting', giving shape to something very specific. In the cut we make certain connections while we separate others. Photography seems to affect me the most when the balance between revealing and concealing are really pushed and experimented with. For me, it is not just about what a photograph shows or represents but what it does. Instead of just thinking of photography in relation to the passage of time and death, it can also be seen as a vital process of life making. So when you suggested earlier that I might have brought some ghosts from the past to life within this work, I am pleased to hear that since I have actively tried to think of the photographic medium as a tool that can make different connections outside of the traditional linear understanding of time. Because of its mute and mysterious nature it has the capability to carve out new passageways in life and of life and as it does it can move us and make us move in various ways.
When I was living the cabin Tenn Lars work moved me to think about time in new ways for sure. The attention brought to the materiality of the photograph (its fragility paralleled to the fragility of a language that is near-extinct), thinking about how to incorporate the elements in the actual image-making (extremely long exposures, creating light-leaks etc.), all of these 'experimental' attempts reinforced my connection to the work of Tenn Lars. The way that he was interested in natural magic and how he approached it, mixing astrology, scientific experimentations with electricity and photography as well as engaging with the old myths, fascinated me. Suddenly it seemed absolutely logical to me that the gravity of the moon could have an impact on my life in the same way that it used to play an important part in peoples lives and within pagan rituals. It was commonly "known" previously that tasks such as fishing or chopping wood would have different results depending on how the moon was positioned in relation to earth.
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"Time in the forest functions on so many different levels. In some respects it goes faster and in other respects it is much slower than it could ever do in a city. The forest (the landscape) came to represent this 'constant' within the book in relation to time and to the language".
My simple 'being' in nature also affected my relation in general to time. Time in the forest functions on so many different levels. In some respects it goes faster and in other respects it is much slower than it could ever do in a city. The forest (the landscape) came to represent this 'constant' within the book in relation to time and to the language. This is also how and why the text called Myriadmouth written by Swedish author Andrea Lundgren came to be. It was the last thing that was added to the work after quite a long time of contemplation of how to incorporate some sort of third perspective (so as to avoid making the book too dualistic as in me vs. Tenn Lars, black and white vs. colour) into the book. Andrea had previously written both about the forest but also a collection of essays (called 'Nordic Fauna') whereby seemingly mundane (at first) depictions of family relationships causes her characters to transform into different animal beings. Man becoming animal. As I discovered her writing, I was really captured by her way of approaching something mystical and strange in such a straightforward and down to earth kind of way. I approached her and shared a lot of my research with her. Quite early on into our conversations, Andrea spoke about an ongoing ambition of hers to write a conjuration (incantation? Spell basically, not sure of the right word). Once she had said that I knew she was the one. I asked her to produce a text where the forest speaks and the text she wrote is in many ways a conjuration. Together with the slightly toned images that start off and end the book (collected infrared images from the game cameras of local hunters) I felt like that nonhuman third perspective could provide the reader with another layer of the work, still alluding to something that is 'other', but in a different way.
I am not religious. I come from a typically secular household. No baptism, no confirmation, no communion and no plans whatsoever to get married in church (or anywhere else for that matter). When I was in my teens, my father insisted that I stopped paying the small voluntary church tax (1,02% of the taxable income) as soon as I started earning money. Most people in Sweden just pay this small percentage and don't think about it, but for my father it was a matter of principle. He thought of himself – and me as an extension of himself clearly – to stand with both feet far outside of the Christian establishment. I think I have fully inherited his positioning of his. It makes sense to me. In a similar vain, I remember having a small crisis the first time that I attended a friends wedding, witnessing the bride being "handed" over to her husband-to-be by her father. It felt so surreal to witness how perfectly intelligent and otherwise sane people chose to submit to such outrageous 'rituals' in the name of 'tradition'. Generally, I carry a profound anger towards all of the horrendous things that have been made in the name of religion, from what happened to 12-year-old Gertrund in Älvdalen to the crusades to seeing how this patriarchal system is still alive and in practice today. Any institution provokes a similar reaction within me and as a result I try to distance myself from such structures of power.
To be spiritual however is probably quite healthy I think since it takes away some of the self-centred importance that man has given to man. I certainly don't think we humans could be so petty in thinking that we are the only source of power on this earth and beyond.
My grandparents do not believe in 'natural magic' per se, but they have grown up with these common "folk believes" and tales that used to function as instructions about how to do certain things and when in order to not upset certain mythical figures or forest creatures. Although they might not fully believe in all of those stories, they have transmitted some of them to me. So, come to think of it, in some respects it sounds like I might have received more of a pagan spiritual upbringing than a traditionally Christian one…
Not sure what to make of all this but in essence, I believe that energies are important and that they can and should be channelled. If my mother wants to communicate with old spirits, talk to mediums about energies and revisit past lives I welcome it with curiosity, if my grand-parents tell me about the importance of keeping the house-trolls happy, I welcome that too. Similarly, if someone finds meaning in 'God' or in a stone, I feel a respect towards that in terms of what that might bring to them in terms of purpose or meaning. At the end of the day it is just different techniques of storytelling; ways for us to try to make sense of our existence and it points out to what extent we are in fact clueless.
Yes, I did develop a certain level of unease with portraiture within this work because of its close connection to ideas of representation. Clearly, despite the fact that I am placing this work within a specific historical and cultural context, I have no intention or urge to represent a community or a place. A lot of the themes that are touched on in the book come from a personal and creative engagement with my own heredity such as a language that has existed in my family for hundreds of years that I do not know how to speak. This is a personal and emotionally driven kind of work where I am processing some of the questions around identity, language, history and culture that have been brewing inside me for many years prior to the making of the images. The title is an indication that is supposed to hint to this. 'Elf Dalia' is a made-up word that derives from the name of the language but refers to a fictional place that I have carved out through the mix of my own photographs and Tenn Lars' archive. It does not exist in this world as such. Elf Dalia is not an observation of a place at a specific point in time. It is a very personal narration based on imagination, emotion and desire.
In some ways these 'questions' of heredity, family and identity construction that I have engaged with in previous works as well are central for my own understanding of 'Elf Dalia', and comes across most obviously perhaps in a series of 'self-portraits' that did not even make it into the book but that will be shown in an upcoming exhibition. I used pieces from my grandfather's collection of driftwood and created a number of 'totems'. I see them as self-portraits; a clear demonstration of the process of identity construction. When assembling these random pieces together, something 'else' is brought to life. Traditionally, the totem can serve as a symbolic language but it is also a sacred object that serves as an emblem of a group of people such as a family, clam or lineage with the purpose of reminding them of their ancestry. When I created these figures, I had in mind the symbolic language of the totem that I appropriated in order to convey a message about myself, while knowing fully well that in translation things always shift. They become something else. This 'shape shifting' is a quite important and recurring element in Norse mythology. All Gods can change into anything, man, animal, object and do so regularly. Also, according to Norse mythology, the gods created man and woman out of two pieces of driftwood.
Oh, and come to think of it, there is totally a connection there between my 'totem-figures' and the film you just made me watch (thank you, sort of…) since it is all about one of those shape-shifting gods. Obviously it's a horror movie so they made it very dark! And scary! All about one of Loki's (who sometimes gets translated into the Norse equivalent of the devil) offspring. Whilst it is true that many gods were not worshipped but rather hated or feared, most of them had very complex personalities, a mix of good and bad so that horror-example seem to be just that, a horror example… But, yes, I did enjoy discovering how it looked in the end of the film. Those human hands by the mouth, nice touch. Speaking of those shape-shifting creatures…the double-exposed photograph of a lady dressed in white made by Tenn Lars is for me an illustration of the "lady in the woods". She would appear in the forest, beautiful from the front but with a hollow back. She is not a friendly character to all humans but her character definitely has both good and bad. The Älvdalen version is galled Guenna and her "cave" is located in the mountain right by our family cabin so perhaps she has been watching me for some time…
Maja Daniels
(All Rights Reserved. Text @ Brad Feuerhelm and Maja Daniels. Images @ Maja Daniels.)
Posted in Art, Documentary, Highlights, Interviews and tagged Alvdalen, Brad Feuerhelm, Elf Dalia, Heritage and Photography, Mack, Magic and Photography, Magick, Maja Daniels, natural magick, photobook reviews, Photography and culture, Photography and Text, Photography Interview, Swedish photographer, Swedish Photography, Tenn Lars Persson, The Real Photography is Magic.
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Ben Nye Tooth Color has long been a staple in the theater and film to add just the right dimension to character makeups. Ben Nye's tooth colors dry quickly and last for hours. Colors remove with toothpaste or rubbing alcohol on swab. Available in Natural White, BLack, Nicotine, Zombie Rot, or Decay. Expect 20-100 applications. (.25 fl oz bottle of Tooth Color.) We are an authorized dealer for Ben Nye Products.


Objectives: Exercise leads to an increase in cardiac troponin I in healthy, asymptomatic athletes after a marathon. Previous studies revealed single factors to relate to post-race cardiac troponin I levels. Integrating these factors into our study, we aimed to identify independent predictors for the exercise-induced cardiac troponin I release. Design: Observational study. Methods: Ninety-two participants participated in a marathon at a self-selected speed. Demographic data, health status, physical activity levels and marathon experience were obtained. Before and immediately after the marathon fluid intake was recorded, body mass changes were measured to determine fluid balance and venous blood was drawn for analysis of high-sensitive cardiac troponin I. Exercise intensity was examined by recording heart rate. We included age, participation in previous marathons, exercise duration, exercise intensity and hydration status (relative weight change) in our model as potential determinants to predict post-exercise cardiac troponin I level. Results: Cardiac troponin I increased significantly from 14. ±. 12. ng/L at baseline to 94. ±. 102. ng/L post-race, with 69% of the participants demonstrating cardiac troponin I levels above the clinical cut-off value (40. ng/L) for an acute myocardial infarction. Linear backward regression analysis identified younger age (β=. -0.27) and longer exercise duration (β=. 0.23) as significant predictors of higher post-race cardiac troponin I levels (total r=. 0.31, p<. 0.05), but not participation in previous marathons, relative weight change and exercise intensity. Conclusions: We found that cardiac troponin I levels significantly increased in a large heterogeneous group of athletes after completing a marathon. The magnitude of this response could only be partially explained, with a lower age and longer exercise duration being related to higher post-race cardiac troponin I levels.


Mayor Michael R. Bloomberg, Parks Commissioner Veronica M. White, Sanitation Commissioner John Doherty and Director of the Mayor's Office of Long-Term Planning and Sustainability Sergej Mahnovski today announced the largest solar energy installation in New York City will be installed at Freshkills Parks on Staten Island.
Approximately 47 acres of land will be leased to SunEdison, which was selected through a public bidding process to design, construct, install and operate a solar power facility with the potential to generate up to 10 megawatts of power – five times more than any solar energy system in the city and enough to power approximately 2,000 homes.
The solar power system will be an integral part of the Freshkills Park, and will increase the City's current renewable energy capacity by 50 percent. Fostering the market for renewable energy and reducing greenhouse gas emissions are two key initiatives of PlaNYC, the City's long-term sustainability blueprint. This announcement is the latest in a series of solar initiatives the city has launched in recent years including significantly scaling up use of solar energy at City-owned sites and developing the NYC Solar Map, a web-based tool that estimates the feasibility of installing solar panels on any of the 1 million New York City buildings.
The Administration is moving forward with steps to officially map an additional 1,500 acres of Freshkills into parkland, officially bringing the total for Freshkills Park to 2,200 acres and bringing total parkland in New York City to more than 30,000 acres for the first time in history. The Mayor made the announcement at Freshkills Park where he was joined by Borough President James Molinaro, Assembly Member Michael Cusik, Assembly Member Matthew Titone and Atilla Toth, General Manager for SunEdison, for the announcement.
The Department of Parks and Recreation intends to file next month the application to the Department of City Planning to formally map an additional 1,500 acres of the Freshkills site as parkland. Currently mapped for a variety of uses and under different jurisdictions, this application will include a provision for specific sites at Freshkills to develop renewable energy. The move will expedite and streamline the administrative process to build the Freshkills solar facility as a model of this Administration's commitment to long-range sustainability practices. This application represents hard work years in the making, highlighting the City's commitment to parks and sustainability, alongside the elected officials and local leadership here in Staten Island.
In addition, once the application process is complete and with the area designated as parkland, the added land at Freshkills will put the City at over 30,000 acres of parkland – a size greater than the entire city of San Francisco. Specific to the 'Borough of Parks,' the mapping would give Staten Island the highest parkland acreage of the five boroughs, at 8,822 acres, representing 28 percent of the City's parkland. In all, the City has added 871 acres of parkland since 2001.
Today's announcement builds on the work the City has already done to cultivate more renewable energy. In April, the City entered into an innovative third-party ownership agreement to install almost 2 megawatts of solar energy on four City-owned buildings including the Port Richmond Waste Water Treatment Plant, two Bronx High Schools, and the Staten Island Ferry Maintenance Building. Almost 700 kilowatts already exist on City-owned buildings such as police precincts, park buildings and firehouses.
In addition to bringing renewable electricity to New York City, solar power will help reduce greenhouse gas emissions and local pollutants. During the hottest summer days, demand for electricity forces the activation of inefficient in-city "peaker" plants, some of which burn heavy fuel oil. The solar and wind facilities at Freshkills will reduce the need for peak electricity generation at these facilities, and help to meet the PlaNYC goal of a 30-percent reduction in greenhouse gas emissions by 2030.


There are various ways to access the internet from within Anonet.
The CGIProxy is a great tool for browsing internet websites occasionally. It uses the Tor access described below. No configuration is needed, but it won't work for all websites.
Some people run a Tor 'entry' node for public Anonet access. In addition, some people run some kind of HTTP proxy in front of their Tor server.
If you're peered to AS1112 / 1.3.3.130, you can use that router as an internet gateway. Simply add a route for the internet destination (0.0.0.0/0) to the tunnel (1.3.3.130).
Note that 1.3.3.64 should be replaced (twice) with one of your own IP addresses, which is already routed to that machine (for return data). You can also replace the default keyword with some IP address or IP network to use the tunnel for only that particular address/network.
This page was last modified on 24 October 2013, at 18:14.


Janice is not only beautiful, she's SMART! This little lady is 22 years old and just graduated with a degree. She's now going for her Masters Degree and it's amazing! I had such a wonderful time walking around with her and chatting about life. She also got whistled at twice while we were taking photos (once by an elderly man HAHA!). So funny! She's super sweet and it was such an easy night for me! Give me more sessions like this!!


Classic Cakes by Takuya Hanai at Salon de The Hanai (2): Blue Cheese cake!
I used to conduct tastings of Takuya Hanai/花井拓也さん at his former shop, Taky's.
It is only natural that I continued with his cakes at his new shop, Hanai Salon de The!
But I actually conducted this second tasting thanks to my good friend Mika who preceded me and brought this new creation for the two of us to taste: Blue Cheese Cake!
The concept of blue cheese for a cheese cake is highly risky for many obvious reasons.
But the combination with rum raisins, walnuts and dry figs will not only balance the strength of the blue cheese but actually create for an intriguing sweet and salty marriage.
It is a very creamy cheese cake riding a crispy biscuit, assertive but without any piquancy.
Actually, the whole approach is sweeter than expected mainly thanks to the addition of dry fruit.
Very elegant, with a superb balance, it is pleasure aimed at an adult clientele.
It definitely could be used as an appetizer!
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Garmin / Tri-Tronics Contact Points Kit. $12.99.
Let's take a look at the contact points on the new Pro units. The Pro units come with the regular contact points installed, but they also include a longer probe in case you have a dog that's got a really thick coat and you need that extra length. A lot of times, when folks are looking at them, they don't really see the difference between the two of them. But it's a pretty significant difference between the two. You get a wrench. Switching them out is real easy. Just unscrew it a little bit and then finger tighten it.
You'll see the difference here between a regular and a long probe. Pretty significant. You take your long probe, screw it in. Take your wrench and tighten it down. You see the difference there. The long probes are substantially longer. They are great for folks that have dogs with really thick coats. My Shepherd has to use long probes. My Labs, I'm usually better off if I have long probes. Most of my birddogs, my GSP's, my English Pointers, they are fine with the short probes. It really just depends. If you are not getting good skin contact with the regular probes, then you want to get your long probes out. That way you get through that thick coat. I recommend that you check your probes on a semi-regular basis. Make sure they are tightened good. That's all there is to it. Long probes on a Pro unit.
Fit perfect. Replaced the ones I lost.
Very pleased with these. I was able to keep a critical piece of my hunting equipment going at a great price and very quickly -- not missing a weekend hunt.
Service was timely and good as always. RE: Delta Upland XC Collar. You might reconsider your strong endorsement. The beeper is complex and will not turn on or off remotely. The intensity level selection can't be operated well with gloves, dial much better. Old TT or Sportdog products are much better, in my opinion. Will go with Sport Dog in the future.
The kit was fine, but all I needed was more of the short contact points. Wish I could have had the opportunity to order them without purchasing the kit since I already had a kit.
This product came in record time and really worked well! I will totally make Gun Dog Supply my dog supply of choice in the future!!!! Thank you!
Exactly what I expected came to me. Fit was good. Description of the product was good. Came in a timely manner.
Easy to use repair kit!
Excellent product , thank you for shipping so quickly!
Slightly over priced. But there is no other option for replacement parts. Not your fault, same price on the Garmin web site. We can't remember how we quail hunted without the Alpha 100.
Really wish I could have bought one set of the long points as I have no use for the short ones.
Includes set of long and short contacts, non-stimulation plug and a contact point wrench.
Replacement contact points kit fits the Garmin Alpha TT15 and TT10, Garmin PRO and Sport PRO series, and Garmin Delta XC Series.
Also fits Tri-tronics XL, XLS, S, G2, G2 exp, and G3 Series, as well as Bark Limiter XS and G3 collars with interchangeable contact points.
Does NOT fit Garmin Bark Limiter or original Garmin Delta collars, or the Tri-Tronics Sportsman, Companion, Original Bark Limiter, or any model made before 2001.
Country of Origin: Assembled in Taiwan from parts made in USA.


Hidayatullah National Law University (HNLU) has invited applications from the eligible candidates for the post of Professor (Law), Associate Professor (Law) and Assistant Professor (Law).
Essential Qualification: As prescribed by UGC and as amended and updates from time to time.
How to Apply: All applications should be sent by post or submitted in person to Registrar, Hidayatullah National Law University, Post Uparwara, Naya Raipur-492002, Chhattisgarh.


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Feature:Opinion
Keith Olbermann, idiot savant
Mark Judge Journalist and filmmaker
November 16, 2010 11:52 AM ET
The other night on his show "Countdown," Olbermann responded to a gaseous piece of nonsense written by Ted Koppel. Koppel had held forth in the Washington Post about the death of news, by which he meant the fact-based reports from the golden age of journalism — which, as Jack Shafer noted in Slate, happened to coincide with Koppel's own career in the mid to late 20th century. Koppel then scolded Fox News and Keith Olbermann for dismantling this great tradition with their partisanship and disregard for facts.
Olbermann's response, it must be said, was brilliant. It reminded me of a powerful papal encyclical. Olbermann made the point that, even in the age of Cronkite and Brinkley and Murrow, journalists picked what stories to tell and which ones not to. They were subjective. They fought battles and went on crusades. And then came the crucial part: they had their biases, but were also guided, Olbermann said, by "facts and honesty and their conscience." Again, the kind of thing you'd see coming from the pope or another great philosopher.
That is, except for the massive blind spot and contradiction at the heart of Olbermann's editorial. Keith Olbermann, idiot savant, lucidly dissected the pomposity and contradiction in Koppel's argument. But Olbermann's own fanaticism, which has caused something of a defective conscience and a tendency towards dishonesty, prevented him — prevents him — from practicing the very virtues he so perceptively extols.
If someone is an honest journalist, or even an honest human being, there comes a time when some of your beliefs are challenged. One might have been for the Iraq war, only to have that support shaken when no weapons of mass destruction were found. Conversely, one could have been against the war, only to come to support it after democracy began to take hold in Iraq. Or you could, like journalist Nat Hentoff, go from being pro-choice to pro-life when science and your conscience lead you to make conclusions about human life. You may be against gay marriage until you make a gay friend. And so on.
The thing is, people who are not fanatics use careful deliberation when these moments occur. They consult their conscience, but also talk to friends, read articles, deliberate with religious leaders, meditate and think about the issue. They are open to other points of view. This is not to say that there is not what Catholics like myself call the natural law — the law that tells us that certain things are always wrong. No one in their right mind defends rape.
When faced with issues of the day, people who are fanatics — including a lot of dinosaur media journalists — shut down: The Bible says it, I believe it, and that settles it. Or: Conservatives are evil; therefore one will not appear on my show. In his response to Koppel, Olbermann noted that he has criticized President Obama more than Fox News, and that this was proof that he is not in the bag for the Democratic Party. But as everyone including a fourth grader can see, Olbermann attacks Obama from the left. Olbermann is a fanatic for leftism. He's not in the tank for Obama — he's in the tank for Marx.
Actually, that's too strong. Olbermann's leftism is of the 1960s variety. The old left of the early 20th century was a false religion, believing in the inexorable historical evolution that would birth socialism. It was a belief system. The 1960s left became more about personal and cultural issues without much concern for the future. It didn't as much know what it was for as what it was against. As James Piereson explores in his great book "Camelot and the Cultural Revolution: How the Assassination of John F. Kennedy Shattered American Liberalism," after the murder of John F. Kennedy American liberalism became what American conservatism in the 1950s had been — aggrieved, paranoid, backward-looking. Piereson argues that this stemmed from the guilt that liberals felt at the fact that Kennedy was killed not by a right-winger, but by a communist. Instead of fingering the real culprit — the very communism they had been soft on — liberals blamed the death on the "fanatical" right. They turned Kennedy into a civil rights martyr instead of a cold warrior. And for the last 40 years they have been not as much proposing a coherent philosophy about the human person and what makes a good life as raging against the chimera of the boogeyman right. Combine that with the kind of lack of inner self explored in Christopher Lasch's landmark 1979 book "The Culture of Narcissism," and you have, well, Keith Olbermann — raging, paranoid, defensive, with an outsized idea of self to make up for his lack of a strong inner self. And a deep, deep paranoia about conservatives.
Someone with that kind of mentality and those kinds of issues is not often a very honest or honorable person. In "The Culture of Narcissism," Lasch noted that the narcissist personality has an oversized notion of not just his enemies, but anyone who contradicts him — they become monsters, not human beings. Reason does not come into play. To Olbermann — and his sidekick Rachel Maddow — conservatives are a menagerie of dangerous freaks, incapable of human reason or decency. I mean, why even have one on the show?
This is a betrayal of the very values that Olbermann so eloquently laid out in his response to Koppel. Say what you will about Bill O'Reilly, he at least lets liberals on his show — indeed, he seems eager to go on places like "The View" to mix things up with the left. O'Reilly is also, most of the time, a reasonable person with a working conscience. His argument against drug legalization is that there are already enough toxins in our lives, and more will not be beneficial to the common good. His question as to why, after gay marriage, three or four or ten people cannot get married has yet to be answered. And his simple factual statement that Muslims were responsible for 9/11 was met with the kind of childish explosion of rage that one read about in clinical psychiatric journals — or "The Culture of Narcissism." For Keith Olbermann, facts don't matter. In a conscience that has been warped by leftism, certain things are beyond argument: gay marriage and abortion are good. As are high taxes, larger government, and peace no matter what the costs. Conservatives are evil. The Nation said it, I believe it, and that settles it.
That's what was so bizarre about Olbermann's response to Koppel. Here we had a man laying out a case with sharp reason. Yet he will continue to ignore his own advice.
Mark Gauvreau Judge is the author of several books, including Damn Senators and God and Man at Georgetown Prep. His articles and essays have appeared in various publications.
Tags : barack obama broadcasting democratic party iraq jack shafer john f kennedy keith olbermann msnbc nbc news rachel maddow ted koppel television the washington post
Mark Judge
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Summary: The story of what happens after an awkward phone conversation with a pizza guy. / One-shot. AU. AH. OOC.
And I'm so incredibly glad that I did. This is purely a fluffy, adorable quick read…nothing really much of anything. It's more like a slice of life type of story, but oh my god…I nearly died of cuteness.


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Unit 6Answers 2Bids 24Other questions 10
For this Assignment, you may use a Fortune 500 Company that you have already researched. The focus here is on both domestic (American) and global operations. The Assignment incorporates how the firm functions in different parts of the world and what it can do to maximize its effectiveness as a global organization.Course outcomes practiced and assessed in this Assignment:GB540-4: Integrate concepts of regional, national, and global economic behavior withmacroeconomic theory.PC-4.1: Assess the value of multiculturalism and diversity in a global environment.DirectionsBegin by reviewing the following websites as resources for your Assignment:Organisation for Economic Co-operation and Development (OECD). (2017). Economic indicators. Retrieved from http://www.oecd.org/std/oecdmaineconomicindicatorsmei.htmU.S. Department of Commerce. (n.d.). Key economic indicators. Retrieved fromhttps://www.commerce.gov/economicindicatorsU.S. Bureau of Labor Statistics. (n.d.). Major economic indicators. Retrieved fromhttps://www.bls.gov/bls/newsrels.htmSelect 6–10 macroeconomic indicators that are of particular relevance to your firm and explain how they affect the performance of the company.Outline strategies on how the firm should respond to the changes in the economic indicators with the goal of maximizing revenues in the years ahead.How have they done in the past?What is their current state?What kinds of plans and possibilities do they have for the future? Is there room for improving what they do?Should new ventures be added or old ones subtracted?Then, discuss the firm's global operations, and their influences on the regional and national levels.You also need to assess the value of multiculturalism and diversity in operating (managing) a company in a global environment.As you can see, the field is wide open for you to construct your paper in the most relevant way you see fit.1 of 3Unit 6 [GB540: Economics for Global Decision Makers]CriteriaAs part of the Assignment, you will need to include the following: ● Your Assignment should have a coversheet with the following information: Title of the paper, Your Name, Course Number and Section Number, and Date ● It must be a minimum of 5-pages long (excluding the title page, references, etc.) ● Be sure to include the criteria located in the rubric below within your paper. ● It must be APA formatted with citations to your sources and your last page should list allreferences used. Review the APA formats found in the Writing Center. ● You must use a variety of three objectives, high quality, and current sources. Peer reviewedarticles, articles published in journals, textbooks, and library resources found in the Library areexamples of high quality resources. ● Note that Wikipedia, Investopedia, etc. are not considered as reliable resources for thisresearch.Directions for SubmittingSubmit your Assignment to the Unit 6 Assignment Dropbox by the end of Unit 6.GB540 Unit 6 AssignmentContent and AnalysisPoints PossiblePoints EarnedSelected a global fortune 500 company.10Selected and defined 6-10 macroeconomic indicators of particular relevance to the firm chosen.10Discussion for each of the macroeconomic indicators includes an explanation of its relevance to the performance of the firm.10Discussed strategies of how the firm will respond to changes in the macroeconomic indicators to maximize revenue.10Provided an appropriate analysis of the firm's global operations andintegrating information at the regional and national levels.10Examined how well the firm has operated in the past.10Analyzed the firm's current financial state and performance.10Discussed plans and possibilities the firm has for the future.10Presented an appropriate explanation and analysis of where there is a room for improvement.10Evaluated whether the firm should add new ventures.10Included an analysis of how well the firm's strategies that have worked to date.102 of 3Unit 6 [GB540: Economics for Global Decision Makers]Assessed the value of multiculturalism and diversity in a global 10 environment.Writing, grammar, and includes at least three reliable references in APA formatting. In-text references are included in the contents.10Total130PC-4.1Assess the value of multiculturalism and diversity in a global environment.Not Assessed N/ANo work was received by the instructor.No Progress 0Student work demonstrates no understanding or progress towards achievement of this outcome.Introductory 1Student work demonstrates the ability to identify multiculturalism and diversity issues.Emergent 2Student work demonstrates the ability to identify multiculturalism and diversity issues, and articulate them in a global context.Practiced 3Student work demonstrates the ability to identify, articulate, and explain a multiculturalism and diversity issue in a global context.Proficient 4Student work demonstrates the ability to analyze the benefits of multiculturalism and diversity in a global context.Mastery 5Student work demonstrates the ability to analyze the benefits and challenges of multiculturalism and diversity in a global context and recommend solutions.
The post Unit 6Answers 2Bids 24Other questions 10 appeared first on homeworkhandlers.com.


Braven Erik Peter Piedra Larson was born at 1:07 a.m. on Oct. 31, 2018 at South Peninsula Hospital to Olympia Piedra and Erik Larson of Homer. He weighed 10 pounds. His grandparents are Rose Vig of Atlanta, Georgia and Flo Larson of Homer. He is welcomed by big brother Lupin Piedra-Pine.


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Vilallonga del Campo o simplemente Vilallonga (oficialmente y en catalán Vilallonga del Camp) es un municipio español de la comarca catalana del Tarragonés, en la provincia de Tarragona. Según datos de 2009 su población era de 1889 habitantes.

Historia
La primera cita documental del municipio es de 1174. Estuvo en manos de la corte hasta 1391, fecha en la que el rey Juan I de Aragón vendió la villa al arzobispado de Tarragona. Más tarde estuvo en manos de la familia Montoliu quienes conservaron su posesión hasta el siglo XIV. En el siglo XVII estaba en manos de la familia Dalmases y en 1710 el señor de la villa, Pau Ignasi de Dalmases i Roc, fue nombrado por el archiduque Carlos, I marqués de Vilallonga.

Cultura

La iglesia parroquial está dedicada a San Martín. Es del siglo XVII, de estilo neoclásico y su fachada está inacabada. En la parte superior de la puerta se encuentra un relieve que representa al santo compartiendo su capa con un pobre. En la cornisa puede verse un frontón triangular que se encuentra sostenido por cuatro columnas con capiteles de orden corintio.

En las afueras del pueblo se encuentra una ermita dedicada a la Virgen del Rosario cuya fecha de construcción es desconocida. Se conserva una de las puertas de entrada de la antigua muralla de la ciudad.
Hay un museo dedicado al médico cirujano Pere Virgili.
Hay otro museo dedicado al mundo del cine.

Economía
La principal actividad económica del municipio es la agricultura. Destacan los cultivos de avellanos, viña, almendros, olivos y algarrobos.

Referencias

Bibliografía
Tomàs Bonell, Jordi; Descobrir Catalunya, poble a poble, Prensa Catalana, Barcelona, 1994
Artículo en la Enciclopedia Catalana

Enlaces externos

Ayuntamiento de Vilallonga del Campo
Información general
Datos estadísticos
Mapa del término municipal © IGN

Localidades del Tarragonés
Municipios del Tarragonés

redpajama_set_name: RedPajamaWikipedia


The CompTIA Space Enterprise Council and the Federation of Industries of São Paulo State cordially invite you to attend a U.S.-Brazil Space Summit on March 18, 2019, on the occasion of the visit of President Jair Bolsonaro.
Registration is now Closed: Please contact David Logsdon at dlogsdon@comptia.org with questions.
I am a... Technology expert or student Registered user Solution provider Vendor or Distributor Channel associate Journalist or analyst Required!