text:
How Useful is the "Audience vs. Expert" Dichotomy?
When it comes to user participation in cultural institutions and the arts, it's popular to launch projects that pit visitors against experts. There was Click! at the Brooklyn Museum, where you could track how people of various levels of art expertise rated crowd-contributed photographs. And now, at the Walker Art Center, there's 50/50, an upcoming print show in which half the prints will be chosen by the public, half by curators. Even ArtPrize, the "radically open" art festival that was judged last year by public vote alone, will incorporate a juried contest as well this year.
There's a sexiness to the perception of divergence between expert and public opinion. It's what keeps curators curators and the public public. But I'm not sure how much value there is to that difference. Instead, I'd like to see us asking broader questions about process, like:
How do different people arbitrate the value of a piece of art, a historical artifact, or a piece of scientific evidence?
What tools do we use? What expectations and biases and experience and expertise come into play?
How do we know what we know, and how do we make judgments of preference?
I've been thinking about this as I prep some interactive prototypes for the Experience Music Project and Science Fiction Museum, a Seattle-based museum of pop culture. One prototype is based on the Billboard Top 10 charts for pop music. Every week, Billboard publishes charts based on airplay, record sales, and now, digital downloads and streaming.
For the interactive prototype, we're letting visitors construct their own "Top 10" and compare it to the Billboard charts. After some research, I decided it would be interesting for people to compare their favorites to the Top 10 over all time rather than focusing solely on the current stats. I recalled that Rolling Stone magazine had put out a list of "the 500 greatest songs of all time" a few years ago, and decided to pull it up to see how it compared to Billboard's top songs. The Billboard list was determined by normalized sales and airplay from 1958-2009, whereas the Rolling Stone list was selected by 172 musicians, critics, and industry professionals.
Here are the two lists' top ten songs:
I was pretty amazed to notice two things:
These lists share only one song in common, "Hey Jude" at position number 8.
The Billboard list is more diverse than the Rolling Stone list in many ways. It features more musical genres, more women, and more chronological spread.
Going further down the lists, the divergence between them continues. While The Beatles top both lists when it comes to artist representation, none of the top twenty artists on the Rolling Stone list are women, whereas Billboard has seven. Bob Dylan, the third most represented artist on the Rolling Stone list, doesn't even place in Billboard's top one hundred.
This isn't a direct "audience versus expert" comparison. Billboard charts are far from egalitarian--particularly when it comes to the radio, money plays a big role in determining who hits the airwaves. And I wouldn't be surprised if the music industry insiders who contributed to the Rolling Stone list are the same people who helped launch LeAnn Rimes and Toni Braxton to fame.
This is not a post about power and diversity in the music industry. It is, however, a suggestion that perhaps critics and tastemakers are biased in their preferences in a somewhat homogenous way. Is the Rolling Stone list better or worse than the Billboard list? It depends who you ask. But it's definitely less broad and more reflective of a particular perspective on what makes good music.
There are really interesting questions inherent in the difference between these two lists and how we arbitrate taste in pop culture as consumers, as artists, as industry professionals, and as critics. I'm hopeful that our little prototype can help us discuss these questions with visitors at the Experience Music Project.
Ultimately, "audience versus expert" may be a red herring that distracts from a larger discussion about personal preference and cultural bias. One of the surprises of Click! was the outcome that the top 10 photographs did not diverge widely based on evaluator expertise. Five of the top ten photographs were top picks for people from at least four different levels of expertise, and all the top ten were selected by people with at least two different levels of expertise. As Wisdom of the Crowds author James Surowieckinoted, "it suggests (though it doesn't prove) that at least in some mediums, the gap between popular and elite taste may be smaller than we think."
And maybe there are other gaps that are worth exploring.
Labels: interactives, Museums Engaging in 2.0 Projects
Take a Seat: Beautiful, Casual Areas at the Taiwan National Museum of Fine Arts
When I was in Taiwan, I heard again and again from museum professionals: "We are very conservative in Taiwanese museums. We're not doing innovative things with visitor participation or Web 2.0. Everyone is so focused on everything looking perfect and the curator's voice only."
This may be true. I didn't see a single comment book on my trip. But I did see something that inspired me quite a lot: a gorgeous, innovative setting for visitors to sit, chat, explore art, and rest.
This post is a photo essay focusing on an area at the Taiwan National Museum of Fine Arts called the Digiark. The Digiark is a connected but separate building that showcases media art.
The Digiark is big--about 4000 square feet--and designed with a meandering, casual experience in mind. I was told that media-based art is fairly new to Taiwanese people and that the museum wanted to introduce visitors to it in a relaxed, friendly setting. The space was sparsely attended during the couple of days when I visited, and primarily by teenagers and families. I think its distance from the main building affected its attendance; a shame considering everything it had to offer.
Walking in, you are not bombarded with art. The current show was about "hyper perception," but the five (quite good) new media pieces were dwarfed by the space itself. Instead of a traditional gallery, you see plywood benches, recycled water jugs, whimsical light fixtures, and lots of nooks where you can explore books, computers, and projection-based artworks. The look blends funkiness with clean lines, industrial space with natural light.
The nooks have lovely seating areas with views out the window to the beautiful garden plaza that separates the main building from the Digiark. In this image, you can see part of a sound installation that winds throughout the whole space. Put your ears to an orange tube and you will hear the sounds of people throughout the gallery, echoed and time-delayed. It's a form of "hyper perception"--the theme of the current exhibition.
It's not all perfect-looking, intentionally. While the nooks were designed to showcase clean lines and natural materials, they don't hide the parts that make the technology work. I liked being able to sit on a couch and "spy" on the kids using the computer on the other side of the wall. Overall, the low walls, slatted wood, and open nooks invited intimacy with the work without closing people off from each other--good for socializing and chaperoning.
The Digiark was also designed cleverly for flexible use. Most of the walls have a swinging apparatus that allows them to lock into at least two different positions. This is especially useful given that many times they have to enclose projection works of different sizes into darker nooks. It also has a nice aesthetic, contributing both to the industrial feel and creating a sense that the walls are floating.
There were signs telling people not to sleep, but some still found the time to kick back and enjoy a restful break between exhibitions.
And with a view like this, who can blame them?
The whole Digiark experience was permeated by a sense of leisure, of slowing down. It reminded me of the restorative feeling of being at the Louisiana Museum of Modern Art north of Copenhagen, and it made me wonder: how many kinds of artwork would be more fruitfully enjoyed in a relaxed setting with couches and natural light? I find it fascinating that the Digiark is focused on media art--work that is often placed in the blackest of black boxes, and is often more full of multi-sensory, active stimulation than works produced with more traditional media. I would love to explore traditional artworks in this kind of environment as well. Relax, enjoy, learn, think, talk, relax. Leave refreshed instead of wiped out. Maybe this is why people love sculpture gardens so much.
Labels: comfort, design
Techniques for Identifying and Amplifying Social Objects in Museums
I spent last week in the glorious country of Taiwan, hiking, eating, and working with museum professionals and graduate students at a conference hosted at the Taiwan National Museum of Fine Arts.
Among other things, I led a workshop on "social objects"--artifacts and exhibits that inspire people to point, discuss, snap photos, and generally share their experience both with friends and strangers. I've been offering this workshop at lots of institutions in the past year, and I thought I'd share with you how it works so you can do it on your own if you like. It's not topic-specific; I've done these exercises with art, history, science, and children's museums to useful effect.
There are two parts to the workshop:
Social Object Hunt. Go through the institution and identify places, artifacts, or exhibits that are highly conducive to social sharing. You should also look for places that are explicitly not social and should stay that way (i.e. exhibits that are best experienced in a more personal, quiet, or reverential manner). Discuss your findings with colleagues.
Make it (More) Social. Pick an exhibit that you think could be enhanced by more social use. Come up with ideas, both crazy and practical, for how you might redesign the exhibit to improve its shareability. Make sure you DON'T try to make the exhibit broadly better--just focus on how you can make it easier for visitors to share their experience around it. When you're done, go on a tour of the "redesigned" vision for the museum with your colleagues, sharing your new creative ideas.
What's the value of this activity? At the Taiwan National Museum of Fine Arts, here were some of the things I learned from the social object hunt:
Social behavior is highly object-specific. This isn't surprising: when the term "social object" was coined in the online environment, the whole point was that people socialize around specific objects, images, or ideas, not general topics or interests. When I tell people this in a presentation, it can sound vague or dubious. But watch visitors move around a museum, and you'll quickly see the activity flare up around specific exhibits and not others. This museum was unusual in that the lobby area had a high concentration of pop art meant to appeal to a wide audience. It was shocking and a bit depressing to see how quickly the noise and energy of the lobby exhibits cut off when the artwork became more formal or complex just a few steps away. There were exhibits that were literally invisible from a social perspective, deserts between highly social oases.
If an artwork or exhibit is easily emulatable, people will pose like the subjects of the piece and take photos with it. See for example the photo at the top of this post. It's a print of the Mona Lisa in a cheeky pose, aped by the visitor standing in front of it. This same pair of visitors took other photos in the museum but I only saw them pose twice--when it was easy to emulate the art. To me, emulation is a kind of learning activity. Visitors not only personalize the artwork by choosing to be photographed with it; they have to look more carefully at the picture if they plan to pose like it.
People prefer to be photographed with things that are sized comparable to their height. There was a very popular exhibit in the lobby of large-scale versions of a famous toy mouse named Mousy. I watched hundreds of people take photos with the mice, and I wondered how people chose which mouse to stand with. I noticed a trend: children posed with the smaller mice, whereas adults stood with the largest one. They weren't picking favorite mice as much as they were picking the most comfortable place to stand. I think this was a simple expression of preference both for the poser, who could comfortably stand up next to a sculpture of comparable size, and the photographer, who could get a nicer shot in the frame. This isn't earth-shattering, but it does suggest that people care more about personal comfort and ease of taking a photo than picking a favorite object with which to stand.
Discussing the "results" from a social object hunt often leads to an interesting conversation about the difference between exhibits that are popular and those that are social. There's some obvious overlap--popular exhibits tend to buzz with more talk and camera shutters. But an exhibit doesn't have to be popular to encourage social sharing. There was a wonderful quiet exhibition at the Museum of Fine Arts of photographs of Taiwanese people taken in the 1910s and 20s using a Japanese studio process. While the exhibition was rather empty, the people who were in there did a lot of pointing and discussing the photos. When I asked a few women about their conversations, they explained that some of the people in the photos looked like their grandparents, or were famous people they'd heard about. Besides perhaps a kitchen scene, I can't think of an exhibit more conducive to sharing than one showing personal family portraits. There was even a small interactive space outside the exhibition set up to look like a traditional photo studio, with backgrounds and props, so you could make your own 1920s-style portrait.
When it came to the second part of the workshop, the small groups set out and came back with some very clever ideas for making some of their favorite exhibitions more shareable. They suggested:
For an exhibition of religious art, inviting monks or representatives of different religions to serve as a kind of "Human Library," offering their differing perspectives on the artworks. (Read about the Human Library in chapter 3 of The Participatory Museum by searching that term here.)
For an exhibition of portraits in a very empty space, offering visitors string to make connections on the walls or floor between photos they felt were connected, with a tag on the string indicating how or why the two images were strung together. The result would be a web of connections or pathways to follow through the gallery.
For an exhibition of art related to death, inviting a psychic to come give readings in the gallery during the month of the year related to ghosts.
For the exhibition of Japanese studio portraits, setting up a station inside the gallery to help visitors digitize their own historic family portraits, some of which would also be displayed alongside the curatorial selections.
For the interactive photo studio room mentioned above, mounting flatscreen monitors on the walls outside showing photos taken by visitors inside, to help people understand what the room is for and to advertise its use.
Generally, offering people balloons shaped like question marks to carry if they would like to talk about questions about the art. There was some related discussion about training guards to be able to have some art-related conversations in addition to their security duties.
Where are the social hotspots in your institution? Where would you like them to be? How can you make it possible?
Labels: design, participatory museum
Quick Hit: Help Me Name My Next Project
Dear Museum 2.0 readers,
I need your help. As some of you know, I'm working on a project to open an experimental cafe in Santa Cruz that serves craft beer, Belgian frites, and intriguing encounters with strangers. The concept is to combine the work I've been doing developing interactive settings for participation with a venue that people naturally visit seeking an exciting social experience.
The cafe will also be an R&D innovation lab for the cultural sector. The team will work on risky experiments and share what we learn with the field, through publications, workshops, and hopefully, some more contract work. We'll be working on experiments in customer loyalty, levels of creative and civic participation, and promoting new connections among people from different backgrounds.
To be more specific, here are a few of the kinds of things we're thinking of trying:
Object of My Affection – an exhibit of customers' favorite things and the stories behind them. This exhibit may feature monthly object swaps in which the artifacts are redistributed to the lenders.
Stranger Encounters – an exhibit of stories of surprising encounters customers have had with strangers. The best of these will be illustrated and hung permanently throughout the café.
Fort City – a set of reconfigurable materials and simple tools for people to build, tear down, and rebuild forts. There may be occasional "storm the fort" raids or fort tea parties (featuring beer).
Repair – a staffed space in which customers can bring in broken things and help each other fix them. Broken items may range from clothes that need mending to toys that can be modified and improved.
People Watching Portraits – customers can choose to either be drawers or models (models will wear a button or badge on the bracelet to indicate interest). Drawers receive clipboards or easels and are encouraged to people watch and draw others. They may ask models directly to pose for the in more structured encounters.
Potato Claw – a pay-to-play arcade-style claw pickup game in which people try to pick up a potato with the metal claw. If they succeed, they get free fries made out of that potato.
Here's the challenge: I need to settle on a final name for the cafe. I'm close to the point where I'll start seeking investment, and I need to have a name for the business plan, the bank, and the IRS. Got a great idea? Share it here.
For the past few months, I've had a name for the project: The Stranger Cafe. I like it. It's descriptive, a bit subversive, and it can lend to some fun programs that play on the dual meaning of stranger as an adjective and a noun (i.e. Stranger Science Fair, Dancing with Strangers).
But some people don't like it, and there's at least one strong argument against it: it emphasizes the negative instead of the positive. The basic idea of the cafe is "you enter as a stranger but leave as a friend or at least a friendly acquaintance." From that perspective, we should be calling it The Friendly Cafe, but that's REALLY dorky. Other names that emphasize interactivity are, to my mind, equally goofy.
Avoiding the dork factor is important, because the cafe will tread a very thin line between awesomeness and gimmick depending on how we design, brand, and staff it. Manufactured community doesn't work. I'm designing the cafe as self-consciously as possible to make sure that the overall feel is casual, welcoming, and open to genuine customer involvement.
A couple other naming notes:
I'm leaning towards "cafe" instead of "bar" because this will be a family-friendly place at least some of the time.
While making, crafting, experimenting, and exhibiting will all be part of the experience, the thread that ties it all together is the idea of promoting social engagement with new people.
The social experience is more important than the menu - so a name that focuses exclusively on the beer + fries combo is not as appealing.
So what do you think? If you'd like to weigh in on the name game, please do so here. You can also just check out the names so far and vote or comment on them. If you come up with THE name I go with, I'll find some delightful way to honor you in the cafe itself when it opens (and the beer and fries are on me!).
And if you have any other ideas or want to know more about the project, please leave a comment. There are lots of potential ways to get involved, especially if you have some experience in restaurant design, raising capital for experimental cultural projects, or beer.
Labels: Quick Hits
Guest Post: Nell Taylor on the Chicago Underground Library
Last month, I got a chance to talk with Nell Taylor, founder of the Chicago Underground Library. I was fascinated by the project's innovative approach to collecting, sharing, and connecting people through locally-produced media. Nell will be responding to comments on this blog and can also be reached here.
A typical Chicago Underground Library (CUL) volunteer meeting starts something like this: New volunteers arrive for orientation at 6:30pm, some a little late because they got lost in the 100-year old parish house where we occupy the lobby of a fringe theater company on the second floor. When we have a critical mass of new people, anywhere from 3-7 a month, I try to explain the project as briefly as possible.
A Community-Based Approach to Collecting and Cataloging
CUL is a replicable model for community archives that accepts every piece of print media from a certain area without making quality or importance judgments, going back as far in history as possible. That means we collect university press, handmade artist books, zines made by sixth graders, poetry chapbooks from big names published in tiny local presses, and self-published poetry chapbooks sold for a dollar on the street. We have neighborhood newspapers, internationally-renowned magazines of political commentary, and three View-Master reels of Chicago hot dog stands, neon signs, and motor inns, respectively.
We catalog items by everyone who contributed—writers, editors, typesetters, photographers, interns—and link those people together in our catalog so that users can trace the connections between contributors as they move from one publication to the next. We're building new cataloging software that we eventually hope to provide free of charge to jumpstart other collections. When other cities replicate the model, we'll be able to track the origin and migration of these ideas from city to city through individuals. Our new catalog and website will be up within the next two months.
We've been doing this for close to five years and have accumulated over 2,000 publications. We consider anything intended for public consumption to be "published," so while our collection is very broad, we draw the line at correspondence or personal journals. Geography is fluid, though. Connections between the publications are more important than strict regional boundaries. Someday we want to collect audio and video, too, but we'd need a pretty serious operating budget to do that and at least one full-time employee. Having only been incorporated for a year and receiving just last week an anonymous donation to cover our 501c3 filing, we still have a little way to go before we get there. Our volunteers are the heart and soul and brains and heavy lifters (figuratively and-- when you have boxes of books involved-- literally) of our organization.
Growing a Strong Volunteer Culture
Every year, thousands of new librarians and archivists graduate from MLS programs. That's a lot of people who possess a rare set of skills like the ability to conceptually organize complex information, build and maintain databases and web applications, and passionately defend and promote universal access to knowledge (including knowledge that's controversial or that they themselves may not believe in). This combination of technical ability, neutrality, and fierce belief in freedom of expression is undervalued in society and by many existing library systems. We're not even talking about "radical librarians." These are the baseline characteristics of most new grads. Many come work with us because they can't find work in the field or they're underemployed in library systems where it will literally take years before they're allowed to apply their skills toward any innovation.
I've been repeatedly told that we're the only library in Chicago that provides volunteers hands-on experience in collection development, cataloging, community outreach and creating public programs, let alone trusting volunteers to take the lead in these areas. While this is partly a matter of need given our relative youth as an organization and present lack of paid positions, we intend to maintain a strong culture of supporting volunteers (not just volunteers supporting us) no matter how much infrastructure we build. Our volunteers use our 90-person public discussion group for sharing job listings, networking events, and other professional development resources in addition to CUL-related topics. Only about half of our volunteers have direct experience in libraries, but all are enthusiastic about experimenting with what a library could be. The more we ask of them, the more committed they are because they have a stake in seeing their initiatives through and bringing up new folks to help them.
Four years ago while meeting on my living room floor, a group of volunteers devised our cataloging system. It's based on non-hierarchical keywords instead of nested subject headings and it's designed to interface with search engines rather than other library databases (for now—some of our librarians are working on making it do both). It's so intuitive that anyone can learn it, and I encourage the new volunteers, whether or not they have a background in library science (I don't), to come to our Cataloging Socials that meet every Tuesday 'til 10pm. This week, they're only cataloging until 9pm because that's when the sun goes down and all of our lights have mysteriously stopped working. These evenings are also known as "Worklucks" for anyone to drop in and use the library as an open, communal workspace, a free coffeeshop, complete with free coffee and Wi-Fi. Because he has impeccable timing, our cataloging manager (who does have his MLS) might wander in for the regular meeting. Before he walks the new folks through the catalog, though, he'll probably recount the boxing match he just finished and show off the halfway-melted outline of a future tattoo drawn in ballpoint pen on his arm.
We start each official meeting with introductions. Never mind your work experience, what do you really want to be doing that the library can help you accomplish?
Some of the new volunteers are high school students, others are college professors. A lot of them are new to the city and looking to make friends. Our inexhaustible assistant director, the web services librarian at a local university who is also spearheading the rebuild of our website and online catalog, managing our interns and keeping track of our paperwork and minutes, arrives with her husband, CUL's podcast manager and an aspiring comedian who we refer to as The Castmaster. Our programming director will arrive at 7pm on the dot from a six-hour rehearsal of a collaborative devised theater piece seven months in development and will leave early to go to an experimental movement workshop. There will always be volunteers who consistently show up, work hard, and never say a word, let alone about their outside lives, and we're happy to have them, too.
This week, some of the regular catalogers are re-shelving material from this weekend's Pop Up Library, our temporary reading room that travels around town providing supplemental local perspective for cultural events and classes. This Pop Up Library just returned from a folk music festival. Participating in events that have little to do directly with books helps develop CUL's audience, but it also increases the visibility and relevance of the materials in our collection by placing the publications themselves in new contexts.
The shelvers tonight come from the ranks of the Chicago Public Library and the Chicago Public Schools' libraries. One lives a double life as a soul music collector and DJ. An editor of science journals at one of Chicago's top universities developed our regular writing workshop, an "alternative MFA" that puts an emphasis on the importance of being a good reader, not just a good writer, and is called Pan Dulces because she supplies the workshop with sweets from her neighborhood bakery.
Why This Matters (to the Public, and hopefully, to You)
A public library can grant you access to all kinds of knowledge, but where do you go to add to that knowledge base and stake your claim as an expert? You go online, and that's why physical culture is at risk. While more and more people are creating their own media thanks to the internet, there's an unfortunate paradox in media creation in the physical, local world. I hear writers bemoan the fact that no one but other writers come to their readings. They blame it on the general public reading less. But people who don't go to readings believe that the readings are only for other writers and that they wouldn't be welcome. From CUL's perspective, if you're reading to other writers, that's not a problem, it's a community. If that community is too small for comfort, the trick is not to stress about the lack of passive listeners, but to create and recruit more writers. CUL strives to preserve media, but it's equally important to us that we encourage existing media cultures and create new access points.
In order for physical media to remain relevant, institutions like libraries and museums have to start looking at the inclusive and collaborative community-building models present in digital media culture. Our collection has a home that people can visit, but we'll also bring it to them and share it on their platforms: their classrooms, performance spaces, galleries. The collection is history, but it's also inspiration, example, and a guide to what's out there for people who want to be actively involved. It's open to reinterpretation, which we encourage through a series called Orphan Works that asks non-writers to create a derivative work based on our assortment of anonymous publications. CUL helps people who are just starting out or who may have assumed their words didn't count to get a foothold and not only places them in a collection that values their work, but through our catalog instantly locates them within an interconnected map of the city's history. Fostering new connections is also why we prefer collaborative programming with other arts and education groups as opposed to developing everything internally.
The Underground Library isn't just a community archive of things past. We are constantly reaching out, connecting with new people and their work, and providing a home for what they do.
Labels: guestpost, Unusual Projects and Influences
How Do You Feel When You're a Fan?
Today, a pause button on standard Museum 2.0 posts and a musing on the particular thrills and perils of fandom. I've thinking about veneration, the private delicious feeling when you bear witness to something glorious--a guitar solo, a mathematical proof, a perfect painting, a jump shot. This blog doesn't often acknowledge the pleasure of being an anonymous audience to greatness.
And that's because it's so fraught. The greatness makes you feel small at the same time as you feel part of it. The anonymity lets you set aside propriety but also requires you give up a bit of yourself.
The person who best described this feeling is one of my favorite poets, William Matthews, in a poem about watching basketball as a teenager.
Cheap Seats, the Cincinnati Gardens, Professional Basketball, 1959
The less we paid, the more we climbed. Tendrils
of smoke lazed just as high and hung there, blue,
particulate, the opposite of dew.
We saw the whole court from up there. Few girls
had come, few wives, numerous boys in molt
like me. Our heroes leapt and surged and looped
and two nights out of three, like us, they'd lose.
But "like us" is wrong: we had no result
three nights out of three: so we had heroes.
And "we" is wrong, for I knew none by name
among that hazy company unless
I brought her with me. This was loneliness
with noise, unlike the kind I had at home
with no clock running down, and mirrors.
I wonder what design elements best allow us to abandon ourselves to adoration and self-denial. The smell. The noise. The refusal of real-life distraction.
Where do you feel most like a fan? Is it in a concert hall, surrounded by screaming fellows, your communal chanting still not as loud as the singer onstage? Is it at the movies, in the dark secret of the soft seats? Is it in a museum, that quiet compression in your heart when you see something too old to imagine?
What makes a place right for this kind of experience?
Take a Seat: Beautiful, Casual Areas at the Taiwan...
Techniques for Identifying and Amplifying Social O...
Guest Post: Nell Taylor on the Chicago Underground...


text:
Q: python regex not woking for multiple words (re) Example
import re

data = 'DisplayName                     =   Umarex Steel Storm BB-Gun   ,'
pattern = r'(\w+)\s*=\s*(\w+)'

re.findall(pattern, data, re.MULTILINE)

Output
Wrong result: (DisplayName, Umarex)
Right result: (DisplayName, Umarex Steel Storm BB-Gun)

A: You can use
(\w+)\s*=\s*([^\s,](?:[^,]*[^\s,])?)

See the regex demo.
Details:

*

*(\w+) -  Group 1: one or more letters, digits, connector punctuation

*\s*=\s* - a = char enclosed with zero or more whitespaces

*([^\s,](?:[^,]*[^\s,])?) - Group 2: a char other than whitespace and comma, then an optional sequence of any zero or more non-comma chars and then a char other than whitespace and comma.

redpajama_set_name: RedPajamaStackExchange


text:
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How To: Learn the parts of the body in Arabic
How To: Improve your Arabic vocabulary
How To: Pronounce the Arabic alphabet
How To: Learn the ash-shaddah accent mark in Arabic
How To: Learn the accent marks in the Arabic language
How To: Speak Lebanese Arabic (Studying Lingo)
How To: Speak Lebanese Arabic (World Cup Lingo)
How To: Speak Lebanese Arabic ("I Want")
How To: Speak Lebanese Arabic (Body Parts)
How To: Speak Lebanese Arabic (Directions)
How To: Speak Lebanese Arabic (Hotels)
How To: Speak Lebanese Arabic (Valentine's Lingo)
How To: Speak Lebanese ("Seen," "Sheen," & Fruits)
Learn how to ask "How are you?" in Arabic. "Keif halek"
In this tutorial, we learn how to pronounce "Tha'a" "Zay" "the-al" & "'6a'a" in Arabic. Start by taking a look at the families of letters that have similar pronunciations. From here, you will want to practice saying each of the different letters out loud and then start to use them in sentences. After you do this, take a look at four main pronunciations, the "tha'a", "zay", "the-al" and "6a'a". These will sound different depending on the words that they are used in. Make sure to get the accent...
In this tutorial, we learn how to pronounce "Ta'a" & "6a'a" in Arabic. First, become familiar with the families of letters by their pronunciations. It will be helpful to hear the audio of how these sound so you can match the letter with the sound. As you learn the "ta" and "a" sounds, you will see how they change in different words, so they aren't always the same. The pronunciation will sound more heavy in some words and lighter in others. Once you have learned these, you will be ready to lea...
This language tutorial teaches you how to create words with the letters from the Arabic alphabet. Write, read and understand the structure of words in modern standard Arabic with this how to video.
This lesson is part of a series of video language classes which will build a solid foundation for learning how to speak Arabic. The instructor in these instructional videos is a native Arabic speaker who started making his own teaching tutorials in an effort to demonstrate clearly how the language is really spoken back in his home in the Middle East. In this video segment, the instructor will focus on Al-mad in the Arabic language.
Learn Arabic or, more specifically, Lebanese through these easy lessons. A few practical sentences translated from english to arabic (lebanese) which you could use around Lebanese people.
ArabicPod101.com presents Video Vocabulary, a video and audio tool to assist you in improving your understanding of the Arabic language. This video will add new words to your Arabic vocabulary. Follow along with the language lessons in these videos and you'll be speaking Arabic in no time.
You are in Morocco and you know what you want, but how do you ask for it? This lesson teaches you the basics of asking for this or that, and how to be polite about it. A little Arabic can go a long way. Follow along with the language lessons in these videos and you'll be speaking Arabic in no time.
This lesson is part of a series of video language classes which will build a solid foundation for learning how to speak Arabic. The instructor in these instructional videos is a native Arabic speaker who started making his own teaching tutorials in an effort to demonstrate clearly how the language is really spoken back in his home in the Middle East. In this video segment, the instructor will focus on the Arabic letter dal the-al.
Learn how you can say and write the names of animals in Arabic with this how to video. Watch this language tutorial and you will be able to identify animals in modern standard Arabic in no time.
Learn how to say "pleased to meet you" in Arabic.
As some of you had asked me to make a video explaining how to order food in Lebanon, this is a video dedicated exactly to doing that :)
In this video, we learn how to understand two digit numbers in Arabic. Start off by having numbers written out in Arabic on a screen in front of you. Guess what these numbers are and how you say them. After this, have the answer come out on how to say the number and what it is, so you know if you were right or not. The pronunciation to these numbers is key, because they can end up sounding incorrect or you could make a whole new world with the slip of just one letter. Practice this for the ba...
Are your Arabic skills lacking? In this video, you'll learn how to speak and write the numbers one hundred through nine hundred in Arabic. After a few tries, your accent will be so convincing people will mistake you for a native. Try it out!
Learning a new language can be a fun and educational experience. Not only are you learning another countrie's language, but you will also pick up on their culture as well. In this tutorial you'll be learning how to say two things in arabic. It may seem like a difficult language to learn, but with the right amount of study time, it can actually be picked up pretty easily. So in this video, you'll find out how to pronounce Lam and ra2. So good luck and make sur eyou practice. Enjoy!
Learn Arabic words using the Learn Arabic with Pictures series from ArabicPod101.com. Beautiful images clearly show Arabic vocabulary divided into units by topic.
ArabicPod101.com presents Video Vocabulary, a video and audio tool to assist you in improving your understanding of the Arabic language. This video will help increase your Arabic vocabulary. Follow along with the language lessons in these videos and you'll be speaking Arabic in no time.
Want to learn Arabic Alphabet? This video will help you learn how to pronounce the Arabic letters easily. The video will show you the Arabic letter along with its English transliteration along with the pronunciation of the letter by a native speaker. After the pronunciation of each letter you'll be given some time to try imitating the native speaker and memorize the shape of the letter.
This lesson is part of a series of video language classes which will build a solid foundation for learning how to speak Arabic. The instructor in these instructional videos is a native Arabic speaker who started making his own teaching tutorials in an effort to demonstrate clearly how the language is really spoken back in his home in the Middle East. In this video segment, the instructor will focus on the ash-shaddah accent mark in Arabic
This lesson is part of a series of video language classes which will build a solid foundation for learning how to speak Arabic. The instructor in these instructional videos is a native Arabic speaker who started making his own teaching tutorials in an effort to demonstrate clearly how the language is really spoken back in his home in the Middle East. In this video segment, the instructor will focus on accent marks in Arabic.
Hi again! :) Many people have been asking me to do a lesson about what to say when you visit the doctor in Lebanon, so here's that lesson. So if you're sick, I hope you get well, and I hope you enjoy this lesson and find it useful.
Hi again, everyone! I hope your enjoying this winter. Here are some sentences you might use if you are spending your winter in Lebanon.
Hi again everyone, In this lesson I will be talking about jobs and their meanings in Lebanese Arabic. Enjoy and feel free to ask about other jobs not mentioned here.
Hi every one! In this lesson I will be talking about Interrogative words like why, what, who, how and so on... I am also announcing the start of the FREE promotion of the Kindle book Lebanese Arabic Phrasebook Vol. 1.
Hello guys, this lesson is for students and about everything related to studying . I hope you enjoy it.
Hello guys! This lesson is for all of you Football fans out there. I will be talking with my friend Chantal about the World Cup and teaching Lebanese sentences that revolve around it.
In this lesson I will teach you the verb "to want" and how to use it in sentences. A few practical sentences translated from english to arabic (lebanese) which you could use around Lebanese people.
Hi again everyone, this lesson will be about the names of body parts in Lebanese Arabic. I hope you will enjoy it and find it interesting. Have fun and don't forget to share it if you like it :)
Learn practical Lebanese sentences to use in hotels. Video: .
Learn practical Lebanese sentences to use around Valentine's
Here's a new lesson, where I will teach you two new letters of the Arabic Alphabet: "Seen" and "Sheen", as well as the Lebanese names of some of the fruits available this season. I hope you'll enjoy it and don't forget to like it and share it with your friends! Cheers :)
Arabic Language & Culture How-Tos
Lebanese Arabic
Arabic Language & Culture News
Arabic Language & Culture Forum

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Select text between two strings except with custom escape character I am trying to use regex to select all strings surrounded with {{ and }}, but ignoring if it is wrapped with [{{ and }}]. Here is what I have come up with: /(?!\[){{(.*?)}}(?!])/gm.
My issue is that in some cases there could be three curly braces instead of two, and my solution is only working with two braces.
Expected results are as follows:
foo{{baz}}bar => {{baz}}
foo[{{baz}}]bar => nothing
foo{{{baz}}}bar => {{{baz}}}
foo[{{{baz}}}]bar => nothing

A: You can use alternation for this problem, with regular expression:
\[{?{{.*?}}}?\]|({?{{.*?}}}?)

*

*\[{?{{.*?}}}?\] What you are not interested in. Matched but not captured.

*({?{{.*?}}}?) What you are interested in. Matched and captured.

The results are captured in the capture group. You can try the regular expression here.

Alternatively you can modify your original regular expression to:
(?!\[{?){{(.*?)}}}?(?!}?])

The issue with your original expression was the absence of the optional third } bracket.
You can try this regular expression here.


At Wonderland Models, our Papo range consists of all kinds of enchanted figures such as the New King with Gold Sceptre, Enchanted Unicorn and the Princess Castle. We also offer accessories like the Enchanted World Playmat. Our mailorder department delivers Papo and Le Toy Van toys worldwide with many orders coming from Europe and beyond. To view the full range of Papo World see below. To be notified of any new products or offers in this category, please sign up to the Wonderland Models newsletter.


text:
France is exploring the uses of marijuana as medicine. Lifestyle discover/SHutterstock.com
France forgets own golden age of medical marijuana
Published: September 24, 2019 7.29am EDT
David A. Guba Jr., Bard Early College Baltimore
David A. Guba Jr.
History Faculty, Bard Early College Baltimore
David A. Guba Jr. does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
This past summer the French food and drug office, the Agence Nationale de Sécurité du Médicament, greenlighted limited medical cannabis trials inside France, something that's been illegal since 1953.
Many have applauded the move as an important first step toward rational, public health-oriented cannabis regulation in France. The Agence Nationale de Sécurité du Médicament similarly praised the trial for its groundbreaking efforts to produce "the first French data on the efficiency and safety" of cannabis for medical therapies.
This is all well and good. However, when it comes to cannabis, a peculiar historical amnesia seems to be gripping French medicine. These trials are not the nation's first efforts to produce scientific data on medicinal cannabis products. Far from it.
'A drug not to be neglected'
During my research into the history of intoxicants in modern France, I found that in the middle 19th century Paris functioned as the epicenter of an international movement to medicalize hashish, an intoxicant made from the pressed resin of cannabis plants.
Many pharmacists and physicians then working in France believed hashish was a dangerous and exotic intoxicant from the "Orient" – the Arabo-Muslim world – that could be tamed by pharmaceutical science and rendered safe and useful against the era's most frightening diseases.
Starting in the late 1830s they prepared and sold hashish-infused edibles, lozenges and later tinctures – hashish-infused alchohol – and even "medicinal cigarettes" for asthma in pharmacies across the country.
Throughout the 1840s and 1850s dozens of French pharmacists staked their careers on hashish, publishing dissertations, monographs and peer-review articles on its medicinal and scientific benefits.
Hôtel de Lauzun, the meeting place for the Club des Hachichins in Paris. Louis Édouard Fournier
French epidemiologist Louis-Rémy Aubert-Roche published a treatise in 1840 in which he argued hashish, administered as a small edible called "dawamesk" taken with coffee, successfully cured plague in seven of 11 patients he treated in the hospitals of Alexandria and Cairo during the epidemic of 1834-35. An anti-contagionist in a pre-germ theory era, Aubert-Roche, as most physicians then, believed the plague an untransmittable disease of the central nervous system spread to humans via "miasma," or bad air, in unhygienic and poorly ventilated areas.
Aubert-Roche thus believed, mistaking symptom relief and luck for a cure, that hashish intoxication excited the central nervous system and counteracted the effects of the plague. "The plague," he wrote, "is a disease of the nerves. Hashish, a substance that acts upon the nervous system, has given me the best results. I thus believe it is a drug not to be neglected."
Physician Jacques-Joseph Moreau de Tours, organizer of the infamous Club des Hachichins in Paris during the 1840s, likewise heralded dawamesk as a homeopathic wonder drug for treating mental illness. Moreau believed insanity was caused by lesions on the brain. And also believed that hashish counteracted the effects.
Moreau reported in his 1845 work, "Du Hachisch et l'aliénation mentale," that between 1840 and 1843 he cured seven patients suffering mental illness at Hôpital Bicêtre in central Paris with hashish. Moreau wasn't totally off-base; today cannabis-based medicines are prescribed for depression, anxiety, PTSD and bipolar disorders.
Despite the small sample size, doctors from the U.S., the U.K., Germany and Italy published favorable reviews of Moreau's work with hashish during the late 1840s and across the 1850s. One praised it as a "discovery of much importance for the civilized world."
Hemp harvesting on Rhine bank. Created by Lallemand and published on L'Illustration, Journal Universel, Paris, 1860. Marzolino/Shutterstock.com
Tincture wars
Though physicians in France and abroad touted dawamesk as a miracle cure, they also complained about the inability to standardize doses due to the variation in the potency of different cannabis plants. They also wrote about the challenges posed by the common adulteration of dawamesk, which was exported from North Africa and often laced with other psychoactive plant extracts.
In the early 1830s several physicians and pharmacists in the British Empire attempted to solve these problems by dissolving hashish in alcohol to produce a tincture. By the middle of the decade, French practitioners followed suit. They developed and marketed their own hashish tinctures for French patients. One pharmacist in Paris, Edmond de Courtive, branded his concoction "Hachischine" after the infamous Muslim assassins often associated with hashish in French culture.
The popularity of hashish tincture grew rapidly in France during the late 1840s, peaking in 1848. That was when pharmacist Joseph-Bernard Gastinel and the aforementioned De Courtive engaged in a legal battle over the patent – then known as the "right to priority" – for tincture manufactured though a particular distillation method. "L'Affaire Gastinel," as the press termed it, caused an uproar in French medical circles and occupied the pages of journals and newspapers in Paris for much of that fall.
To defend his patent, Gastinel sent two colleagues to argue his case to the Academy of Medicine in October 1848. One, a physician called Willemin, claimed that not only did Gastinel devise the tincture distillation method in question but that his tincture provided a cure for cholera, also thought to be a disease of the nerves.
Though Willemin was unable to convince the Academy of Gastinel's right to priority, he did convince doctors in Paris to adopt hashish tincture as a treatment against cholera.
Physicians in Paris didn't have to wait long to test Willemin's theory. A cholera epidemic erupted in the city's outskirts just months later. But when hashish tincture failed to cure the nearly 7,000 Parisians killed by the "blue death," doctors increasingly lost faith in the wonder drug.
In the following decades hashish tincture fell into disrepute as the medical theories of anti-contagionism that underpinned the drug's use against the plague and cholera gave way to the germ theory and thus a new understanding of epidemic diseases and their treatment. During the same period, physicians in French Algeria increasingly pointed to hashish use as a key cause of insanity and criminality among indigenous Muslims, a diagnosis they termed "folie haschischique," or hashish-induced psychosis. Heralded as a wonder drug only decades before, by the end of 19th century the drug was rebranded as an "Oriental poison."
Lessons for today
Hemp field near Toulouse. Olybrius, CC BY-SA
These earlier efforts to medicalize hashish in 19th-century France offer doctors, public health officials and policymakers today several important insights as they work to return cannabis-based medications to the French market.
First, they must work to dissociate cannabis intoxicants and medicines from colonial notions of "Oriental" otherness and Muslim violence that ironically underpinned both the rise and fall of hashish as medicine in France during the 19th century. As scholar Dorothy Roberts astutely argued in her 2015 TED talk, "race medicine is bad medicine, poor science and a false interpretation of humanity."
Doctors and patients also must be measured in their expectations of the benefits of medicalized cannabis and not overpromise and then deliver lackluster results, as happened with hachichine during the cholera outbreak of 1848-49.
And they must remain mindful that medical knowledge unfolds historically and that staking the new career of cannabis as medicine on contested theories could hitch the drug's success to the wrong horse, as happened with hashish after the obsolescence of anti-contagionism in the 1860s.
But if France were to engage its colonial past, reform its prohibitionist policies and continue to open up legal room for medical cannabis trials, perhaps it could again become a global leader in this new medical marijuana movement.
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text:
David Hayter
February 6, 1969 (age 50)
Screenwriter and voice actor
David Bryan Hayter (born February 6, 1969 in Santa Monica, California) is a Canadian-American screenwriter, actor, and voice actor. He is best known for providing the English voice for Solid Snake and Naked Snake in the Metal Gear series, and for writing various screenplays, including 2000's X-Men film and co-writing the screenplay for 2003's X2. Earlier in his acting career, he played the lead role in the live-action Guyver: Dark Hero.
2 Metal Gear filmography
Though born in California, Hayter's parents were Canadian. He started acting at the age of 9. He also did some live acting in the early 1990s, but became interested in voice acting after making a cameo appearance in an episode of the sitcom Major Dad, and later landed the role of Captain America in the popular 1994 Spider-Man animated series. He also provided the voice of Arsène Lupin III in the English version of the anime film The Castle of Cagliostro.
Hayter at Comic Con.
In 1998, Hayter voiced Solid Snake in the highly successful PlayStation video game Metal Gear Solid. In early demo versions of the game and in the back of some versions of the user manual under Cast and Credits in the European version, the voice of Snake is credited to Sean Barker, which was the name of the character Hayter played in Guyver: Dark Hero. Coincidentally, Hayter shares the same name as Solid Snake, whose real name is also David.
An interview with Hayter by Game Informer in 2001 showed that Hayter wished for the then-unconfirmed Metal Gear Solid movie to be animated or made in CGI so he could provide the voice of Solid Snake. He also wished to be the screenwriter under the possible supervision of Hideo Kojima.
Hayter provided Solid Snake's voice in later games such as the sequel Metal Gear Solid 2: Sons of Liberty and Nintendo GameCube remake Metal Gear Solid: The Twin Snakes. According to GameFAQs user Chris Ho's interview with Paul Eiding, Hayter gave up half of his own paycheck in order to bring back the cast of Metal Gear Solid for The Twin Snakes. This is the reason why the voice acting in that game was almost completely redone with the same voice actors yet Rob Paulsen replaces Greg Eagles as the Cyborg Ninja, despite the latter returning to voice Donald Anderson.
Hayter provided the voice of the younger iteration of Big Boss in the prequel Metal Gear Solid 3: Snake Eater as well as the direct sequels Metal Gear Solid: Portable Ops and Metal Gear Solid: Peace Walker, and reprised the title role as Solid Snake's prematurely aged iteration Old Snake in Metal Gear Solid 4: Guns of the Patriots. Hayter also provided the voice of Solid Snake for the character's guest appearance in Super Smash Bros. Brawl. At the beginning of Metal Gear Solid 4, during the TV channel section, Hayter appears as himself and is being interviewed. At the same time, he's wearing a Solid Eye and explains about many features unavailable in-game.
Hayter is one of the few Metal Gear Solid actors to date to have actually played and beaten the Metal Gear games he's voiced in,[1] while co-star Christopher Randolph (Otacon) has only beaten Metal Gear Solid.
Hayter had written a 324-page screenplay adaptation to the graphic novel Watchmen by Alan Moore and David Gibbons. Known for being a harsh critic of translations of his works to film (perhaps most notably the film version of V for Vendetta), Moore said of the script "David Hayter's screenplay was as close as I could imagine anyone getting to Watchmen." Unfortunately, his script was ultimately rejected, although unspecified elements of his script were integrated into the final draft, and he is given a screen credit for his writing.[2]
Hayter is a frequent user of IMDB, and goes under the name "uberdave."
Eric Laden, in a tweet regarding his involvement in the crossover fighting game PlayStation All-Stars Battle Royale, mentioned working with Hayter in the game, hinting that he would have a voice acting role in the game, possibly as Solid Snake or Naked Snake. The tweet was later removed. Similarly, regarding what he thought about The Phantom Pain trailer released during the 2012 Spike Video Game Awards, Hayter claimed that it "made his arm hurt" which led to speculation as to whether or not he's involved, although he later replied that he didn't actually confirm anything.
Sometime in 2009, a year after the release of Metal Gear Solid 4, Hayter made some predictions about the next Metal Gear game starring the character Raiden. This video, which also included the rest of the voice cast for Metal Gear Solid 4, was later discovered by Metal Gear Solid TV and posted.[3]
Hayter confirmed in a tweet that he would not reprise his role as Big Boss in Metal Gear Solid V: Ground Zeroes and Metal Gear Solid V: The Phantom Pain.[4][5] Hideo Kojima also confirmed this to be an artistic idea to usher the Metal Gear series into a new direction,[6] and that Kiefer Sutherland would take over the role.[7] However, Hayter would reprise his role as Solid Snake in the Metal Gear Solid: Digital Graphic Novel recreations.
As revealed on his latest podcast for The Codec, while working on the X-Men films, the military protocols he learned from the Metal Gear series influenced his work on the films, such as turning William Stryker, a Priest and Reverend in the comics, into a Colonel and military scientist.
He reprised the role of Solid Snake for Super Smash Bros. Ultimate through archival voice clips from Super Smash Bros. Brawl.[8] He also reprised the role of Naked Snake and Solid Snake in the game Super Bomberman R, which marked the first time he voiced the characters in video games since Peace Walker and Metal Gear Solid 4, respectively.[9]
Metal Gear filmography
Super Smash Bros. Ultimate (2018) - Solid Snake (English version, voice)[8]
Super Bomberman R (2018) - Solid Snake and Naked Snake (English version, voice)
Metal Gear Solid 2: Digital Graphic Novel (2013) – Solid Snake (English version, voice)
Metal Gear Solid: Digital Graphic Novel (2013) – Solid Snake (English version, voice)
Metal Gear Solid: Peace Walker (2010) – Big Boss (English version, voice)
Metal Gear Solid 4: Guns of the Patriots (2008) – Old Snake (English version, voice) , Celebrity Moralist - Himself
Super Smash Bros. Brawl (2008) – Solid Snake (English version, voice)
Metal Gear Solid: Portable Ops (2006) – Naked Snake (English version, voice)
Metal Gear Ac!d² (2005) - Snake (English version, voice)
Metal Gear Solid 3: Subsistence (2005) – Naked Snake (English version, voice)
Metal Gear Solid 3: Snake Eater (2004) – Naked Snake (English version, voice)
Metal Gear Solid: The Twin Snakes (2004) – Solid Snake (English version, voice)
Metal Gear Solid 2: Substance (2002) – Solid Snake (English version, voice)
Metal Gear Solid 2: Sons of Liberty (2001) – Solid Snake (English version, voice)
Metal Gear Solid: VR Missions (1999) – Solid Snake (English version, voice)
Metal Gear Solid: Integral (1999) – Solid Snake (English version, voice)
Metal Gear Solid (1998) – Solid Snake (English version, voice)
^ Paul Semel (2006-11-22). Spy Hard (PSP). GameSpy. Retrieved on 2008-04-04.
^ Jeff Jensen. Watchmen: An Oral History. Entertainment Weekly.
^ http://www.metalgearsolidtv.com/2013/01/metal-gear-rising-revengeance-david.html
^ https://twitter.com/DavidBHayter/status/317002108115234816
^ http://www.twitlonger.com/show/n_1rjhhf9
^ http://www.gametrailers.com/videos/84h9k6/metal-gear-solid-v--the-phantom-pain-kojima-interview
^ Metal Gear Solid V Interview - IGN Video
^ a b https://twitter.com/DavidBHayter/status/1006580149540700160
^ http://www.metalgearinformer.com/?p=32093
David Hayter at the Internet Movie Database
Interview with David Hayter By PlaystationRadioUK
Retrieved from "https://metalgear.fandom.com/wiki/David_Hayter?oldid=274740"


Warings Bakery is set to appear on Heston Blumenthal's new Channel 4 television series Heston's Fantastical Food this month.
The bakery business, based in Reading, Berkshire, will be appearing in the new show, due to air next Tuesday (6 November) at 9pm, which will see the celebrity chef recreating British food traditions on a monumental scale.
Warings Bakery, which is based near Blumenthal's famous restaurant The Fat Duck in Bray, was filmed for two episodes, during one of which members of staff were tasked with shaping and baking a giant version of a famous brand biscuit.
For a separate episode, the firm had to bake giant bread, which was delivered by Waring Bakery's managing director Janet Carr and director Alan Waring to London's Richmond Cricket Ground and Legoland Windsor.
The bakery business worked with JC Engineering Products to help make specialist trays and tins for the oversized bakery goods.
Heston's Fantastical Food will be showcasing the revival of other British food traditions, such as ice cream vans, as Blumenthal aims to create the world's largest 99 Flake, as well as the tea break, which will be served up with gigantic biscuits and the world's largest pyramid tea bag.


Create your own peaceful haven with this Enchanted Dream duvet cover from Ted Baker. Crafted from cotton sateen, it features a beautifully detailed sketch of a unicorn, birds, butterflies and a fairy against a soft pink and white ground. A welcome addition to your home, it has a high quality 220 thread count and looks fabulous paired with the matching pillowcases and bed cushion available separately.
Please note, the print on this item has been digitally printed and therefore on occasions slight imperfections can occur.
The duvet cover was even prettier than show online. I love it.


Frontline is continuing to grow and expand its impact. As we embark on this new stage in the organisation's development we are looking to recruit a part-time Regional Coordinator (maternity cover) to coordinate a number of key areas crucial to the delivery of the programme in the North East. This includes arranging meetings and events with our local authority partners and organising the logistics for ongoing training series held within the region for the social workers involved in the programme. The role will also provide administrative support to the regional team and input to the national programme in negotiation with the Head of Region e.g. during the Summer Institute.
The Regional Coordinator will coordinate meetings, events and training. They will also track and monitor the progress of key stages of the programme, including ensuring partner local authority set up activities are running to plan and participants on the programme have completed key tasks within time frames. The role requires someone who is skilled at building positive relationships with people in addition to being highly organised with the ability to manage multiple areas of work and use initiative to resolve issues. Attention to detail and a high level of accuracy is also essential.


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The Threat to Our Livelihoods
Natalie Caulk | May 15, 2019
When you run your own restaurant, no two days are ever the same. On a drizzly Wednesday in February, for example, Chantelle Hylton of Salmonberry Saloon in Wheeler, Oregon starts her morning driving to Netarts Bay where she picks up fresh oysters from two different producers. From there, she heads up the coast to her fishmonger at Garibaldi Landing on Tillamook Bay, examining the day's catch before eventually deciding on rockfish caught that very morning. In need of seasonal vegetables, she then travels up the Nehalem River to Salmonberry Farm, where she grows specialty produce to supplement what she buys from neighboring Moon River Farm.
"If the health of our oceans and waterways were under threat, such as from an oil spill off the coast, a day like today wouldn't even be possible," remarks Chantelle. "Every single one of those businesses, and in turn our business, would completely shut down."
The Salmonberry Saloon overlooks the Nehalem River, which opens up into Nehalem Bay and eventually, the ocean. Chantelle and her partner Patrick opened the seafood restaurant just under a year ago, fulfilling a shared lifelong dream. "Our intention is to use this place as a vessel to make beautiful, delicious food and work in community with local producers," Chantelle explains. "Every day, I'm thankful that our lives and livelihoods are so inextricably tied to the ocean — that includes everyone we work with all along North Coast."
Chantelle's restaurant is just one of thousands of businesses along the Oregon coast that depend on a healthy ocean and clean, oil-free beaches for survival. If the federal government follows through on its intention to open more U.S. waters to drilling over the next five years, the threat of an oil spill off Nehalem's shores could become a disastrous reality.
When she first heard about the federal proposal, Chantelle describes feeling heartbroken. She couldn't imagine anything worse for the Pacific Northwest. "It's unfathomable to think about how damaging this would be to our economy, to our community," she says. "I think nearly everyone in our community opposes it, regardless of political affiliation."
Chantelle goes on to explain the likelihood that, in the event of an oil spill, those working in the fishing, tourism and recreation industries—a large part of the community– would have to find an alternative way of living or move away entirely.
"As for the Salmonberry Saloon," continues Chantelle. "We serve food that lives in the water. We serve food that grazes near the water. Our business simply can't exist without a healthy, thriving ocean."
© 2019 BAPPC All Rights Reserved | SICKBOAT CREATIVE STUDIOS


Ahead of the show's panel at this week's New York Comic-Con 2016, Netflix and DreamWorks Animation have debuted the first trailer for the second season of Voltron: Legendary Defender.
The rebooted animated series produced by Joaquim Dos Santos (The Legend of Korra, Avatar) premiered this June on the streaming giant (and you can go watch it right now if you haven't yet) but the show's 13-episode sophomore season is already slated for a late 2016 premiere. So, not much longer to wait, you guys.
The trailer picks up where Season 1 left off (on a massive, epic cliffhanger) and comes via the good folks at ComicBook.com. Fans of the show who'll attend the Oct. 7 panel will be treated to a sneak peek, with executive producer Joaquim Dos Santos, co-executive producer Lauren Montgomery, story editor Tim Hedrick and voice actors Jeremy Shada (Lance) and Bex Taylor-Klaus (Pidge) on hand to chat about what's coming up in Season 2.
Have a look at the trailer below, and let us know what you think. Will you be one of the lucky folks who will be attending the Voltron: Legendary Defender panel? Are you looking forward to Season 2?


Neil Young - "The Ways of Love", Mile One Centre in St. John's, Newfoundland, Canada on April 7, 2009.
More rave concert reviews of tour kickoff in St. John's, 4/6 & 7/2009.
We've been havin' too much fun!
Nice song.Does anybody out there know what album (if any) it's off of?
Whoops! Didn't see SONY's reply.
Mother?..is that you? Where have ya been?..I've missed your nurturing!
The song is off Neil's 1989 album "Freedom" and I belive that Linda Ronstadt sings the harmonies with Neil on the album track. Lovely song and I can't recall a time when he's ever perfomed it live. Now, does anybody no the chords? Looks fairly easy, but you know Neil he may be tuned down.


Urban decay plagues our hallways. Millard West is slowly but surely becoming a desolate wasteland. And our recycling bins are being completely and utterly abused. So much so that there may be no return to a more civilized age.
Students are throwing away all their unwanted perishables into the recycling bins, not using them for their intended purposes. But among this apocalyptic badland stands a knight in shining armor, our hero, social studies teacher Alexander Fields.
Last year National Honors Society (NHS) and a few other clubs were responsible for picking up the recycling each week. But they have since stopped leaving the job undone, and hallways unkept.
Fields saw that nothing was being done about the recycling. So he decided that it was time to do it himself. Recycling isn't a program or a club, it's simply just students taking initiative and doing what's best for our environment.
Students are disposing all their garbage in the recycling creating a sizable mess for whoever has to pick up the bins. It has become a huge issue among the school and is doing nothing to help the environment.
Not only is the recycling situation here at West hurting our hallways and tarnishing our image. But it is above all else destroying our environment.
Not all hope is lost though. Some students have actually theorized as to how to fix the situation.
Although we don't have a set club or schedule for recycling. It still gets done.
The recycling situation is most definitely looking up. Kids are actually starting to realize that trash needs to go in the trash can. And not the recycling. As the school year draws on hopefully the mindfulness of our students will too.


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When to Write a Book?
Books were made for being written, published and sold. The greatest books of all time have been developed in crucial moments of the history of the civilizations, or in the most important dates in the life of men and women. Writers get inspired by life, humans, animals, Nature and objects.
But, is there a particular hour of the day to write a book?
The answer is "yes". And there's more. Books result of a desire to share ideas, beliefs, knowledge and feelings. The trigger for book writers is often an emotional event – birth, death, change, trauma – or a rational event – to teach, to mark history, to share knowledge.
So, if you're about to write the first book of your life, try to feel when it's time to grab the pen or hit the computer keyboard. Technically, and from a medical point of view, writing a book is easier after the early morning coffee.
Human brains are "fresher" in the morning, after a good night sleep. It's easier to coordinate and manage ideas with the early sun rays. Of course, many well known Nobel Prize writers have already explained why nighttime is the best time to write a book.
Writing a book late in the night is an inspiring thing for many best-selling writers and book lovers. The silence and the dark of the night are regularly cited as the best moments of the day to produce a passionate book.
Regular physical exercise and nutrition help focus on the writing task.
Also, try to schedule a flexible agenda to keep the writing pace alive. You do not want to force your inspirational drive, but pragmatism and effectiveness are very important rules.
Setting a timer can also be useful unless you're really doing very well. Planning 45-minute sessions of writing, before a 10-minute break, is a good advice. Writing a book shouldn't be an exhausting marathon.
Words and characters will flow. Whether you're writing a novel, a romance, a historical fiction book or a biography, make sure you set some fair rules. Socialize with family and friends, walk the dog and sleep seven hours.
In the next day, before starting your writing session, take a quick look at yesterday's phrases and connect with the new ideas. Inspiration for writing books is all about timing.


text:
Disney in Philadelphia
On Friday, Donna and I took Jacob to Disney on Ice. Jacob was really good the entire time – after purchasing a drink, an insanely overpriced light-up sword and an insanely overpriced pair of super cheap "binoculars" that didn't actually work, we found our seats really quickly and Jacob was content to watch the people until the show started.
I won't bore you with the details (although if you want to, you can look at a few pictures here). Mostly the show involved lots of people in costumes skating better than I can (which would be not at all), with the occasional disco song thrown in, but Disney-style. Jacob was entranced.
And, of course, it wouldn't be a "family" event if there weren't about 8 billion meltdowns occurring all around me. As I mentioned, Jacob was an angel – he sat fairly quietly in his seat, excited for the show. But everywhere I looked were kids crying, freaking out, throwing temper tantrums and just generally being spazzy. And where there were spazzy kids, there were exasperated, frustrated, tired and frazzled parents. It was a nightmare. I thanked every divine being every honored in history for my well-behaved son.
On the way out, I missed the exit I should have taken for the Walt Whitman Bridge, and ended up in Center City Philadelphia. Not a problem, as I've spent enough time there to be able to find my way out – which I did, via South Street. The only issue with that is that we left the show at 9 p.m. on a Friday night – which is prime time on South Street. We got on South at Broad, and traveled down to Front – that's about 15 blocks. Somewhere around 9th Street, Jacob told me he had to use the bathroom. No surprise: we'd shared a Coke and a Gatorade, so that was probably about 40 ounces of liquid.
Lucky for me, my friend Carissa lives on South Street, so I dialed her up. "Sure," she said, "I'm just around the corner from home. It should be fine." We only had another 6 blocks to go.
By the time we got to 4th Street, though, Jacob was nearly in tears. He had to go, and he had to go RIGHT. THIS. MINUTE. Donna jumped out of the car and ran with him into a Starbucks while I pseudo-parallel parked the car in what was quite possibly a no parking zone. Apparently, inside the Starbucks, there was a line for the bathroom, headed by two of the most hipster dudes I've ever seen (I saw them walking on the street as we were driving: Rivers Cuomo glasses, plaid button-downs, skinny jeans and Rocket Dogs. Yeah.) who were dancing the "I've Got To Pee Right Now To Get Rid of All This Beer" dance. Donna headed to the front of the line with Jacob, and explained that Jacob really had to go. The dudes expressed their need to go as the door was opening. Donna gave Jacob a push inside, and said to the hipster dudes, "Your bladders are bigger. You can hold it."
Hah. Take that, hipsters.
Coming out of the Starbucks and back to the car, I could see Jacob's eyes were as big as saucers. He had a few moments to take in the sights he'd bypassed on the way to the bathroom, and he was intrigued. I imagine a trip to South Street (preferably during the day) is in order soon.
We made it back to the house without further incident, although Jacob did insist on listening to "Bet On It" from the High School Musical soundtrack three times in a row. Ugh.
Hahahah Donna is my favorite person.
Yes, that certainly made me love her more than I already do. haha
Rach, I love how you recap things…it's like I'm there. : )
And I used to go to every Disney on Ice show when I was little! And I remember I would always get the fiber optic wand thing. haha
..i will never forget the night that i took reggie to disney on ice and he HAD to get the sword…so i paid fifteen bux for what amounted to the same sword i'd bought a million times at the dollar store..only to have him promptly rip off the disney sticker…ugh…
…and lmw when you head to south st…reggie is also fascinated with the place…and it'd be a much more fun trip to share…
…and all my kudos to donna…


The Albany County Bar Association provides a Lawyer Referral Service (LRS) that offers guidance in connecting the general public to paid attorneys in Albany County. The phone line is open 9:30 AM to 1:30 PM Monday through Friday. Please note that our lawyer referral staff are not attorneys and cannot provide you with legal advice, but will take the time to ask specific questions in regards to your concerns to determine what type of lawyer might best fulfill your needs.
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The ACBA LRS makes no representation or warranty as to the skills or experience of attorneys who are members of the LRS.
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What should I do if I need free legal help?
Call us and we can try to refer you to an appropriate resource. You could also try contacting one of these other legal resources.


text:
I. Ludo, pseudonimul artistic al lui Isac Iacovitz Ludo (n. 4 noiembrie 1894, Iași – d. 23 mai 1973, București) a fost un publicist și scriitor român de etnie evreiască, laureat al Premiului de Stat (1953).

Activitatea literară în perioada interbelică
Isac Ludo s-a născut la data de 4 noiembrie 1894, în orașul Iași, într-o familie de mici comercianți evrei. Înscris la liceu în anul 1904, nu a putut urma decât patru ani de studii, fiind nevoit să abandoneze din cauza lipsurilor materiale. La vârsta de 14 ani, s-a angajat ca funcționar de birou.

A debutat ca jurnalist în anul 1913, tipărind o revistă proprie cu titlul de "Absolutis", după care desfășoară o intensă activitate publicistică la un număr mare de ziare și reviste. A lucrat în calitate de corector la ziarele ieșene "Opinia" și "Iașul", îndeplinind, din anul 1915, funcția de redactor la diferite publicații din țară.

El a fost activ în cercurile literare de stânga din perioada interbelică. În anii de ascensiune ai fascismului, Ludo a publicat un număr mare de articole demascând regimul hitlerist și politica statelor fasciste.

A fost director al revistei "Adam" (1929-1940), la care au colaborat scriitori de prestigiu ca: Tudor Arghezi, Gala Galaction, Paul Zarifopol, Camil Petrescu, Eugen Lovinescu, Benjamin Fundoianu, Felix Aderca, Ilarie Voronca, Ion Călugăru, pictorul și arhitectul Marcel Iancu ș.a.

Ca scriitor, el a cultivat în special efectul comic în literatură. Criticul literar George Călinescu consideră perioada interbelică ca fiind perioada scrierilor cele mai valoroase ale lui Ludo, considerând ca cea mai bună carte a sa culegerea de nuvele umoristice "Hodje-Podje" (1928), care cuprinde câteva viziuni burlești de factură expresionistă, excelente (În ghearele artei, Eu, capodopera părinților mei).

Alte scrieri ale sale sunt Mesia poate să aștepte (Cu mașina pe urmele profeților) (1934) și Domnișoara Africa (1935), romane jurnalistice pline de spirit și vervă imaginativă.

Pasajul acesta face trimitere la o celebră polemică purtată între Sebastian și Ludo la editarea romanului De două mii de ani. Mihail Sebastian scria într-un pasaj din "Cum am devenit huligan": "În ulița evreiască d. I.Ludo este un fel de Tănase evreu, cu destul haz uneori". I.Ludo susținea ipoteza destul de fantezistă că Sebastian a scris un roman "simulând iudaismul", pentru a-i atrage pe evrei în cursă, ca "să pupe ciomagul" arienilor.

Activitatea literară postbelică
În anul 1945, Isac Ludo a lansat un atac virulent la adresa "Istoriei literaturii române" editată de către George Călinescu în 1941. El a afirmat că George Călinescu s-ar fi discreditat atât sub aspect estetic, cât mai ales moral, prin aceea că nu își revizuise în chip radical ediția din 1945 a "Istoriei" sale, neeliminând numele unor autori care n-ar mai fi meritat să figureze într-o asemenea lucrare, printre care: Ioan Alexandru Brătescu-Voinești, Liviu Rebreanu, Nichifor Crainic, Radu Gyr sau Nae Ionescu, considerați exponenții unei gândiri retrograde, emblematică pentru curentul ideologic al legionarismului. Cei menționați ar fi fost dominați de un șovinism excesiv, fiind exponențiali pentru inspirarea cumplitelor crime ale extremei drepte din România .

Preluarea puterii politice de către regimul comunist și climatul politic din deceniul 1950-1960 îi înlesnește lui Ludo publicarea majorității scrierilor și traducerilor sale. Renunță la activitatea sa de publicist, folosindu-și pasiunea sa de polemist în scrierea unor romane cu un minimum de ficțiune, în care își putea exercita verva și sarcasmul asupra evenimentelor politice.

Opera sa principală rămâne însă ciclul "Paravanul de aur", format din romanele: "Domnul general guvernează" (1953) pentru care a primit Premiul de Stat, "Starea de asediu" (1956), "Regele Palaelibus" (1957), "Salvatorul" (1959) și "Ultimul batalion" (1960), care reprezintă o cronică satirică a vieții politice din România Mare de după Primul Război Mondial. Sunt prezentate în aceste cărți afacerismul, corupția generalizată, activitatea de spionaj desfășurată de către puterile străine, încercările de fascizare a țării și pregătirile pentru cel de-Al Doilea Război Mondial. Acest ciclu de romane a fost ilustrat de artistul Eugen Taru.

Alte romane sau povestiri păstrează caracterul gazetăresc:
 "Gura de lup" (1954) - satirizează modul de viață american;
 "Corsetul" (1955) - ridică problema reânvierii militarismului vest-german, pornind de la documente oficiale;
 "Soluția a patra" (1956) - o analiză minuțioasă a împrejurărilor care au dus la declanșarea celui de-al Doilea Război Mondial;
 "Războiul lui Tănase Cireș" (1958) - o culegere de povestiri care vizează practicile exorcistice;
 "Ilustrul N.N. din N.N." (1958) - o panoramă a formelor de exploatare a țărănimii în timpul secolului al XX-lea.

Scriitor prolific, cu o vervă jurnalistică neîntrecută, sensibil la aspectele vieții prin care a trecut, Ludo și-a circumscris opera necesităților de moment ale acesteia.

În anii regimului comunist a adoptat poziții conformiste în raport cu linia politică oficială, inclusiv atitudinea ostilă față de mișcarea națională evreiască, pe care o simpatizase în tinerețe ("Scrisoare lui Ben Gurion", etc.), și aceasta în plină perioadă de represiune a sionismului in România.

Ludo a publicat, de asemenea, traduceri în limba română din scriitorul de limbă idiș Șalom Alechem, precum și din scriitorii ruși Mihail Saltîkov-Șcedrin, Maxim Gorki, Ilya Ehrenburg, unele în colaborare.

Isac Ludo a decedat la data de 23 mai 1973, în orașul București.

Aprecieri critice ale operei sale

Opere publicate

Perioada interbelică
 Gorki în fața revoluției (Ed. Rabinovici, Iași, 1917).
 Coada lui To (Carol Göbl, 1918).
 Haim dija (București, 1928).
 Hodje-Podje (Ed. autorului, București, 1928).
 Doi mari poeți: Heinrich Heine și A.C. Cuza (Ed. Adam, București, 1934).
 Iuda trebuie să sufere pentru că e suferind (Ed. Adam, București, 1934).
 Mesia poate să aștepte (Tip. Tiparnița, București, 1934).
 Pogrom sau revoluție (Bibl. socială Adam, București, f.a.).
 Domnișoara Africa (Tip. Tiparnița, București, 1935).
 Canalia de D. (cu prilejul morții lui Dreyfuss) (Tip. Tiparnița, București, 1935).
 În jurul unei obsesii (Ed. Adam, București, 1936).
 Ghetouri (Tip. Activ. grafică, București, 1939).

Perioada postbelică
 Ca și poruncile Coranului (Ed. de Stat, București, 1949).
 Scrisoare lui Ben Gurion (Ed. de Stat, București, 1950).
 Soldatul cățelului Toby (E.S.P.L.A., București, 1951).
 Frații din vile și frații din corturi (E.S.P.L.A., București, 1951).
 Alegerile lor, parlamentele lor (Ed. C.G.M., București, 1952).
 Domnul general guvernează (E.S.P.L.A., București, 1953).
 Gura de lup (Ed. Tineretului, București, 1954).
 Starea de asediu (E.S.P.L.A., București, 1955).
 Corsetul (E.S.P.L.A., București, 1955).
 Soluția a patra (Ed. Tineretului, București, 1956).
 Regele Palaelibus (E.S.P.L.A., București, 1957).
 Ilustrul N.N: din N.N. (Ed. Tineretului, București, 1958).
 Războiul lui Tănase Cireș (Ed. Tineretului, București, 1958).
 Salvatorul (E.S.P.L.A., București, 1958).
 Ultimul batalion (E.S.P.L.A., București, 1960).

Note

Bibliografie
 *** - Bibliografia literarturii române, 1948-1960 (Ed. Academiei RPR, București, 1965), p. 627-630.
 *** - Dicționar enciclopedic român. Vol. III (Ed. Politică, București, 1966), p. 168.
 George Călinescu - Istoria literaturii române. Compendiu (E.P.L., București, 1968), p. 308.
 Ov. S. Crohmălniceanu - Literatura română între cele două războaie mondiale vol. I (Ed. Minerva, București, 1972), p. 345.
 Rodica Florea - Dicționar de istorie literară contemporană: I. Ludo. În "Luceafărul", nr. 21 din 10 octombrie 1964, p. 3.
 M. Gafița și T. Bănulescu - Scriitori români contemporani (C.S.C.A., București, 1964), p. 221-224.
 Ionel Maftei - Personalități ieșene, p. 155-156.
 George Muntean - I. Ludo. În "România literară", an VI, nr. 22 din 31 mai 1973, p. 12.
 Marian Popa - Dicționar de literatură română contemporană (Ed. Albatros, București, 1971), p. 349-350.
 Petre Solomon - O lacrimă pentru Ludo. În "Luceafărul", an XVI, nr. 22 din 2 iunie 1973, p. 9.

Vezi și
 Scriitori evrei interziși în România sub regimul Antonescu

Nașteri în 1894
Decese în 1973
Ieșeni
Scriitori români din secolul al XX-lea
Scriitori evrei români interziși de regimul Antonescu
Români cunoscuți sub pseudonimele folosite
Evrei români

redpajama_set_name: RedPajamaWikipedia


text:
The Cañoneros Fútbol Club, commonly known as Cañoneros Marina, is a Mexican football club based in Mexico City. The club was founded on 2012, and currently plays in Serie A.

History
The team was founded on 2012 by an agreement between the mexican Secretariat of the Navy and amateur soccer league, Liga de Fútbol Torneo Central de Reservas. The creation of the team was made with the objective of creating a team to train the talents of the national navy and athletes emerged in the amateur tournament. Between 2012 and 2020 this club was funded in part by the Mexican government by relying on a Federal Secretariat.

From 2012 to 2018, the team participated in Tercera División. The team's greatest success came in the 2017-18 season, when it achieved the second place in the category, after being defeated by Acatlán F.C. in the final series.

The condition as runner-up of the team allowed it to get promotion to Serie B, because its rival did not meet the requirements to participate in this division. Also, the club maintains a reserve team competing in Tercera División.

In the first season in Serie B, the team qualified for the playoffs. In the quarterfinals the team eliminated Mineros de Fresnillo by 6-2 in the aggregate. In semifinals, Marina tied with Atlético Saltillo Soccer, but advanced by his condition of best-seeded team. In the final, the navy defeated Deportivo CAFESSA 3-2 on aggregate, thus winning its first championship in history.

In 2021 the team was renamed Cañoneros F.C. because the Secretariat of the Navy stopped providing financial and institutional support to the club and therefore was no longer representative of the institution.

Players

Current squad

Reserve teams
Cañoneros F.C. (Liga TDP)
Reserve team that plays in the Liga TDP, the fourth level of the Mexican league system.

Honors
 Serie B de México (1): 2018–2019
Tercera División de México (0):
Runner Up: 2017–2018

References

External links

 Team Info

Football clubs in Mexico City
Segunda División de México
Association football clubs established in 2012
2012 establishments in Mexico