text:
Western City Gate of Belgrade
A pair of connected skyscrapers form this symbolic gateway.
Western City Gate of Belgrade Lawrence Jesterton on Wikipedia ( Creative Commons)
Western City Gate of Belgrade Filip Maljković on Flickr (Creative Commons)
Western City Gate of Belgrade m.a.r.c. on Flickr ( Creative Commons)
Genex tower Danuberiverchild (Atlas Obscura User)
Western City Gate, Belgrade, Serbia jetsettingfools (Atlas Obscura User)
The Western City Gate in Belgrade is not so much an actual throughway into the city as it is a massive portal that has been created by a couple of linked towers, capped with a restaurant as a crown.
Top Places in Belgrade
Ružica Church
A Serbian church lit by chandeliers made of weapons.
Added by Dylan
Ruins of Yugoslav Army Headquarters
Destroyed Serbian army headquarters sits half crumbled in a largely revitalized Belgrade.
Added by stanestane
'Roman Well' of the Belgrade Fortress
A misnamed well, with a deep dark past.
Added by nocturnalis
See more things to do in Belgrade »
Alternately known as the Genex Tower, the Western City Gate was built in 1977 as both a commercial and residential space, divided between the two skyscrapers. The towers are exemplars of the angular brutalist style and look not unlike something plucked from a sci-fi dystopia. The shorter of the two towers (at 26 stories tall) is actually home to the Genex company offices among other office space, while just across the gap is a taller tower (standing 30 stories tall) that is reserved for residential space. All said and done, the skyscraper(s) rank as Serbia's second tallest buildings.
The pair of towers are connected at top by a two story foot bridge that not only allows people to travel between the structures, but also provides for some amazing views of Belgrade. On top of one end of the bridge is circular revolving restaurant reminiscent of the pinnacle of the Space Needle in Seattle if that were perched atop a grim spire.
Anymore, the sides of the well-known building are plastered with advertisements that often hang down the length of the structure. Even with these bright ads giving some color to the structure, its brutalist look manages to shine through, and this symbolic city gate remains a rather dour introduction (or final image) for the city.
Visit Serbia with Atlas Obscura Trips
Past Future Monuments of the Balkans
Take a road trip across Serbia, Croatia, and Bosnia and Herzegovina with Atlas Obscura as we explore the Balkans in search of Yugoslav memorial sites.
brutalismtowersarchitecturearchitectural oddities
dusanmil89
http://jetsettingfools.com/8-things-to-do-in-belgrade-serbia/
https://herbertwright.wordpress.com/2012/06/27/expedition-to-the-genex-tower/
http://sajkaca.blogspot.rs/2008/01/genex-building-in-belgrade.html
http://www.spottedbylocals.com/belgrade/genex-tower/
http://www.serbiaconstruction.com/projects/genex-tower---western-city-gate/
https://en.wikipedia.org/wiki/Western_City_Gate
Western City Gate
Monument to the U.S. Bombing of the Chinese Embassy in Belgrade
A small memorial to a deadly night in Serbia that shook the world before it was swept under the rug.
Pobednik (The Victor) Monument
A towering spire in the fortress of Kalemegdan honors the victorious armies of Serbia during their struggles against the Ottoman Empire.
Tower of Wind
Curious onlookers have suspected this strange structure is a secret government base.
Church of Our Saviour
Climb to the top of its spiral spire for spectacular views of Copenhagen.
Cáceres, Spain
Torre de las Cigüeñas (Tower of the Storks)
The tallest tower in Cáceres's Old Town.
Sewoon Sangga (Sewoon Plaza)
Its humdrum facade only adds to its electrifying appeal: a rooftop with panoramic views of a shapeshifting metropolis.
Added by jennymlee


As per our client request, I am going to convert our MVC 4 application into ASP.Net core. What are all the common development and deployment difficulties that may occur during conversion process? Please provide your valuable suggestions on this.
Asp.net 5 we called as ASP.net Core, the structure / architect is different for both ASP.net Core and ASP.net MVC 4, if you want to Migrate from MVC to Core you have to put efforts while implement code and build the solution.
usually for Migration, similar type of structure only we are Migrated for example MVC 4 to MVC5, so it won't give much problem at that time, because structure remains same in that aspect but in your case structure is different.
Usually we look this option while making new project, that is the reason I suggest you to recheck whether this is mandatory to Migrate from MVC 4 to ASP.net Core, if it's necessary then only you can move further, otherwise my suggestion is stop to migrate.
If this is necessary to migrate then refer below link this might be helpful to you, what type of troubles you may face while migrating etc... they were explained.
Have you aware of asp.net core ?


text:
written by Conor O'Brien 9th May 2021
Brandon McKnight chatted about playing Chester P Runk, one of the newest members of Team Flash on The CW's long-time hit series, The Flash. Brandon also discussed his audition process and how he was inspired to start acting.
Welcome, Brandon and thank you for taking the time to do this.
Brandon McKnight (BM): Thanks for having me, man.
You're from Canada, a nation which boasts a rich legacy of both comedic and dramatic acting talent. Did anyone or anything in particular inspire you to pursue acting personally?
BM: Most of my inspirations actually weren't Canadian. It was mainly the big people that we all love in Hollywood – Denzel, Forest Whitaker. The main people that really inspired me were coming up around me, at the same time. A couple of guys like Emmanuel Kabango, Lyriq Bent, Clé Bennett (who we can see on Falcon and The Winter Soldier now). They were like a generation above me, those were the guys that paved the way.
Especially for black actors coming out of Canada. You see a lot of well-known black actors, now we've got Stephen James, Shamier Anderson. Watching those guys do what they're doing coming up made it really seem possible.
I was inspired by the Denzels and all those guys, but the guys that made it possible made it seem like, "Oh no, I can do this. I can shoot for the stars." Paving the way opened up all those doors. So, mainly those guys.
How secretive was the audition process to play Chester P Runk on The Flash? Were you aware of the character's identity when reading for the part?
BM: Not at all. Everything about the character was the same, but a different name. In the audition, his name was "Zeke" not Chester. There was no way for me to know up until we were in talks and negotiations, actually doing it, that the character was based off something from the comic books. From my personal knowledge, I thought it was just a random character that they were bringing in.
I knew the character was going to be recurring. Possibility of a series reg, but it was a very loose possibility. I didn't really know much about anything until after I got it. Then, they were like, "This is who the character actually is. This is where he comes from, this is what he does…"
Chester was one of the first characters to be introduced by new showrunner Eric Wallace, a known DC Comics fan. Was there any pressure attached to this? How instrumental was Eric in crafting who Chester was and how his presence would affect the show?
BM: Very much so. He gave me a lot stuff that to this day playing Chester, I still think about. One thing that he told me early on was that Chester's the smartest guy in every room, he just doesn't know it. He's the most empathetic person in every room, he just doesn't know it. He thinks faster than he can speak. [Eric Wallace] used the description of a dog seeing a squirrel paying attention to this. But then something over here will happen! Bouncing around non-stop, just moving so quickly.
He was very instrumental in setting the groundwork for what Chester was. Pre COVID, the writers were there all the time and they were like, "Listen, you can do what you want. You can change some of the lines if you need to. Let's figure out who this guy is. We've love what you're doing, so just play." And that's what I've been doing. Even to this day, I still get a lot of freedom to just do what Chester does.
Unlike previous new characters, Chester debuted on the show without any pre-existing connections to the established cast. Would you have played Chester differently if he had been friends with someone on Team Flash?
BM: I feel like him warming up to the team and him feeling more comfortable faster… even now, he's trying to find his place. That's kind of just who Chester is. He's always been the oddball, always been the outcast, in a way. So, being a part of this team now, he's still trying to figure…. gaining confidence every day. I feel like that process would have been a lot faster for him if he already knew someone from the team.
You know, you could go into the different types of story arcs that could come out of that. Maybe him having some sort of familiarity with Barry, Cisco or anybody early on then realizing that they're part of this big team, maybe that could have done something. There's a million different things that could have been done. It definitely would have been different, for sure.
Although you are now a series regular for Season 7, Chester P. Runk started off as a recurring role in Season 6. At the beginning, were you given any indication of how long Chester would be on the show for?
BM: Eric told me early on that he wanted to make Chester a part of the team. There was no concrete anything up until maybe a month before it happened. I've said this before, I knew the possibility of a series regular was there. I didn't know when, how or if it was actually happening.
Season 7, episode 6 ("The One With The Nineties") took a deep dive into Chester's backstory. It was an interesting to see such an extroverted character go through a very different emotional state. As the actor playing the role, how has what was revealed in that episode informed your portrayal of Chester going forward?
BM: The biggest challenge in that was just bringing Chester down. He's such a big ball of energy, so erratic and like you said, extroverted. He's just always dialled to 11. So, bringing him down to a ground level where he's still who he is, you still recognise him as Chester. Making it believable that this guy's having a real moment that's affecting him very deeply, the deepest of deep.
That was the main challenge with that and the scene between him and his father… it was difficult because of bringing him down to the ground level but also not so far down that he makes it obvious that there's more going on than what he has to portray. Chester can't sit there and be crying about his Dad or he'd be like, "Who's in my garage crying?" Still be covert, but feel what he felt. and still be Chester were the main challenges with that.
It was a blessing to have the actor who played my father as well [Milton Barnes] because he was great and an amazing person to work with. Those were the main challenges with that scene and I like how it came out.
Image courtesy of The CW
In other interviews, you've mentioned being familiar with The Flash before joining the show. Were there any characters you were looking forward to interacting with as Chester P. Runk?
BM: Everybody, man. I was mostly looking forward to working with Grant [Gustin] obviously since he plays The Flash. I was also very excited to work with Candice [Patton], Carlos [Valdes]… everybody, really. Very excited to work with Danielle. Me and Kayla [Compton] came into the show at the same time. We had never really interacted so getting to do that as well was amazing. It was all of those things.
Seeing as the show is called The Flash and Grant Gustin plays the character, was getting his approval important for you when you joined the series?
BM: I wouldn't say approval, but you definitely wanna… my biggest fear coming into the show, something I had to get rid of really early on, was just fitting into the puzzle. Not a lot of shows see six seasons, at the time that I was having these thoughts. Not a lot of shows have a fanbase like this. You go into this well-oiled machine that's been through a couple of showrunners before and everybody knows what they're doing.
Everybody has already built their relationships. Now, not only am I coming in as a new character to this team, I'm coming in as a new actor to the show, to this team. I just wanted to make sure that I fit and I didn't disrupt… I just didn't want to be a disruption, period. I wanted to find my place and find where I moulded without changing too much, while also bringing myself to what it is.
That was the biggest challenge, and I remember that I did that monologue in 601, I think on my second or third day shooting. At that time, I had only met Candice and Dani Nicolet (Cecile Horton). I met Grant, I think once just in passing. Everybody was so nice, so generous and then I did my monologue. The day after or two days later, I had another day on set. Everybody saw what I did and came in like, "Oh my God, we love what you did." They were all so very kind, very generous and met me with open arms. Moulding into everything was pretty easy.
It wasn't so much looking for approval, but I got the approval that I wasn't even really looking for. It was really, really nice.
Having had an opportunity to work with many other actors on The Flash, is there anyone you would like more scenes with?
BM: I've been very lucky because being the 'tech guy' or the guy on the comms, I kind of get to interact with everyone and work with everyone. So, I feel like I've been getting plenty of that, which I'm very happy about. Everybody is so talented, so great. I don't think there's any specific person that I want to work with more. I've worked with everybody and I would like to just continue.
Being a series regular on a network show is a full-time job. That being said, is there anything in the pipeline besides The Flash that you can talk about?
BM: I'm writing a couple of my own things. Mostly finishing a short film that I shot a couple of years ago. I'm at a place now where I can actually finish it. I'm also reading a few scripts, so there's a few things going on. Nothing that I can really comment on yet, because it's all up in the air. Yeah, there's a few things that I'm looking at.
Eric Wallace has a long connection with DC Comics outside of working on this show. Did you get any insight into why he would want to bring the Chester character (known as 'Chunk' in the comics) onto the show?
BM: Not so much, I just know Eric really loves the character. He really, really loves the character. You know, I just started reading the comics again and I think his story arc is great. He starts off as a person who seems like a villain, but really, he's fighting the duality of: 'I have these powers and all these demons, rooted insecurities and sadness. I have to do these terrible things in order for my powers not to consume me. I have to consume other things.'
That story arc and that idea that your own abilities that make you super are also the things that are oppressing you in a way, it's like a fight within one's self, literally. I find it really interesting and I think that's probably why Eric liked it too. He's black and that idea and that story has so much to do what it is to live in a black body. That whole internal struggle at all times versus how the outside world sees you, it's completely different from who you actually are.
As you see from the comics, he ends up being one of the most important people on the planet, in a way. He becomes one of the richest people. He was seen as something completely different and no one took the time, besides Wally West, to bond with this guy. All of what Chester represents is so accurate to what it is to be black today. I think Eric was really smart to bring this character in and also just bring more awareness to the character.
Seeing as the cast has filmed episodes further ahead than what has aired, how would you describe what's to come in only a few words?
BM: Expect a lot of twists and turns, a lot of surprises. Expect a lot of developments for all of the characters. Yeah, I'll leave it at that!
What do you hope to accomplish, professionally or personally, in 2021?
BM: Well, the short I mentioned before, hopefully, well not hopefully, I will be completing it this year. As well as, you know, there's probably a couple of other projects, like I was mentioning, that are kinda up in the air, that I"ve gotta make some decisions on. Hopefully those pan out. Other than that, keeping healthy, keeping safe, keeping happy.
To round this off, is there anything you would like to say to fans of the show?
BM: Other than thank you for watching, keep watching. We're going take you on a ride this season. Thanks for being a fan of the show. I love you as much as you love the show.
Once again Brandon, thank you for taking the time to speak with me. Take care and stay safe!
BM: Thank you so much, you too brother.
Follow Courageous Nerd on social media: Twitter, Instagram, Facebook, YouTube
Follow writer/Editor-in-Chief Conor O'Brien on social media: Twitter, Instagram
Conor O'Brien
Conor is the Founder and Editor-in-Chief of Courageous Nerd, who has conducted several interviews as well as having written articles, features, and reviews. He enjoys watching a variety of content, although his preferences are often science-fiction, fantasy, or horror. Conor also finds it weird to be writing in third-person.
Rick Cosnett on Eddie Thawne's legacy and Tu Me Manques – Exclusive Interview
Cisco Ramon: In Appreciation of The Flash's Right Hand Man
Aedin Mincks On Rejoining The Fight For 'Cobra...
Travis Burnett discusses joining The Conners & More...
Gianni DeCenzo On Demetri's Cobra Kai Evolution –...
Donald Heng Discusses Two Sentence Horror Stories, Being...
Yellowjackets: Kevin Alves on Travis and Locke &...
Nate Oh Discusses Cobra Kai Season 4, Becoming...
Cobra Kai Season 4: Owen Morgan Discusses Reprising...
Fear Street Part Two: Jacqi Vené on Entering...
Christine Solomon Discusses New Book 'Odd Ed' and...
Taming Sari: Lead Vocalist Warren Meredith On Musical...

redpajama_set_name: RedPajamaCommonCrawl


text:
Student Profile: Jack Sparkman
Tyler Chambliss, Staff Writer
If you ask any high school alumni how busy their senior year was, they would probably tell you it was definitely the easiest year of their high school career. But if you ask senior Jack Sparkman, he will tell you his senior year has been anything but easy. Sparkman chose to make his senior year a one to remember. Somehow, Sparkman manages to be a drum major in the marching band, an All-State Musician, a bowler on the bowling team, and is also ranked third in the Senior Class of 2016.
Many people may not know that the drum major of the marching band does not just conduct the band. He/she is basically the band director's right-hand man. Drum majors are carefully hand picked by the director.
"As one of the drum majors, along with the rest of the team, my job is to conduct for the band for the entire marching season," Sparkman said. "More than conducting, however, we spend a lot of time working with sections and individuals on perfecting musical and marching techniques. It is a lot of work, but it is a very rewarding experience."
Sparkman also recently qualified second in the Texas All-State Band. The All-State band is comprised of the best musicians in the state of Texas. Students from all around the state practice the multiple sheets of music for months to hopefully be considered an All-State musician.
"This is my first time as an All-State musician," Sparkman said, "I've been very close the last two years, but it's in the past. I'm not bitter (I'm bitter)."
Not only is Sparkman a great trombone player, he takes part in a great amount of community service activities, as a part of the National Honors Society (NHS). As a first year NHS member, Sparkman has participated in elementary school carnivals, Mansfield's Canned Food Drive, band and color guard competitions.
"This is my first year in NHS," Sparkman said. "I was considered last year, but thanks to a forgotten signature, I was denied my junior year."
Although being a NHS member seems to be time consuming, Sparkman still finds time to study and do homework for his large amount of AP and TCC classes. As a member of the National Junior Honors Society, Sparkman is expected to perform at the highest level in the classroom and outside the classroom. Jack participates in community service activities, while also maintaining a high GPA and class rank (3rd).


Can I send a postcard to the Postcrossing team?
YES! As you can probably imagine, we love postcards and receiving mail. So, if you'd like to send us a meeting card, show us some cool mail-related item that you found, or just say hi using a postcard, feel free to do so!
P.S. – Though we treasure every single postcard and letter we receive, depending on the volume of mail we receive, we might not be able to acknowledge all of it... So if you require an answer from us, the Contact form is a better way to receive a reply.


text:
/*
 * To change this template, choose Tools | Templates
 * and open the template in the editor.
 */
package com.hightechhighfives.yearone;

import edu.wpi.first.wpilibj.*;

/**
 *
 * @author josh
 */
public class LimitSwitch {

    protected DigitalInput di;

    public LimitSwitch(int portNumber) {
        di = new DigitalInput(portNumber);
    }

    public boolean isOpen(){
        if (di.get() == true) {
            return true;
        } else return false;
    }

    public boolean isClosed(){
        return (!isOpen());
    }

}

redpajama_set_name: RedPajamaGithub


text:
Anderson Cooper 360 on Thursday, June 9, 2016
Anderson Cooper anchored AC360 from a remote location again tonight. At the end of the hour he spoke with Andrew Sullivan about the AIDS epidemic that was the subject of tonight's edition of CNN's The Eighties. Below is the expanded interview as posted to the AC360 website. Only a short version made it to air.
Except for a promo for "The Eighties" at the end of the show, rest of Thursday's 360 was 2016 Presidential race. I'm not totally sure because I missed the first five minutes. I got there a minute or so before the panel started. I was glad to see only four members on the panel and three of them - David Axelrod, Maria Cordona, David Gregory - were good political commentators; the fourth was Trump parrot Kaleigh McEnany. It was the usual yada about Obama's endorsement of Hillary Clinton, the race and Trump. The only spark was when Cordona and McEnany disagreed about minorities wanting to vote for Trump. Anderson cut off their debate to go to commercial even though it was only :13 into the hour. I would have liked to see Cordona school McEnany on how minorities feel about Trump.
The second segment started with a live videofrom Joe Biden's speech before Anderson went back to the panel. Axelrod was asked and answered one question before Biden's speech came back this time including audio. Probably because that was when Biden was trashing Trump. When the panel came back Trump's campaign was discussed.
At the start of the next segment Anderson gave an overview of Biden's remarks and RNC rules. A new panel was introduced: Amanda Carpenter, Mike Shields, McEnany and another guy. I didn't watch because it was obviously going to be only about Trump.
Next up: a Randi Kaye report on the history of President Obama's and Hillary Clinton's relationship going back to the election of 2008. I didn't watch.
The last segment of this one-hour 360 was a promo for "The Eighties", the AIDS episode. Also here was Anderson's interview with Andrew Sullivan. I watched Hayes interview Sen. Chris Murphy and that made me wonder. Why can't Anderson interview more politicians and fewer pundits? Sen. Elizabeth Warren made the announcement of her endorsement of Hillary Clinton on Maddow's show. Other than short Q&A's with experts like Toobin or Sullivan, it feels like the only people Anderson talks to are pundits and more pundits. instead of talking to Too Many Pundits about some GOPers feeling wary of Trump, why not talk directly to one of those GOPers? Or better yet - a Democratic politician. See if Warren is doing anything tomorrow!
Happy to see President Obama's endorsement of Hillary Clinton--and maybe Bernie Sanders is starting to come around to the fact that he won't be the nominee and needs to get on board with the Democratic Trump Destroying Team. I loved how Joe Biden and Elizabeth Warren explicitly called Trump a racist--that's what he is and it should be shouted out continuously until the election. The GOP is trying to have it both ways by saying they don't like that he makes racist remarks but they will still support him--that is simply unprincipled nonsense.
Well it sure has been a while since Anderson did any kind of report on anything affecting the LGBT community--good interview with Andrew Sullivan on the horror of AIDS but I'm not sure if AC would've covered this story on his own without the attachment to the 80's special, but at least some LGBT news showed up on 360 after going missing for so long. Thanks for the extended clip.
AC's producer Jack Gray has been tweeting recently after having disappeared (from Twitter) for a while. I know there's a poster here who's been wondering what's going on with him.
CWM84 said...
I wish AC had a different guest talking about HIV and aids. Sullivan who is HIV positive used to have a profile ad seeking unprotected sex while adding he was HIV positive! Just a face palm from me... I agree CNN, 360 has ignored glbt issues for past year in favor of obsessive Trump and politics coverage. I used to admire CNN for variety. I wish the other President was still here. Zucker sucks...
A NEW HEADLINE READ "GOP LEADERS WILL SCOLD TRUMP" IF HE ENGAGES IN ANY MORE BOMBASTIC RACIAL RHETORIC. WELL I'M CERTAIN THAT TRUMP IS SHAKING IN HIS BOOTS AND WAVING HIS EVER SMALL HANDS
IN THE AIR, WITH FEAR.
THE WORD SCOLD IS FOR A CHILD WHO DESERVES A SPANKING, WHICH IS NOT DONE ANY MORE
THE GOP HAS A PROBLEM WITH DISCIPLINE. THEY GAVE BIRTH TO A CHILD THAT WOULDN'T LISTEN AND
IN THEN END, WILL DARE THEM TO CONTROL HIM.
HOW WILL THEY "SCOLD" THIS FOUR EYED MONSTER? HE SHOULD BE YANKED FROM HIS PODIUM AND THROWN
TO THE CURB WITH HIS FRIENDS JEFF LORD AND BLONDE AMBITION.
BUT WHAT GOP WIMP WILL REPLACE HIM? PAUL RYAN WHO OFTEN LOOKS OVER WHELMED.
YES, THE GOP HAS AN OUT OF CONTROL CHILD ON THEIR HANDS AND IT WILL BE "FUN" TO SEE JUST HOW THEY WILL "SCOLD" HIM. SO LET'S GET STARTED.


text:
Dying Light teases a DLC based on Hellraid
A return from the Great Beyond.
Techland have released a brief trailer where they've teased a new DLC for their zombie-shooting spectacle, Dying Light. It appears that the new content, which is scheduled for a summer release, has some heavy Hellraid references. Sadly, this first-person Techland title was never released and it was ultimately abandoned mid-development.
The trailer doesn't reveal a whole lot but we can see that a possessed arcade machine (it sounds silly, yeah, but that's how it is) is bringing the whole underworld to the core game. We have a brand new dungeon and a whole bunch of new enemies to slaughter. Of course, there is a bunch of new weaponry as well. More information on Hellraid will be announced shortly.
Dying Light is currently available on PS4, Xbox One, and PC. You can watch the trailer here:
For PS3, Xbox360, PS4, XboxOne, PC, Linux, MAC


The Rottenstein Law Group, which represents clients with claims stemming from the severe side effects of the drug Fosamax, has learned with some dissatisfaction of a significant setback to four individual lawsuits against Merck & Co., Inc.
In September 2005, a putative class of plaintiffs filed a class action against Merck, manufacturer of Fosamax, in federal court in Tennessee. When all federal Fosamax lawsuits were consolidated for purposes of pretrial procedures, the Judicial Panel on Multidistrict Litigation transferred the consolidated cases to the United States District Court for the Southern District of New York (MDL 1789).
The federal court in New York (in case 0S207) denied class certification and dismissed the putative class action in January 2008. Before this dismissal, however, four intended class members, each a resident of Virginia, filed an individual action (based in state-law claims) against Merck in the Southern District of New York (asserting federal jurisdiction based on diversity of citizenship).
Merck moved for dismissal of the individual actions, arguing that they were time-barred by the applicable law, being that each action was commenced more than two years after the latest possible date that each respective plaintiff had sustained his or her alleged injuries. The District Court granted Merck's motion, dismissing the four actions. The plaintiffs appealed the dismissals to the United States Circuit Court for the Second Circuit, arguing (as they had done unsuccessfully to the District Court) that the time to start a lawsuit was tolled while the putative class action was being considered for approval.
The Second Circuit determined that Virginia law governed the circumstance and accordingly asked Virginia's highest court to advise it. The Virginia Supreme Court has now ruled, in an opinion issued on March 2 in Casey v. Merck, Record No. 111438, that "Virginia recognizes neither equitable nor statutory tolling due to the pendency of a putative class action in another jurisdiction." In other words, the four individual plaintiffs are likely out of luck.
The Rottenstein Law Group urges anyone whose friend or relative has been prescribed Fosamax or another osteoporosis drug to reach out to that person and recommend that he or she consult a physician immediately and then speak to a qualified personal injury lawyer. The Rottenstein Law Group maintains a Fosamax Lawsuit Information Center at http://www.fosamaxfemurfracturelawsuit.com. The site has features that allow for easy sharing, including links for automatic posting on Facebook and Twitter, specifically to enable visitors to spread the word about the dangers of Fosamax.


text:
using System;
using System.Collections.Generic;
using System.Linq;
using Qwack.Transport.BasicTypes;

namespace Qwack.Dates
{
    public class MarketShutRuleSet
    {
        private string _calendarName;
        private Calendar _calendar;
        private readonly ICalendarProvider _calendarProvider;

        public DayOfWeek[] ShutWholeDay { get; set; }
        public TimeSpan CloseWhenHolidayFollows { get; set; }
        public TimeSpan OpenOnHolidayWhenNormalDayFollows { get; set; }
        public TimeZoneInfo TimeZone { get; set; }

        public string Calendar
        {
            get => _calendarName;
            set
            {
                _calendarName = value;
                if (!_calendarProvider.Collection.TryGetCalendar(_calendarName, out _calendar)) throw new KeyNotFoundException($"Unable to find calendar {_calendarName}");
            }
        }

        public TimePeriod[] MarketPauses { get; set; }

        public MarketShutRuleSet(ICalendarProvider calendarProvider) => _calendarProvider = calendarProvider;

        public bool IsOpenFromUTC(DateTime checkDate)
        {
            checkDate = TimeZoneInfo.ConvertTimeFromUtc(checkDate, TimeZone);
            if (ShutWholeDay.Contains(checkDate.DayOfWeek))
                return false;

            //Okay it is not shut all of this day

            var isHoliday = _calendarProvider.Collection[Calendar].IsHoliday(checkDate.Date);
            var isNextDayAHoliday = _calendarProvider.Collection[Calendar].IsHoliday(checkDate.Date.AddDays(1));

            if (isHoliday && isNextDayAHoliday)
                return false;

            var timeOfDay = checkDate.TimeOfDay;
            if (isHoliday)
            {
                //It is a holiday check the time is equal or after the open
                if (timeOfDay >= OpenOnHolidayWhenNormalDayFollows)
                {
                    return true;
                }
                else
                {
                    return false;
                }
            }

            //So it is a normal market day check it isn't after close before holiday
            if (isNextDayAHoliday)
            {
                if (timeOfDay >= CloseWhenHolidayFollows)
                {
                    //It is after close
                    return false;
                }
            }
            //We have made it this far, check it isn't during the market pause

            foreach (var mp in MarketPauses)
            {
                //normal case
                if (mp.Start < mp.End)
                {
                    if (timeOfDay >= mp.Start && timeOfDay < mp.End)
                    {
                        return false;
                    }
                }
                else //case where pause spans midnight
                {
                    if (timeOfDay >= mp.Start || timeOfDay < mp.End)
                    {
                        return false;
                    }
                }
            }

            return true;
        }

        public (DateTime pauseStart, DateTime pauseEnd) NextMarketPause(DateTime inDate)
        {
            inDate = TimeZoneInfo.ConvertTimeFromUtc(inDate, TimeZone);

            var nF = MarketPauses.Where(g => inDate.TimeOfDay < g.Start).Count();
            if (nF == 0)
            {
                inDate = inDate.AddPeriod(RollType.F, _calendar, new Frequency(1, DatePeriodType.B));
                inDate = new DateTime(inDate.Year, inDate.Month, inDate.Day);
            }

            foreach (var mp in MarketPauses.OrderBy(k => k.Start))
            {
                if (inDate.TimeOfDay < mp.Start)
                {
                    var pStart = inDate.Date + mp.End;
                    var pEnd = inDate.Date + mp.End;
                    if (pEnd < pStart)
                    {
                        pEnd = pEnd.AddPeriod(RollType.F, _calendarProvider.Collection[Calendar], new Frequency(1, DatePeriodType.B));
                    }
                    return (TimeZoneInfo.ConvertTimeToUtc(pStart, TimeZone), TimeZoneInfo.ConvertTimeToUtc(pEnd, TimeZone));
                }
            }

            return (DateTime.MaxValue, DateTime.MaxValue);
        }
    }
}


text:
8 Strategies for Building Brand Equity
By Jaime Lee 8 Min Read
Brand AwarenessBrand MarketingD2C Brands
Think about the brands you love most. Odds are, you probably came up with a brand like Netflix or Dove, which were among the 25 most-loved brands of 2019, according to consumer research company Morning Consult. Aside from enthusiastic fan bases, these brands have a few other things in common: They're instantly recognizable, they have huge footprints, and they have a lot of brand equity.
What Is Brand Equity?
According to e-commerce platform Shopify, brand equity is simply a marketing term that refers to the brand value determined by consumer experiences and perception.
"If people think highly of a brand, it has positive brand equity," Shopify says in its business encyclopedia. "When a brand consistently under-delivers and disappoints to the point where people recommend that others avoid it, it has negative brand equity."
Why Does Brand Equity Matter?
Brands want equity because it yields consumer loyalty, and therefore sales and profits. In fact, in a blog post about brand awareness, marketing software provider HubSpot noted positive brand equity enables brands to charge higher prices thanks to a greater perceived value in the marketplace, as well as to expand their product lines — and perhaps even impact society someday.
Sounds great, right? But how do you get brand equity? And how do you build it? It starts, of course, with consumers. Here's how.
For more on how to build customer loyalty:
How to Build (and Maintain) Customer Loyalty
Engage Customers and Prospects
In a brand equity explainer, graphic design platform Canva notes one of the easiest ways to figure out how much brand equity a brand currently has is to talk to customers. And, of course, once you know your starting point, you can grow brand equity from there.
"Whether it's enlisting a team of customer service representatives, sending out automated feedback forms — with an incentive for responses — or activating a dedicated email address for feedback, spotting issues and then working to fix them quickly is one of the most significant ways you can build trust in your brand — and ensure returning customers," the post says.
Other options for customer engagement include newsletters, Q&As, and giving behind-the-scenes looks on channels like Instagram Stories, Canva suggests.
For more on how to increase customer engagement:
How to Increase Customer Engagement
Foster Relationships and Grow Trust
Because brand equity is tied to the customer experience, Shopify says the process of building equity mirrors that of building customer relationships. You start by creating brand awareness and encouraging consumers to try a given product or service. If the first two prove successful, your brand becomes a customer preference and eventually even a customer favorite. In a best-case scenario, that endpoint is when a customer isn't just choosing a product, but actively opting to become a brand evangelist to share his or her experience and invite others into the fold.
"They think so highly of it that any product associated with the brand benefits from its positive glow," Shopify says. Therefore, by nurturing those relationships and turning customers into fans, brands can enhance their equity.
For more on how to build customer relationships:
It's All About Empathy: How to Understand, Influence, and Connect With Customers
Build Brand Awareness
Building brand awareness, or how well consumers know a given brand, also increases brand equity — provided consumer awareness is of positive experiences and associations and not a brand faux pas. (Which, naturally, would cause a brand to lose equity).
That's according to HubSpot, which notes awareness eventually leads to consumer trust for the brands that play their cards right. Growing awareness, however, is not only a never-ending process, it also includes multiple steps, like embracing brand values and interacting with customers on social platforms even when they're not looking for a sale.
"Imagine if you met a new person who wanted to be your friend. If they asked for [money or loyalty], you'd probably laugh and walk away, right? Not only is that a shallow approach to friendship, but it also leaves no lasting impact on you," HubSpot writes. "The same goes for establishing brand awareness among your audience."
Other ways to grow awareness include creating free content, offering a freemium model for services, sponsoring events, or starting a podcast. But how your brand connects with consumers also depends on what your brand is and who your customers are. Brands are wise not to attempt to be everything to everyone.
Canva also recommends carefully considering visual elements your customers interact with, like your brand logo, website, blog, and/or social media presence, and how they can help fuel awareness.
For more on how to increase brand awareness:
3 Ways to Increase Brand Awareness
Tell Your Brand Story
Once a brand has figured out what it stands for, it also has to communicate those values to customers through a brand story. Brands can literally tell their stories on their websites, but they can also weave elements of that story into other brand assets, like posts on social media or in email outreach. Human beings naturally gravitate toward storytelling, and the brands that successfully communicate this message are the ones that establish authentic relationships with consumers, which Canva says helps establish a solid foundation for more equity.
Invest in the Customer Experience
Since customer experience lies at the heart of brand equity, it should come as no surprise investments here can also pay off. Sometimes that can be as simple as doing your homework to figure out where customer pain points exist in your industry and building out a brand experience that eliminates those pitfalls. But it also means following the old "surprise and delight" marketing tactic. It was arguably perfected by Amazon, but that doesn't mean other brands can't do it, too, by striving to make every customer touchpoint a delightful experience for the end user.
And while brand experience will certainly vary depending on factors like industry and customer needs, brands are also wise to think about how they can craft a unique customer experience that differentiates them from competitors as another means of appealing to customers and building brand equity.
For more on how to increase customer retention:
5 Customer Retention Marketing Trends
Monitor Where Your Equity Is Coming From
In his Brand Report Card in the Harvard Business Review, Kevin Lane Keller, who is now Senior Associate Dean for Innovation and Growth and the E.B. Osborn Professor of Marketing at the Tuck School of Business at Dartmouth College, said the world's strongest brands share a number of characteristics, including monitoring where their brand equity comes from. To do so, brands must conduct periodic audits of their marketing efforts.
A brand audit should include a history of the brand's recent marketing efforts, as well as information about consumer response to said efforts. The latter can be derived from surveys, focus groups and/or other consumer research. The goal is to determine whether the brand's perception of itself and its outreach aligns with consumers' view.
For more on how to conduct a marketing audit:
Conducting a Marketing Audit [CHECKLISTS]
Institute a Brand Equity Management System
Strong brands also go as far as drafting what Keller called a brand equity charter, which outlines the brand's philosophy, and details acceptable uses for brand assets and brand audit results. This is often distributed to company executives on a monthly, quarterly, or annual basis.
"The brand equity report not only describes what is happening within a brand, but also why," he said.
This, in turn, helps brands stay focused on their equity-building goals and not get sidetracked by potential distractions along the way that don't contribute to the brand's long-term vision.
Design Future Marketing Programs
In addition, Keller described brand equity as a bridge that helps marketers travel from the past to the future.
"That is, all the dollars spent each year on marketing can be thought of not so much as expenses, but as investments — investments in what consumers know, feel, recall, believe, and think about the brand," he added.
In turn, this helps marketers figure out what to do next in order to build even more equity.
"Everything the company does can help enhance or detract from brand equity," Keller wrote. "Marketers who build strong brands have embraced the concept and use it to its fullest to clarify, implement, and communicate their marketing strategy."
The Key to Brand Equity
Since brand equity is rooted in customer experience and perception, building it is much like building human relationships. Communication is key from the first initial encounter and throughout every touchpoint thereafter. That's one reason brands like Amazon, Netflix, and Dove rank so highly among consumers. But you don't need the resources of an international corporation to increase brand equity. The key is to simply listen to your customers, engage them no matter where they are on the buyer journey, and provide an incomparable experience — and watch your equity grow.
Check out our D2C Shopping List — you won't want to miss the goodies we have lined up for you.
Author Jaime Lee
Jaime is Head of Content Strategy at AdRoll, a division of NextRoll, Inc. She has 12 years' experience in content, social, and partner marketing, spanning from scrappy startups to the global enterprise. Jaime loves crafting content that actually gets used by customers and goes to bed dreaming about how content can change the world. An avid tennis player and Champagne Martini enthusiast, Jaime spends most of her spare time being the #1 dog mom to her chiweenie.


The press has recently reported several incidents of harm to persons with I/DD in Delaware by their caregivers. We are extremely concerned about the safety and health of our most vulnerable citizens. If this funding deficit is not corrected, we believe more harmful incidents will occur.
Provider agencies must be able to attract and retain capable and qualified caregivers, give them appropriate training, and pay them a living wage.
The living arrangements operated by provider agencies must be consistently and effectively monitored for safety, compliance and quality.
Of the $37.25MM needed to reach benchmark rates, Medicaid would cover half, reducing state appropriations to $18.1MM.
Many families who care for individuals with I/DD at home struggle with enormous strains on time and finances, while saving the state significant costs of caring for them elsewhere.
These families may need occasional or ongoing supportive services covered by the waiver.
This waiver provides matching federal funds for every state dollar spent.
All citizens with I/DD should be able to make informed choices about their careers, and have the resources to seek, obtain and be successful in community employment.
Incentives are needed to encourage businesses to recruit, hire and maintain persons with diverse intellectual abilities for competitive position.
Improve non-competitive employment programs and ensure the opportunity to transition into more integrated and/or competitive workplaces.
Access a full color handout here.


The Power is in Being Personal. — DiResta Communication Inc.
The Power is in Being Personal.
On August 29th President and Mrs. Bush marked the anniversary of Hurricane Katrina by giving a speech.
Both Laura and George Bush have improved in their rhetorical skills since they took office in 2000. While Laura Bush delivered her speech effectively, she was still reading from a manuscript.
President Bush, on the other hand, added a personal quality to his speech. At key moments he paused to look out at the audience. He spoke from heart when he lamented the "failure of government at all levels."
Bush adopted a conversational tone as he used his own words to explain that part of rebuilding the city of New Orleans requires moving tons of debris.
At one point in the speech he made his typical verbal faux pas of tripping over his words. His response was to roll his eyes, smile, and correct himself. This personal nonverbal reaction let the audience know he was aware of his mistake. His expression seemed to say "Here I go again." He was able to laugh at himself.
Being personal allows the speaker to go off message and to react to the moment. The impact is a more authentic person-someone who is just like us.


text:
Sources we cover
Genealogy Services
Family biographies
Pedigree Charts (Family Trees)
Research as a gift
Copy reports
Surname studies
Originally a division of the world-famous Debrett's, Debrett Ancestry Research have been tracing the ancestry of families from all walks of life since the late 1970s.
Collins Peerage, precursor to Debrett's Peerage and Baronetage (last published in 2019)
John Debrett
The history of Debrett can be traced back to 1766, since in that year, John Debrett, the 13-year-old son of a French cook, was apprenticed to a Piccadilly bookseller and publisher, Robert Davis. By 1781, John Debrett was running his own business in Piccadilly. His list was a varied one, and he became involved with the publication of a handbook to the British aristocracy known as The New Peerage. To cut a long story short, by 1802 this was being published as Debrett's Correct Peerage.
John Debrett was an unassuming man who died alone and in debt, but two centuries later, his legacy Debrett's Peerage and Baronetage (last published in 2019) is still the definitive guide to Britain's titled families. www.debretts.com
Debrett Ancestry Research
By the late 1970s, it was clear that it was not only peers and baronets who took pride in their family history. Therefore, responding to a growing interest which spanned right across society, the publishers Debrett's Peerage set up a new division, entitled Debrett Ancestry Research. Its purpose was to provide a high-quality, professional research service for anyone with British ancestry who wanted to discover their family tree. The response was overwhelming. Forty years on, and now a separate company, Debrett Ancestry Research has researched more than 7500 families from all walks of life and from all over the world.
I am truly impressed by the quality of your work and also very grateful. There is so much in the report that I did not know and would never have discovered without Debrett's professional help.
S Coffey, Ireland
Dr Susan Morris
Susan studied English and History at Durham University, graduating in 1980 with a 1st class honours degree in English. She remained at Durham for postgraduate study and was awarded a doctorate in 1985. After working in publishing for two years, Susan joined Debrett Ancestry Research in 1985, becoming a Director in 1987. She has published articles in various journals and was co-editor of the 2019 Debrett's Peerage and Baronetage. Special interests: the oral tradition in genealogy, social history.
Gervase Belfield
Gervase was born in 1953 and educated at Ampleforth College. He graduated with a B.A. (Hons) degree in History from Southampton University in 1976 and was called to the Bar at the Inner Temple in 1979. Gervase joined Debrett Ancestry Research in 1980 and was Consultant Genealogist from 1986 until his death in June 2021. He was the author and co-author of several articles and books of historical and genealogical interest and was co-editor of the 2019 Debrett's Peerage and Baronetage.
Sally Hilliard
Associate Genealogist
Sally studied at Exeter University, gaining a BA (Hons) in History, and went on to be awarded an MA in Archive Studies by University College London. She worked as assistant and then deputy archivist at Lloyds Bank before becoming a genealogist. Sally is a member of AGRA (Association of Genealogists and Researchers in Archives) and has worked as a family historian for over twenty years. Special interests: social history and family history.
Local Specialists
In addition, our nationwide network of expert researchers provides access to archives throughout the UK and Ireland.
I would like to offer you my profound gratitude for the research that has been undertaken …. The professional approach which you have adopted throughout has been exceptional.
D. Caldwell, Qatar
Can I get further copies of my report?
We can supply further bound copies of our reports for other members of the family, which make popular gifts. The standard charge for a copy report is £25, and we can also supply a PDF copy for £15. If you are a client and wish to order an additional copy of a report please click here.
Is it possible to trace forwards in time as well as back?
In most cases we will be tracing back in time to look for ancestors, but the Standard and Extended Programmes can also be used to look for descendants. Usually, working forwards in time is more time-consuming, because there are more unknown factors involved.
Are you able to trace the ancestry of someone who was adopted?
This depends on the circumstances. For example, in England and Wales, a formal Register of Adoption has been kept since 1927, but before that it is likely that no formal record of an adoption survives. For adoptions after 1927, The Children's Act of 1975 allows an adopted person, if over 18, to apply for their original birth certificate. No one else can do this for them. If we are given a copy of that certificate, we can usually begin research on the birth family. In Scotland, adoption has been legally recognised since 1930, and information is supplied to the adopted person, if they are over 17.
Do you just follow back one surname at a time?
The most efficient method in ancestry research is to follow a single surname line back through the generations, from son to father to grandfather etc; so this is what we usually recommend. However, if you want two surname lines researched at once, and the research is likely to be straightforward, a good choice is our Extended Programme. This gives a little less research time to each line than the Standard Programme but allows for research on two lines. Another option is to commission more than one Standard Programme at the same time. If you choose this option, we may be able to offer reduced rates, so please ask for details. If you wish to research matrilineally (from mother to grandmother and so on) we recommend our Standard or Extended Programme, since this is usually more time-consuming.
How far back will you go within a single programme?
This is the most common question and the most difficult to answer, since every case is unique, and it is impossible to predict the outcome of research in detail. As a rough guide for UK research, if we are beginning at around 1900, we expect to discover at least three or four further generations within our Standard Programme. However, there are many variable factors, For instance, some families stayed in the same country parish for generations, while others moved around frequently in densely populated cities. Some left better 'paper trails' than others. We just don't know what we will find until we start exploring.
How long does a research programme take?
Good research is a painstaking process. The average time taken to complete a Standard Programme is three months, but this will vary according to where the records are held. For instance, some archives close for stocktaking or refurbishment, and this can cause delays. Also, we may need to look at documents in several different archives, and this too can mean that research moves more slowly.
What kind of detail will I discover?
Our usual priority is to discover as many generations as possible, since this is what most of our clients want. However, along the way we always note details of brothers and sisters, and we always record occupations wherever we can discover them. There are some details that we don't pursue: for example, we don't routinely look for death certificates in English research. Also, we won't research the recent generations in your family, unless you ask us to do so. So, you have a particular priority, or an area that you would like to be explored, please make this clear at the outset and we will do our best to find out what you want to know.
Should I choose the Standard, Limited or Extended Programme?
The Standard, Limited and Extended Programmes are carried out and presented in exactly the same way; the only difference is how long we spend on the research. The Standard Programme is suitable for most cases, but if you would rather have a shorter programme, or if you only want a limited amount of information, you might prefer the Limited Programme. (However, the Limited Programme is not suitable for complex or early cases, or for research outside the UK.) If you are just beginning research and would like two surname lines explored (for example, your father's and mother's) we recommend our Extended Programme. The Extended Programme is also ideal for very challenging or early cases.
What happens if I want more research?
At the end of every research programme, you will receive a detailed report and family tree. In many cases, there will be scope to continue research, so at the end of each report we make specific recommendations as to what could be done next. Then, you can choose to commission a further programme if you wish.
How are the results presented?
At the end of each research programme, we provide a detailed report, describing and analysing the research in full. Copies of certificates, census returns, etc, are included in the report, which is spiral bound in our traditional red and gold Debrett covers. In most instances, you will also receive a detailed pedigree chart (family tree), usually A3 in size, on 100gsm paper. Each chart is individually designed and presented in our unique house style.
What documents will you supply?
This will vary from case to case, but we routinely include copies of civil registration certificates, census returns and wills of direct ancestors. Copies of a variety of other records will also be included where this is permitted. When we are working in the civil registration period (from 1837 onwards in England and Wales) we usually try to obtain birth and marriage certificates for your male ancestors, where possible. This is because relying on census returns alone (as some do) cuts costs but can lead to serious errors being made.
How can I be sure that you have identified my line correctly?
It is certainly the case that in genealogy the results are often not cut and dried. We strive to be accurate at all stages of research, and we tend to err on the side of caution. This sometimes means that research is slow-moving, because in cases of uncertainty we will search around for further confirmation. It is always helpful to have full known information at the outset, since sometimes a small detail can be very important. The farther back we research, the fewer sources are available and this means that sometimes it is impossible to establish a connection with absolute certainty. In such cases we make it clear that we are making educated guesses, and where necessary, links will be shown on the chart as a dotted line, indicating that firm proof is lacking.
Isn't it all online now?
Many records are now available online, the most valuable of which are those which have been digitised and indexed. However, there are still a great many records which are not. Some researchers fall into the trap of searching what is readily available, rather than what must be logically searched. We place great emphasis on checking original sources where possible. Additionally, many inaccurate genealogies have now been posted online. Any family tree posted on an Internet site needs to be fully referenced with original records and so if it is not, treat it with extreme caution!
Primary Sources for Ancestry Research
In recent years, genealogy has been revolutionised by the release of vast numbers of records online. For example, images of census returns and many parish registers are now available. Moreover, most of these newly digitised records have indexes. This has made many key sources easier to access and use. However, it is important to be aware that a lot of important sources are not online. Local archives hold a wealth of records, many of which need specific expertise and local knowledge to interpret. Through our network of experienced researchers our coverage includes:
English and Welsh Ancestry Research
civil registration records (birth, marriages and deaths), from 1837
census returns (1841-1911)
original parish registers and nonconformist registers
Bishop's Transcripts and other diocesan records
wills and other probate documents
India Office records
manorial records
apprenticeship and other guild records
poor law documents
electoral registers and poll books
court records such as Chancery proceedings
early tax returns
heraldic visitations and other early published pedigrees
Scottish Ancestry Research
civil registration records (births, marriages and deaths), from 1855
testaments (wills)
memorial inscriptions
civic records
printed genealogical and local history works
Irish Ancestry
Many records were destroyed by fire in 1922 and others were not preserved. For any Irish research we recommend that you send full known details for a free assessment before commissioning work.
civil registration records (births, marriages and deaths), from 1864 (Protestant marriages from 1845)
1901 and 1911 census returns (most earlier returns were destroyed)
will indexes, abstracts, surviving wills (most were destroyed)
government records eg 1796 Flax Growers' Bounty List
land records eg Griffith's Valuation, Tithe Applotment books, deeds
Ancestry research outside Great Britain
To complement our research on British families we access a variety of records in the USA, Canada, South Africa, Australia and New Zealand. Our coverage of these will depend on the individual requirements of the case, and we recommend that you send full known details for a Free Assessment before commissioning work.
"I would like to congratulate you and your team for the wonderful presentation you made … I loved it, it was clear and precise, and the old map is a nice touch. It really is something to treasure."
N Kimber, Oxfordshire
Debrett Ancestry Research Ltd
Department WP
SO23 9YQ
Tel: (+44) (0)1962 841904
Email: info@debrettancestry.co.uk
Average rating on Yell.com
5 stars ★ ★ ★ ★ ★
© Debrett Ancestry Research Ltd 2020
Cancellation & Refunds policy
Luccam House, Hockley Mill, Church Lane
Twyford, Hants. SO21 1NT


When donating to charities, people expect their money to be spent wisely. However, since donors are not the recipients of final goods and services, they cannot easily assess their quality. Given that large scandals involving charities are covered in press again and again (for example, Kids Company in UK in 2015, or Unicef in Germany in 2006), the reported trust in charities remains low in many countries.


text:
Q: I have a table with data per month.How to average of data per quarter using select query from this table Below table shows data per month per year.I want to get average of value per months.
Sample data of my table:
month year value
-----------------
01    2017  89
02    2017  09
03    2017  89
04    2017  22

Output should be
month year   output
-------------------------------
01    2017   89
02    2017   (89 + 09) / 2
03    2017   (89 + 09 + 89) / 3

A: You can use rolling average to get your desired output. I assumed that you are using SQL server.
with cte as
(
 select '01' as monthp, '2017' yeart, cast('89' as int) as valuen union all
 select '02' as monthp, '2017' yeart, cast('09' as int) as valuen union all
 select '03' as monthp, '2017' yeart, cast('89' as int) as valuen union all
 select '04' as monthp, '2017' yeart, cast('22' as int) as valuen )

 select monthp, yeart, avg(valuen*1.0) over (order by monthp, yeart) outputsum   from cte

Output: Please note that I converted this value to decimal to get accurate value.
   monthp   yeart   outputsum
   01       2017    89.000000
   02       2017    49.000000
   03       2017    62.333333
   04       2017    52.250000

A: Just try with this!
 SELECT [Month], [Year], (CASE WHEN [Month] BETWEEN 1 AND 3 THEN AVG([Value]*1.0)
 OVER (ORDER BY [Month], [Year]) WHEN [Month] BETWEEN 4 AND 6 THEN AVG([Value]*1.0)
 OVER (ORDER BY [Month], [Year])WHEN [Month] BETWEEN 7 AND 9 THEN AVG([Value]*1.0)
 OVER (ORDER BY [Month], [Year])WHEN [Month] BETWEEN 10 AND 12 THEN AVG([Value]*1.0)
 OVER (ORDER BY [Month], [Year]) END) [Value]
 FROM Table   //your table Name

redpajama_set_name: RedPajamaStackExchange


text:
The Haberdashers' Company
Members' log In
Haberdashers' Hall
Lord Mayor's Show 2019
The Golden Lecture
Origin of the Golden Lecture
William Jones, one of the Company's earliest and most generous benefactors, bequeathed money to the Company in 1614 for a school and almshouses in Monmouth, where he spent his early years, and in Newland where he was born, as well as the appointment of preachers to spread the Gospel, particularly including the annual Golden Lecture.
More than 400 years later his school now educates almost 1400 boys and girls in Monmouth and is recognised as one of the best schools in Wales and the almshouses provide 25 warm and secure homes for elderly people.
The Golden Lecturer is required to deliver a sermon in a Church in the City of London and regular donations are made to the Dioceses of London and Southwark for the support of the Clergy there, still funded by the William Jones bequest.
The 2019 Golden Lecture was held at St Lawrence Jewry on 28th March and the speaker was the Rt Revd and Rt Hon Dame Sarah Mullally DBE,
Bishop of London. The title of the Bishop's Lecture was Seeking the Welfare of the City: The Role of the Church in Turbulent Times. Please see the transcription, and those of previous years, below:
The Rt Revd and Rt Hon Dame Sarah Mullally DBE
Seeking the welfare of the City: The Role of the Church in turbulent times.
The Revd Alan Gyle
Self-awareness, self-absorption and the Common Good: the challenge of the individual in the 21st century
The Right Revd Peter Maurice
Doubt - A True Mark of Faith
Master & Wardens
Orangery & Garden
Why Education?
Schools Map
Church Patronages
News from our Charities
Library & Shop
Diary Insert
Hall Tour
Copyright © 2019 Haberdashers Company. All rights reserved.
Site by MillerTech


text:
Gmina Bytyç (alb. Komuna Bytyç) – gmina położona w północno-zachodniej części kraju. Administracyjnie należy do okręgu Tropoja w obwodzie Kukës. W 2011 roku populacja wynosiła 1563 mieszkańców – 786 mężczyzn oraz 777 kobiet. W 2011 roku Albańczycy stanowili 92,77% mieszkańców.

W skład gminy wchodzi trzynaście miejscowości: Corraj, Berishë, Bytyç, Kam, Kepenek, Leniq, Mashë, Pac, Prush, Visoça, Vlad, Zogaj, Zherkë.

Przypisy

Bytyç

redpajama_set_name: RedPajamaWikipedia


text:
RECAP TOWN COUNCIL WORKSHOP & SPECIAL TOWN COUNCIL MEETING -- by Larry Fillmore
At last night's Town Council Workshop there was little discussion about the budget. There was a lecture by Chairwoman Ward about how much work the Finance Committee and others had put into the proposed budget. The Town Manager cut $6,035.00 out of the Professional Development budget of the General Government. Other than that, the Municipal Budget was penny for penny the same as the previously failed budget.
Councilor Bickford said that he felt it was an injustice to have any bonds on the June ballot and wanted an Ordinance prepared to limit bond issues to the November ballot. The Workshop was adjourned without the people having an opportunity to speak which is normally done at the end of the Workshop.
Next, the Special Town Council meeting began with Council Orders, Resolutions & Ordinances. The Municipal Budget passed by a vote of 5-1 with Councilor Pesce voting NO. The Economic Development Budget passed by a vote of 6-0. The Catering permit for Hi Style Catering was passed by a vote of 6-0. And finally, the Community Planning Agreement for Professional Services was passed by a vote of 6-0.
There was no one to speak during Other Business or Audience Participation & Response.


What is Highgate Performance tennis?
The performance element of our junior coaching programme is known as HPT and is aimed at juniors who have experienced group and individual coaching before and have also competed in local tournaments. This is an invitational coaching programme and an assessment is done by one of the HPT coaches to determine whether HPT is the right option for your child. If this isn't the case then a squad within the Development programme will be offered.
HPT is a successful performance programme that has produced numerous county and national standard juniors both in Mini Tennis and full ball tennis. We currently have 3 national juniors and several county players within our programme training 2, 3 or 4 times a week.
We offer squads for both mini tennis and full ball tennis. Each player will be assessed and advised which squads are best for them. See our HPT squads here.


text:
/*
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *       http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package org.flowable.content.engine.impl.interceptor;

import org.flowable.content.engine.ContentEngineConfiguration;

/**
 * @author Tijs Rademakers
 */
public class CommandContextFactory {

    protected ContentEngineConfiguration dmnEngineConfiguration;

    public CommandContext createCommandContext(Command<?> cmd) {
        return new CommandContext(cmd, dmnEngineConfiguration);
    }

    // getters and setters
    // //////////////////////////////////////////////////////

    public ContentEngineConfiguration getDmnEngineConfiguration() {
        return dmnEngineConfiguration;
    }

    public void setDmnEngineConfiguration(ContentEngineConfiguration dmnEngineConfiguration) {
        this.dmnEngineConfiguration = dmnEngineConfiguration;
    }
}


If the wheels are new I would return them and demand return shipping paid. I know you had them mounted already, but I don't like any wheel that requires too many weights.
I recently read where a guy with new wheels and tires was having trouble getting them balanced. Two of the wheels had excessive weights: one was 5 and the other 7.5 oz. He had them remove the tires and balance the just the rims (steel magnum 500s). They both came in less than 2 oz, so he had them send the tires back and get new ones. The tires were Cooper Cobras. As I recall Cooper gets a rating of 3 out of 5 and BF Goodrich is 2 or 2.5.
If they are Steel Magnum 500 wheels, the OE wheels were always LUG centric … not HUB centric as there really is no round center hub to locate on. I'd assume the repros are the same.
I can understand the problem. Wheels are not made to be centered on the hub, but on the lug nuts. You need a template of some sort, to know if there is a difference. There might be an adapter available to bolt to the lug nuts and the adapter has an exact center based on equal distance to each lug nut. Maybe use a caliper and measure the exact distance between the hub center ( when on the alignment tool) and each lug nut?
Just googled VWW and all the links I clicked on to their site are down. Likely reason is it appears that Coker Tire bought them out.
Also googled the V45 and I see that it is an aluminum wheel similar to an old-school Torq-Thrust D. Can't say I've ever run across an aluminum wheel that is NOT hub centric, so your installer balanced them right which means you either have bad tires, wheels or both.
ok, this is quite simple.
ecklers says they must be balanced using the lugs, NOT the center of the wheel.
If they do need to be balanced by the lugs, you can have the wheels mounted by the lugs then have them checked for balance. If they are just a little bit out of balance, look at the edge of the rim (not the tire) while the wheel is spinning and see if it is true or not. If the wheel is true, have the tires removed and spin up the wheels only. This will tell you for certain exactly how much the wheels are out of balance and how much the tires are out of balance. If the wheels are out of balance by very much or untrue, simply call VWW and tell them and see what they say.
Glad I was wrong in my thinking that aluminum wheels should normally be hub centric.
Learned something new today ... that is always good.
Hopefully your installer or someone else close to you has the correct lug centric adapter so they can get you set up properly.


Last night I spent hours in the kitchen lovingly making home made Vegetable Soup & Vegetable Samosas, which were followed by Lemon Meringue Puddings.
It was such a disappointment when my vegetable soup didn't turn out quite right.
I started the soup by chopping up some onions and frying them in fry light. I kept pouring in a splash of vegetable stock (1 pint used in total) until all of the stock had been soaked up into the onions. I then added some herbs and spices, some Worcestershire sauce and some Marmite to the pan. Tomato and Basil Passata was then added along with some water and a load of veggies (Carrots, Leeks, Swede etc). I left all this to boil on the stove for about 30 minutes.
I think the mistake that I made was to add a cinnamon stick to the soup, which I later forgot to take out before putting the soup in the blender....... disaster, the soup had such a strong & unpleasant taste to it that I could only manage to eat a very small bowl of it before deciding enough was enough! Plus I kept finding little bits of wood .....yuk!
At the same time as making the soup I also made some little Samosa bites. These were made with mashed potato, peas and Indian spices. I then cut some filo pastry into squares and tried to fill them with the spicy mash and peas. The triangles were a bit of a mess and very fiddly so I decided instead to roll them a little like a spring roll. They were then brushed with egg wash and baked in the oven until they started to brown (about 15 minutes). Meanwhile I made a mint yoghurt dip with (no fat) plain yoghurt, a little mint sauce and some Canderel.
The result was pretty good, obviously not as authentic as the real thing but a good low fat alternative at 1 syn each on Extra Easy or Green. I will definitely try these again.
On to my puddings. Well after so much effort to get to the end result and when they came out of the oven they looked so so good....(for low fat meringues anyway), I thought fantastic....but alas they were awful, really bitter with an un-meringue like texture. I wont bother putting up the recipe that I followed as I wouldn't wish that dessert on my worst enemy.
I am very glad to say that tonight's dinner has been much more of a success, very basic, tasty and filling (Photo below). I followed the meal off with sugar free jelly, a Muller light yoghurt and some fresh fruit.


text:
Company name: DEPOFARMA S.p.A.
Registered office: Via Terragliol, 67 – 31022 Preganziol (TV)
Head office: Via Tintoretto, 9/a – 11 int.6 and 7- 31021 Mogliano Veneto (TV)
Commercial Registry Office: TV-100717
R.E.A. number 100717
CORPORATE INFORMATION AND CONSENTS
DEPOFARMA S.p.A.
Privacy Policy del sito (http://www.depofarma.it/privacy-policy/)
AVVERTENZE SU DIRITTI D'AUTORE E MARCHI REGISTRATI
The entire content of this website is protected by copyright (copyright ©) 2019 of DEPOFARMA S.p.A. or its suppliers. All rights are reserved to the owners according to the law.
In accordance with art. 1, paragraph 1 of Decree Law no. 72 of 22 March 2004, as amended by conversion law no. 128 of 21 May 2004, the works on this site have fulfilled their obligations under copyright and related rights legislation.
Reproduction, communication to the public, making available to the public, rental and lending, public performance and dissemination without the permission of the rights holder is prohibited.
Violations are subject to the sanctions provided for by Articles 171, 171-bis, 171-ter, 174-bis and 174-ter of Law 633/1941.
Pursuant to art. 5 of Law no. 633 of 22 April 1941 on the protection of copyright, the texts of official acts of the State and public administrations, both Italian and foreign, are not covered by copyright.
The copyright indicated refers to the elaboration and form of presentation of the texts themselves.
Alleged copyright infringement
These communications must be submitted in writing and sent to the representative in charge of DEPOFARMA S.p.A. at the following address, fax number or e-mail address:
Headquarters: Via Tintoretto, 9/a – 11 int.6 and 7- 31021 Mogliano Veneto (TV)
Tel: – Fax: +039 041 457 4044
eM. privacy@depofarma.it
OPERATIONAL OFFICE
Privacy & Cookies Legal Info
We are Our History Research and Development Therapeutic areas


Which five words best describe you? Calm, patient, loyal, attentive and honest.
How did you get your career start and what path have you taken since? My career started with a valuable internship opportunity in Paris with Jacques Grange. It was only a short time but it led me where I am now and made a big impact on my career. I remember it to be quite a traditional way of working where plans and elevations were drawn by hand. There was a real feeling that the interior designer was not working in isolation but was part of a team which included, clients, builders, suppliers, etc. This idea is the cornerstone of my practice today.
What's the best lesson you've learnt along the way? Stay open, positive and focused.
What's your proudest career achievement? Creating my own practice. The studio, Etic, takes its name from the anthropological term for cultural study; "emic" and "etic". "Etic" is the practice of studying a society from an objective position.
What's been your best decision? Staying in Australia. I boarded a plane in Paris thinking that I would be back two months later. It was seven years ago.
Who inspires you? Passionate people. No matter what they are passionate about. I see the spark in their eyes and I am captivated.
What are you passionate about? Food, history, design, art and architecture.
Which person, living or dead, would you most like to meet? Pierre Chareau who designed la Maison de verre in Paris.
What dream do you still want to fulfil? Use my skills to help people in need locally or globally.
What are you reading? Thinking architecture by Peter Zumthor. It resonates deeply with my own experience.


text:
AWorkstation.com
Love, Art and Design
Add portfolio
August 10, 2021 Modern artMartin
Of Light & Folds
Etel Adnan's contribution to the 2015 Istanbul Biennale was an artist's book titled Family Memoirs on the End of the Ottoman Empire. This accordion-fold work contains the artist's handwritten recollections, in Turkish and English, concerning her family and the catastrophic conflicts of the decade before her birth in 1925. As the text mentions politically sensitive material—social ties between Turkish and Armenian families before the 1915–17 Armenian-Assyrian-Greek Genocide—what had originally been foreseen as an accompanying wall text was shrunk down to a more discreet card one could read while viewing the turning of the pages. At the Biennale, a white-gloved assistant seated at a table silently lifted, displayed, and shifted the pages for visitors.
Family Memoirs on the End of the Ottoman Empire is but one example of Adnan's sensitivity to the ways in which we look, read, and remember—a sensitivity that inflects her larger hybrid art-and-writing practice. In this particular institutional and national context, the fold took on new meaning, as a site that at once concealed and revealed, that demanded intimate, patient reading and looking from those who chose to approach the table, even as it intensified more broadly resonant connections between everyday life and the centenary of the genocide, still unacknowledged by the Turkish government.
Listen beautiful relax classics on our Youtube channel.
Adnan, who was born in Beirut to a Syrian father and Greek mother, began working as a Californian in the late 1950s. After studying literature and philosophy at the École des Lettres in Beirut, the Sorbonne, the University of California at Berkeley, and Harvard, she became a professor at Dominican College of San Rafael in 1958, teaching aesthetics and the philosophy of art. There, a colleague encouraged her to revisit a childhood curiosity—painting—in spite of the fact that Adnan's mother had warned her that she was "too clumsy." ("And you believed her?" countered the colleague, artist Ann O'Hanlon.)
Etel Adnan: Numbers, Signs and Squares, 2015, ink and watercolor on paper, approx. 13½ feet long.
Adnan began painting, wrote poetry in English against the war in Vietnam, and undertook an exploration of various media that would lead her to pursue tapestry-making and ceramics, filmmaking, fiction, playwriting, and journalism. Yet, to call Adnan's path a "career" seems inaccurate: the term conversation is more apt. This conversation encompasses mountains, especially Mount Tamalpais, which she painted daily while residing in Sausalito, where it was visible from a window in her home; cities; wars; space exploration; the worlds of plants and animals; even the nature of color itself, in all its insistence, violence, and richness—and, of course, books.
THE NAME FOR THE ARTIST'S BOOK-FORM favored by Adnan has a somewhat ignominious source: in Mozart's Don Giovanni, Leporello, the lothario's right-hand man, reads out a list of his master's amorous conquests. Famously, he sings, "My dear lady, this is a list of the beauties my master has loved; a list which I have compiled; observe and read along with me." The leporello—an accordion-style binding with hard covers on either end—is so named for its resemblance to that character's apparently endless list. With pages formed by a single folded sheet, the leporello can be conveniently packed up, its front cover like the top of a box. Yet one might unfold a long leporello to find that it crosses the entire floor of a room. A shorter leporello will stand nicely on a table top, like a small screen or series of walls, its zigzag pages and stiff covers acting as a sort of paper architecture.
Etel Adnan: Inkpots, 2015, ink and watercolor on paper, approx. 91/2 feet long.
Adnan's interrelated roles as poet and painter meet in these hybrid visual spaces that un-scroll in time. She makes use of blank accordion style books imported from Japan. The covers on either end of the book are wrapped with fabric by the manufacturer; sometimes the fabric is patterned or bears a pasted-on paper label. Adnan occasionally paints over the pattern or inscribes the title of the leporello on the label; otherwise, she does not alter the books before filling their pages. Of her decision to engage with this sort of prefabricated notebook, Adnan writes:
I remember how carefully I used to wash my hands, with what care and apprehension I was choosing a particular scroll, with what interest I was looking at the paper, usually Japanese handmade paper or rice paper made in Kyoto, because everything had to be in tune, the size, the format, the text, the colors, the texture of these colors, the light outside, my own availability; it was each time like entering into a religion for a believer, like going for a climb, for an alpinist, as if painting in this case was also a sacred sport, a battle both spiritual and physical, as well as a game of chance.
It is interesting to read Adnan's use of the term "scroll" here. Although the pages of the leporello arrive already pleated, Adnan is clearly of a mind to emphasize their continuity rather than their possible status as a series of discrete rectangular planes, divided into units by line-like folds. At times, she continues handwriting or drawing, ignoring the folds altogether and ending only when she has filled the entire book. The tactility of the paper is as important as this quality of expansiveness. In mentioning her practice of adjusting her own "availability" to her materials and environment, Adnan's remarks are reminiscent of those made by the Japanese novelist Junichiro Tanizaki in his 1933 essay, a favorite of students of design, In Praise of Shadows. Tanizaki notes, "Western paper turns away the light, while our paper seems to take it in to envelop it gently." He observes that Japanese paper is soundless when agitated and "pliant to the touch." This tendency to absorb and bend is at once inviting and challenging. Adnan says that to paint and write on "these long horizontal scrolls" is akin to the adoption of a system of belief or an encounter with a landscape; it is a "sacred sport," a matter neither purely of the spirit nor of the body. Chance, presumably because of the liquid nature of ink as well as the undulating surface of the page, enters into this encounter as well. Materials, Adnan maintains, "become in a way a co-author of one's work."
The leporellos entail a sense of rhythm, of variation and call and response. Adnan works with her own improvisational gestures, refusing the notion of the mistake in favor of the happy error. In her essay "The Unfolding of an Artist's Book," from which I draw the remarks above, first published in 1998 in the journal Discourse, she writes, "The mind never rests on these scrolls as it moves back and forth on them as a scanner." She maintains that the books "awake[n] . . . memory images, or memories of the nomadic essence of the spirit." In these volumes, she is able to mingle handwritten text, drawings, and watercolors without engaging in acts of "illustration." Rather, she is a translator: "Written words and the visual text mirror each other and form a new entity which combines them both." In addition, Adnan's interactions with folding books reveal to her the interpretative nature of perception itself: "Any thought that we may think to be primary, primordial, spontaneous is already an interpretation of something which precedes it."
Also in her 1998 essay, Adnan tells the story of her friendship with an American artist and war veteran, Rick Barton. Adnan calls her exchange with Barton "a mystic transfer, a gesture in the logic of Being, something that came from a place preceding him and that had to go, to keep going." When Adnan first met Barton in San Francisco, he was surviving on very little money, a pension from his service, and frequenting cafés in order to have a space to work that was not the small rented room where he lived. He was apparently a habitual user of opium and an avid reader, someone who devoted his life to small ink drawing —fragmentary portraits of café-goers—that he made in leporellos. Barton shared his work with Adnan and in the early 1960s presented her with a leporello he had begun to illustrate with faces and which she was meant to finish. Thus began the leporello chapter in Adnan's devotion to the dialogue between language and pictures.
Etel Adnan: Marin County, 2018, ceramic, 14½ by 11¾ inches.
ALTHOUGH, AS I HAVE NOTED, ADNAN BEGAN painting in the 1960s, her work was not broadly recognized in visual art circles until 2012, when curator Carolyn Christov-Bakargiev included her in Documenta 13. Later, Adnan's participation in the 2014 Whitney Biennial brought even wider acclaim. Here, Stuart Comer curated a floor devoted to intermedia artworks and other practices exploring the relationship between print and visual art, including several of Adnan's leporellos. For serious readers of Anglophone and Francophone poetry, Adnan was already a figure of renown who had published groundbreaking work in multiple genres in the late 1970s and '80s. I myself began reading her poetry as a college student in 2002 or so and was astonished, twelve years later, visiting the Whitney, to learn that she was also considered a major painter and creator of artist's books.
Literary writing and visual works inform one another and interpenetrate in Adnan's practice. Adnan has, for example, always applied oil pigments straight from the tube using a palette knife, itself not unlike a broad pen nib. And, as the critic Kaelen Wilson-Goldie has observed, Adnan's preferred canvases are "small, intimate, on the scale of a book." The notion of writing hovers over Adnan's painting practice, in which she makes her pieces, as Wilson-Goldie writes, using a semi literary method—"in a single sitting, working fast on a flat table, never on the wall or at an easel." Meanwhile, Adnan's writing partakes of the painterly; her poems are vivified with references to "red waters," the "pleated horizon," "shined surfaces," and the light and heat of many colored suns, matter and landscapes that tremble on the verge of transformation into vivid two-dimensional images but which refuse to be flattened.
In Adnan's more painterly leporellos, the zigzag surface is crammed full with seductive lines, sometimes in black ink only and at other times involving rich washes of color. A frequent subject is the artist's desk, where potted flowering plants, vessels containing fruits, books, jars of ink, and writing implements predominate, as in 1989's Sausalito, California, and the multiple "Inkpots" books of 2015. If the work in question was created in California, as with Spring (2003), a leporello depicting a series of flowerpots, the humped triangle of Mt. Tamalpais, with its distinct ridges, may be present in the background. The objects, plants, and landscapes of Adnan's figurative scrolls all have a quiet, uncannily lifelike quality, as if they were gazing back at the artist, affirming her presence. The organization of these familiar items across folds additionally gives the leporello a nearly linguistic sort of revelatory energy, begging to be read from left to right when stretched; the work's planes seem to cry out, "And then! And then! And then!" Or, perhaps, "Here! Here! Here!"
Elsewhere, Adnan arranges symbols and geometric shapes in patterns that resemble illuminated poetry without ever fully entering the semantic realm; these leporellos have a somewhat more recessed, erudite quality. One wants to linger over them, pausing on each character of the partly invented yet nearly intelligible hybrid alphabet or syllabary Adnan has devised for the occasion of a given artwork, attempting to read it aloud. Such books include Signes (2015) and Signs (2018), in which black "O"s, "X"s, crosses, and dots flirt with shapes approximating Greek letters, as well as Numbers, Signs and Squares (2015), in which numbers in Arabic dance with Greek letters and a variety of bright watercolor squares.
And there are the scrolls containing hand-copied poems written by friends and admired poets in Arabic, English, and French. (Among the American poets so treated are Barbara Guest, Lyn Hejinian, and Lawrence Ferlinghetti.) These pieces are often the most colorful and various, with bright passages in the shapes of hillsides or geometric forms and loose lines, as with Adonis (1984). Adnan's partner, artist and publisher Simone Fattal, has written in the 2002 essay "On Perception: Etel Adnan's Visual Art" that Adnan's leporellos of illuminated poetry are especially poignant and urgent, as their words were "seen by Adnan twice, once as text and once as image." Adnan, who grew up speaking Arabic but never learned to write the language in an academic context, effects a quiet "revolution in Arabic calligraphy," Fattal maintains, by means of her highly personal act of recopying by hand.
Etel Adnan: Signs, 2018,
ink on paper, 80 inches long.
"I WRITE WHAT I SEE; I paint what I am," Adnan wrote in her 1986 essayistic daybook, Journey to Mount Tamalpais, which contains an account of her painting practice. "To each place, there is a counter place," she notes. This pronouncement leads to a comparison of the mountain in the title with Yosemite Valley, height contrasted with depth, aridity with greenness. Elsewhere in the piece, Adnan observes, "I feel trapped in this universe and think of what an anti-universe could mean, which is still a universe; there is no way out." In a 2009 interview published in Bidoun, she told novelist Lynne Tillman that "I don't lie when I write." Adnan explains: "Something happens, and I must discover it. Writing forces one to go to the bitter end of what one thinks." If there is something propulsive and urgent about the act of writing for Adnan, then perhaps painting provides a more restorative relationship to the line.
Images bear tremendous significance in Adnan's novels and poetry, whether they serve as subjects and plot devices, or are incorporated into her sentences and lines as annotations in the form of glyphs. Adnan opens Sitt Marie Rose, her 1978 novel inspired by the kidnapping and murder of Marie Rose Boulos, a Lebanese teacher and pro-Palestinian activist, with a meditation on images. An unnamed female narrator is spending time with a wealthy man who shows her his latest amateur Super 8 film of a hunting trip in Syria and southeastern Turkey. The violence romanticized by these soft, grainy images soon spills over, in raw unmediated form, into the streets of Beirut with the commencement of the Lebanese Civil War.
Elsewhere, in what is perhaps her most brilliant work of poetry, The Arab Apocalypse (1989), Adnan's linguistic writing transmogrifies into ink-drawn symbols—some legible, like suns, some more ambiguous, suggesting color-based notations—which intervene in otherwise relatively orderly lines of roman typeface. In this book of fifty-nine poems, which Adnan wrote at the beginning of the Civil War that raged from 1975 to 1990, there is a need for a form that engages the senses differently from written language and that can express her interrogation of conflict, whether internecine or civilizational. But by the time of this book's publication Adnan had already been meditating on the book-form for several decades.
"THE ENVIRONMENT WAS MY LIFE," Adnan said of her Beirut childhood in an interview with poet Lisa Robertson published in BOMB in 2014. In this conversation, Adnan speaks of the "great event" of light, that she saw the light in her sunny and sometimes partisan birth city as "a being on its own," something to look at as well as to inhabit. The same might be said of the folds of her leporellos. She has written that these folds make possible "combinations of the same reality, the birth of different realities out of a single one." The fold's interior, French philosopher Gilles Deleuze wrote in 1988, is a space in which two planes approach each other until they meet in a brief hinge in which they become indistinguishable. There is no content in this hinge, save for the joining of the two planes; a fold is thus a no-man's-land, in the most hopeful sense of that expression. A fold is utopian. It cannot be claimed for other use. (Try and you will end up with two torn pages and nothing where your fold was!)
But the utopia of the fold in Adnan's work is not merely to be found in the physical manipulations of the page. It exists in the movement of the palette knife lavishing paint on canvas and in the intensity of the linguistic image in a line of poetry, or in the turn indicated by a comma in a sentence. For those of us who feel "trapped in this universe," Adnan offers not so much an escape as a key to the unlimited potential inherent in the apparently humble present. "I see infinite distances between any point and another," she writes in "Sea," a long prose poem published in 2012. "That's why time has to be eternal." Adnan's artist's books, her leporellos, dip into the seam of the fold, a shady counter-place rich with thinking. They emerge again to get on with the story, a tale that now seems unending, for what is an ending, anyway, if not another fold?
This article appears under the title "Of Light & Folds" in the July/August 2021 issue, pp. 46–53.
Source: artnews.com
Sheldon Solow's Long-Inaccessible Art Collection to Be Displayed to the Public
Citibanamex's Prestigious Art Collection is Up for Sale, Triggering Calls for it to Remain in Mexico
Jonathan Brown, Art Historian Who Wrote Defining Books on Velázquez, Dies at 82
John Sainsbury, Supermarket Magnate Who Transformed London's Museums, Dies at 94
$533.7 M. Roman Villa Containing Caravaggio Mural Fails to Sell After Receiving No Bids
1-54 Cancels 2022 Edition, Citing the 'Reality of the Present World Situation'
South Korea's Oldest Private Museum to Sell Two 'National Treasures' for $71 M.
© AWorkstation.com 2016 — 2022