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A McLaren MCL35 egy Formula-1-es versenyautó, mely a 2020-as és a 2021-es Formula-1 bajnokság során a McLaren-csapat autója. Pilótái az előző évben is a csapatnál versenyző Carlos Sainz és Lando Norris, 2021-ben pedig Sainz helyett Daniel Ricciardo.

Habár eredetileg csak 2020-ban versenyeztek volna vele, a koronavírus-járvány miatti csonka szezon és a gazdasági nehézségek miatt a 2021-re tervezett új formulára való átállást egy évvel elhalasztották, így a 2021-es évben is ugyanazzal az autóval indulhattak. Mivel azonban a csapat ebben az évben visszaállt a Mercedes-motorok használatára, emiatt apróbb módosításokra is sor került, az átalakított autó pedig az MCL35M kódnevet kapta. Ez az új modell volt az, amellyel az olasz nagydíjon először aratott a csapat győzelmet 2012 után, és az első kettős győzelmet 2010 után.

Fejlesztés
2019-ben elbocsátották Tim Gosst, helyére a Scuderia Toro Rosso csapatától sikerült leigazolni James Keyt, aki a kezdetektől részt vett az új konstrukció megalkotásában. Andreas Seidl csapatvezető elmondása szerint az előző évi modellből meglehetősen kevés dolgot hoztak át az új idényre. Ezzel az volt a céljuk, hogy az első három csapathoz képest a lemaradást kevesebb, mint 1 másodperc alá vigyék. A legfontosabb változtatások között volt, hogy a légáramlatokat már a kerék mellett és nem felett vezetik át, az autó hátulját pedig megemelték. Új, keskenyebb orr és bonyolultabb bargeboardok kerültek fel, karcsúbb oldaldobozokkal.

A 2020-as autókat kisebb módosításokat leszámítva a 2021-es idényben is használnia kell a csapatoknak. A McLaren viszont az FIA engedélyével speciális felmentést kapott ez alól, miután még a szabály meghozatala előtt bejelentették, hogy 2021-től újra Mercedes-motorokat használnak.  2021-től a csapat már nem a BP és a Castrol termékeit használja, hanem új szponzoruk, a Gulf üzemanyagait és kenőanyagait.

Az MCL35-ös is papaja-kék színekben pompázott, a glórián és az oldaldobozokon pedig a tíz csapat színeiből álló szivárványmintát helyeztek el, amivel a Formula-1 #WeRaceAsOne kampányához csatlakoztak. A festés során immár matt festéket használtak és valamivel több feketét is.

Versenytörténete és fejlesztései

MCL35 (2020)
Már a szezon kezdete előtt bejelentették, hogy ebben az évben is az a céljuk, hogy a nagy trió - a Mercedes, a Ferrari, és a Red Bull mögött negyedikek legyenek, sőt a lemaradásukat is szerették volna csökkenteni. A szezon előtti teszteken azonban a Racing Point versenyautója sokkal gyorsabbnak mutatkozott, ami miatt már kevésbé voltak optimisták.

A csapat már korábban bejelentette, hogy kihagyja a végül elmaradt idénynyitó Ausztrál Nagydíjat, ugyanis az éppen tomboló koronavírus-járványban bebizonyosodott, hogy alkalmazottaik is elkapták a fertőzést. Az idény végül csak Ausztriában indulhatott el júliusban. A McLaren új padlólemezzel, diffúzorral, és fékvezetékekkel készült, valamint némiképp átszabott első szárnnyal. Norris a harmadik helyről rajtolhatott, Sainz pedig a kilencedikről - 2016 óta ez volt a csapat legjobb időmérős eredménye. Norris a versenyen visszaesett az ötödik helyre, de miután megtudta az utolsó körökben, hogy a harmadik helyen haladó Lewis Hamiltont öt másodperces időbüntetéssel sújtották, hatalmas hajrázással előbb megelőzte Sergio Pérezt, megfutotta a verseny leggyorsabb körét, majd Hamiltonhoz képest lefaragta 5 másodperc alá a hátrányát. Norris így harmadik lett, Sainz pedig ötödik. A soron következő stájer futamon újabb padlólemezzel és motorborítással kísérleteztek. Ezúttal Sainz indult a harmadik, Norris pedig a kilencedik helyről, és bár a versenyük nem sikerült túl fényesen, Norris az utolsó körökben mindkét Racing Point-ot megelőzve lett ötödik, Sainz pedig úgy kilencedik, hogy új pályacsúccsal megfutotta a verseny leggyorsabb körét. A magyar versenyre új motorborítással és T-szárnnyal készültek, ami nem sikerült túl jól, így a felejthető hétvége után visszaálltak a régire, de új első és hátsó szárnyakat, valamint új padlólemezt szereltek fel. Norris a brit nagydíjon ötödik lett, Sainz azonban egy defekt miatt csak tizenharmadik. A következő, 70. évfordulós nagydíj szintén felejthető volt, ugyanis Sainz már az időmérő harmadik körébe sem került be, a versenyen pedig elrontották a kerékcseréjét. Ha ez nem lenne elég, a csapat folyamatosan küszködött a gumikkal, így itt sem értek el jó eredményt, ráadásul a Ferrari leelőzte őket a konstruktőri versenyben, Leclerc megelőzte Norrist, Esteban Ocon pedig Sainzot a bajnokságban.

A spanyol nagydíjon Sainz hűtési problémákra panaszkodott, amit az energia-visszanyelő rendszer cseréjével orvosoltak. A rendkívüli forróság ellenére a csapat jól helytállt, Sainz hatodik, Norris tizedik lett, és eddigre már annyi pontot értek el, mint 2018-ban egész évben összesen. Belgiumban új, már a következő évre szánt fejlesztéseket próbáltak ki. Sainz motorja a verseny előtt megadta magát, így a futamon el sem indulhatott, Norris pedig hetedik lett. A soron következő olasz nagydíjnak ígéretesen futott neki a csapat: már a harmadik szabadedzésen második és harmadik helyen voltak, Sainz a harmadik, Norris a hatodik helyről indulhatott. A rajt után Sainz a második, Norris a harmadik helyen haladt, ám a verseny közben bejött a biztonsági autó. A kerékcserék és egy piros zászlós megszakítás utáni újabb rajtot követően a hetedik és a nyolcadik helyről folytatták a versenyt. Norris végül negyedik lett, Sainz pedig, aki nagyszerű versenyt futott, körökön keresztül folyamatosan harcban volt a győzelemért, de Pierre Gasly mindössze 4 tizedes különbséggel előtte ért célba. Sainz így is második lett, ami a 2014-es ausztrál nagydíj óta a csapat legjobb eredménye lett.

Sajnos ezután a csapatra rosszabb időszak köszöntött: Sainz egymás után két versenyen is kiesett, Norris úgyszintén, illetve a pontszerzésről is rendre lemaradt. Így történt, hogy bár az év végén folyamatosan pontokat szereztek, a rivális Racing Point és Renault csapatokkal szemben hamarosan kezdtek vesztésre állni. Végül aztán a szezonzáró futamon nyújtott teljesítményükkel megszerezték a konstruktőri harmadik helyet - 2012 óta a legjobb pozíciójuk volt ez.

MCL35M (2021)
A fejlesztési korlátozások miatt a 2021-es szezonra való felkészülés egyrészt a módosított szabályokhoz való alkalmazkodást (leszorítóerő csökkentése), valamint a Mercedes motorra váltás miatt szükséges átalakításokat jelentette. Emellett teljesen új váltót is készített a csapat. Két területen próbálták gyengeségeiket lefaragni: a lassú kanyarokban haladás és a szélérzékenység terén. Mivel a motorpartner-cserét már a járvány előtt bejelentették (tehát önhibájukon kívül kerültek nehéz helyzetbe), a McLaren bizonyos szemszögből kivételezett csapat volt e téren, ugyanakkor a teljes autót újra kellett homologizáltatniuk, ellentétben a többi csapattal. A kasztni 2020 decemberében átment az FIA töréstesztjén. A szezon előtti teszteken az autó kisebb port kavart érdekes újításával, a szemlátomást nagyobb és érdekes kialakítású diffúzorával. A McLaren vezetősége szerint a kialakítása abszolút szabályos, és ők lepődtek meg azon, hogy a szabályváltozások ismeretében más csapat nem ezen logika mentén fejlesztett. Hasonló, jól látható különbség volt az átalakított légbeömlő és a valamivel íveltebb oldaldobozok. Az MCL35M festése gyakorlatilag megegyezik az elődmodellével, annyi különbséggel, hogy a Renault-logó lekerült róla (viszont érdekes módon nem került fel a Mercedesé), és a glóriáról levették az előző évi #WeRaceAsOne színezését. A monacói nagydíjon az FIA engedélyével egy alkalomra szóló, speciális festést kapott az autó, valamint a pilóták és az egész csapat is: az úgynevezett "Gulf" dizájn az üzemanyagszállító partnerükkel való kapcsolat előtti tisztelgés, mely a hetvenes évek elejének festési mintáira emlékeztet: szürkéskék alapon papaja csík középen és az oldaldobozokon.

A csapat célja ebben az évben nem a világbajnoki címért való harc volt, hanem hogy tovább csökkentsék a hátrányt a Mercedesszel és a Red Bull-lal szemben, és hogy továbbra is ők maradhassanak a középmezőny legjobb csapata. A McLaren ennek a célnak eleget tudott tenni, hiszen már a szezon eleji teszteken is gyorsak voltak, s megbízhatósági gondok sem hátráltatták őket. Az évadnyitó bahreini versenyen negyedik és hetedik helyen zártak, majd Imolában Norris harmadik lett - úgy, hogy pocsék időmérőt zárt, és a verseny során csapatutasításra Ricciardónak el kellett engednie őt. Portugáliában Ricciardo hatalmas meglepetésre már a Q1-ben kiesett az időmérő edzés során, de egészen a kilencedik helyig feljött. A McLaren csapata lett ekkorra az egyetlen, amelynek mindkét versenyzője pontot szerzett az első három futamon.

A spanyol futamot egy T-szárny felhelyezésével, új első szárnnyal és padlólemezzel kezdték meg. Az autó a pilóták elmondása szerint is jobban vezethetővé vált. Monacóban a csapat a már említett festéssel indult. Ricciardo megint kiesett a Q2-ben, és a futamot is csak a 12. helyen fejezte be - a gyenge teljesítményt azzal indokolta, hogy az MCL35M sokkal szűkebb tartományban működik jól, mint azok az autók, amiket korábban vezetett. Norris ezzel szemben újabb dobogós helyet szerzett. Azerbajdzsánban Ricciardo összetörte az időmérő edzés alatt az autóját, Norris pedig három helyes rajtbüntetést kapott a piros zászlós szabályok megsértéséért. Végül mindketten pontszerző helyen futottak be, de a Ferrari javára elvesztették a konstruktőri harmadik helyüket.

Franciaországba már egy átdolgozott hátsó szárnnyal, karcsúbb motorborítással, és a glória elé rögzített, a légáramlást biztosító "szarvakkal" készültek. Ötödik és hatodik helyen érek célba, és visszavették a konstruktőri harmadik helyet is. A stájer nagydíjon Norris a harmadik helyről indulhatott, de a versenyen csak ötödik lett - Ricciardo a motor meghibásodása miatt a tizenharmadik helyen ért célba. Egy héttel később aztán Norris Ausztriában a második helyre kvalifikálta magát, ami 2012 óta a csapat legjobb eredménye volt. A versenyen aztán Sergio Pérez leszorításáért 5 másodperces időbüntetést kapott, de még ezt is képes volt ledolgozni és a verseny végén visszajött harmadiknak. A brit nagydíjon, a Formula–1 első sprintkvalifikációján egy-egy helyet javítva a hatodik és hetedik pozíciót szerezték meg. A versenyen Norris akár harmadik is lehetett volna, de az elrontott kerékcseréje miatt csak negyedik lett. Ricciardo nagy versenyt futva az ötödik helyen futott be. A magyar nagydíjon kapta meg az autó az utolsó fejlesztéseit, és a csapat ígéretesen is vágott neki a futamnak, azonban Norrist az első kanyarban kiütötte Bottas egy rajtbalesetben, amely miatt kiesett  - s ezzel megszakadt egy, a 2020-as emilia-romagna nagydíj óta tartó pontszerzési sorozat (Norris volt eddigre az egyetlen versenyző, aki 2021-ben minden futamon pontot tudott szerezni). A piros zászlós megszakítás alatt próbálták megjavítani az autót, sikertelenül. Ricciardo autója is megsérült a balesetben, ő tovább tudott menni, de körönként 1 másodperccel rosszabb időt tudott csak autózni, így végül pontszerző helyen kívül intették le. A nyári szünet előtt a Ferrari visszavette a konstruktőri harmadik helyet is.

A belga futamon, ami az eső miatt csonka maradt, Ricciardo negyedik lett, Norris pedig pontot sem szerzett, miután az időmérő szintén esős fázisában összetörte az autóját. Hollandiában váratlanul gyengék voltak, az olasz nagydíjra viszont új első- és hátsó szárnyakkal érkeztek, amelyek remekül illettek az autóhoz. Az időmérő edzésen negyedik-ötödik helyet értek el, Ricciardo a sprintfutamon előrébb lépett két helyet, majd Valtteri Bottas hátrasorolása miatt ez második rajthely lett. A versenyen a rajtnál Ricciardo megelőzte Verstappent és az élre állt, Norris pedig ügyesen védekezett Hamilton ellen a harmadik helyen. Miután Verstappen és Hamilton egy versenybalesetben kiestek, tényleg nem volt, aki fenyegesse az egész hétvégén gyors McLaren kettős győzelmét. Ez volt a 2012-es brazil nagydíj óta az első győzelmük, és a 2010-es olasz nagydíj óta az első kettős győzelmük. Ricciardo ráadásul a végén megfutotta a verseny leggyorsabb körét is. Oroszországban Norris megszerezte a pole pozíciót, és a verseny végéig vezetett is, ám öt körrel a vége előtt megérkezett az eső, Norris pedig kockáztatott és nem cserélt gumit, emiatt bukta a győzelmet - a leggyorsabb kört mindazonáltal megszerezte.

Ezt követően a Ferrari látványosan elkezdett erősödni és emiatt a McLaren szorult helyzetbe került. Mind a török, mind az amerikai nagydíjon vérre menő küzdelmet kellett folytatniuk egymással, ami miatt kiélezetté vált a világbajnoki harmadik helyért folyó küzdelem. Aztán a mexikói-brazil-katari tripla hétvégén a csapat katasztrofálisan szerepelt, három futamon összesen négy pontot szereztek, miközben a Ferrari látványosan elhúzott tőlük. A szezonzárón sem sikerült jól teljesíteniük, így annak ellenére, hogy a Ferrarival ellentétben futamot is nyertek (sőt az egyetlen csapat voltak az idényben, amely kettős győzelmet aratott), csak a konstruktőri negyedik hely lett az övék.

Eredmények
Félkövér jelzi a a leggyorsabb kört, dőlt betű a pole pozíciót.

 † Nem fejezte be a futamot, de rangsorolták, mert teljesítette a versenytáv 90%-át.
Az olasz sprintfutamon Ricciardo 1 pontot szerzett.

Jegyzetek

További információk

 A McLaren hivatalos honlapja

Formula–1-es autók


Gluttony at it's Most Extreme: KFC's Double Down "Sandwich"
Wait a minute, what do you mean it has no bread? I thought it was called a sandwich?...No folks, this is no conventional sandwich. This particular fast-food offering is the latest addition to the revolt against healthy eating and the latest assault on the arteries of the unfortunate (or lucky, depending on what side you're on!) individuals who consume them.
The KFC Double Down sandwich is made up of bacon, cheese and sauce, all melted and squished between two slabs of breaded, fried chicken. Oh and don't forget the sodium. Lots and lots of sodium. This puppy clocks in at a whopping 540 calories, 32 grams of fat and 1380 mg sodium (more than you need in an entire day). According to some food bloggers, the previous sandwich to beat in terms of gluttony was Wendy's Baconator, loaded with multiple beef patties, cheese, and (you guessed it) - bacon. Not to mention a marked lack of bright veggie colours all swimming in a sea of beige and fat. The same bloggers agree that in order to 'one up' KFC's Double Down, one would probably have to serve up a fried ball of cheese, bacon and beef. Wait - don't those already exist?
According to some food experts, it almost seems as though the food industry is creating these products as experiments merely for entertainment purposes, as they clearly aren't good for anything else. Don't get too excited about all this, though - the Double Down is not currently available in Canada (Oh thank God!!).
Check out the article called "Forget healthy – KFC's Double Down revels in glorious gluttony" from The Globe and Mail (Apr. 13, 2010) and scroll down to feast your eyes on one of the most ridiculous commercials you may ever see.


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This is the first in a series of blogs on the progress being made by the FCC's Broadband Deployment Advisory Committee. The FCC created five working groups to make recommendations on rule changes needed to better promote broadband deployment. Today's blog discusses the subcommittee considering model codes for states.
State Goals. The goals are innocuous and have a state pledging to promote broadband everywhere including in rural areas. But there is one interesting twist over the existing goals that a number of states have adopted that defines broadband as bandwidth adequate to meet the person, business, educational and economic needs of the state. This differs from current goals that often set a specific download speeds as the goal.
Statewide Franchising. The proposed regulations would do away with all local franchising and establish one statewide franchise authority. This is something that a number of states have already adopted. The proposed regulations have more teeth than most existing such rules and eliminate a locality from imposing any kind of restrictions on a broadband service provider.
Access to Government Assets. The rules would create a centralized Network Support Infrastructure Register in which local governments would have to list every asset that might be of use for broadband providers. This would include rights-of-ways, towers, buildings, etc. Governments would then have to provide access to these assets to any communication provider at affordable rates set by the state.
One Touch Make Ready. The rules contain one of the many variations on one-touch make ready for attaching to poles. These rules allow for short time frames for existing wire owners to comply with an attachment request before allowing an attacher to connect to poles using pre-approved contractors.
New Hoops for Municipal Broadband Infrastructure. Cities and counties must jump through a lot of hoops before building any broadband infrastructure. For example, before building a fiber to connect government buildings they would have to seek permission of the State through a process called a Minimum Network Specification Notice. Commercial providers would be able to intervene in this process and offer to build some or all of the desired infrastructure. This would largely stop municipalities from building private networks to serve their own needs and would let ISPs instead build the facilities and bill the municipalities for the use.
Municipalities would also have to jump through a series of hoops before being able to build a broadband network to serve customers. For example, a city would have to prove that what they propose could not be done better through some kind of public-private partnership or by a commercial provider. These kinds of restrictions have been pushed for years by ALEC, and where they are enacted they effectively stop municipalities from creating a broadband business.
Any broadband facilities built by a municipality would have to be made available on a cost-plus lease basis to a service provider. This would include dark fiber, towers, and space inside of government buildings.
Preempt Building Owner Rights. The rules require that building owners must provide access for communications providers to create a 'network access point' inside or outside of a building.
Priority for Wireless Infrastructure. The proposed rules would prohibit localities from restricting the deployment in any way of wireless towers or small cell site.
Paying for Rural Broadband. The report supports the idea of State Universal Service Funds and a new Rural Broadband Deployment and Maintenance Fund that would be used to support rural broadband service providers.
In summary, this represents the same wish list we've seen from the big ISPs and from their lobbying arms like ALEC. While many states have adopted some portion of these rules, nobody has adopted them all. It's fairly obvious that the recommendations from this sub-committee are being driven by the big ISPs.
It's worth noting that these sub-committees are advisory and the FCC doesn't have to do anything with their recommendations. In this particular case, since these are proposed state rules the FCC would not have the authority to implement most of these recommendations, so these are really a 'model' set of regulations that the big ISPs would love to see enacted at the state level. However, by generating this through the FCC process these recommendations will be touted as being blessed by the FCC.


Is It Time To Regulate Forensic Accounting?
A comparison between the American organization and governance Forensic accounting system, and the French one. Analysis of risks and rewards of these different regulation systems.


text:
La surera del mas de les Moreres (Quercus suber) és un arbre que es troba a Cornudella de Montsant (el Priorat), el qual és especialment singular per la raresa que constitueix la presència d'un exemplar d'aquesta espècie (a més de les seues dimensions) al Priorat i, més concretament, al sud-est d'aquesta comarca, on es considera una autèntica excepció d'àmbit biogeogràfic.

Dades descriptives
 Perímetre del tronc a 1,30 m: 3,95 m.
 Perímetre de la base del tronc: 5,24 m.
 Alçada: 16 m.
 Amplada de la capçada: 15,5 m.
 Altitud sobre el nivell del mar: 498 m.

Entorn
S'emplaça en unes antigues feixes de secà amb bardisses molt denses, on podem observar lleterassa, esparreguera boscana, rogeta, perpètua, estepa blanca, matabou, lletsó, esbarzer, gavarra, parra americana, argelaga, càdec, aladern fals, pi blanc i alzina. Un fill d'aquesta surera creix a uns 50 metres a l'est. És força bell i les seues dimensions, tot i que no són excepcionals, el fan vistós. També es veuen altres sureres, això sí, de dimensions molt discretes, a l'entorn dels dos individus grans, formant una mixtura amb peus intercalats d'alzina.

Aspecte general
Presenta bon estat general, tot i que passa set, i això es manifesta en un fullatge de dimensions més reduïdes en comparació amb altres sureres que habiten en millors condicions tant de sol com de pluja. Algun branquilló i alguna branca secundària estan secs, però a causa de l'escassetat hídrica esmentada, i no pas per la presència de plagues o malalties, ja que, pel que fa a aquest punt, l'arbre sembla que està perfectament sa. Quant a l'escorça, el tronc i el brancatge, gaudeix de salut i no s'hi aprecien ni càries ni ferides de cap mena. Està espelagrinada parcialment i té una cadolla o petit bassal a l'enforcadura. Fou declarat arbre monumental l'any 2005.

Curiositats
Aquesta surera fou plantada pels volts de 1820-1830 per la família que vivia en aquell moment al mas. La surera del mas de les Moreres, segons Lluís Martorell, nascut al mas, sembla que va ser plantada per la família Rodes, anteriors propietaris de la finca. Està situada en una obaga del sud del mas que li ha donat el nom, en un turó, per sobre dels conreus abandonats d'avellaners. Aquest mas va servir de base durant la darrera Guerra Civil espanyola per a diferents missions: les colònies escolars de Reus, el cos de Tren, escola de metralladores, hospital de malalts i hospital de ferits.

Accés
Des de la carretera T-702, d'Alforja a Poboleda, cal deixar el cotxe al trencall situat al punt quilomètric 49,8, molt a prop de la rotonda que ens duu al veïnat de Les Moreres, i agafar la pista a mà esquerra, que s'enfila penya amunt. S'ha de caminar aproximadament 750 metres, fins a albirar, cim amunt i a uns 200 metres de la pista, aquest arbre, que es veu des de la carretera. GPS 31T 0324268 4566177.

Referències

Enllaços externs
 Flickr .

Arbres monumentals de Catalunya
Cornudella de Montsant
Alzines sureres individuals de Catalunya

redpajama_set_name: RedPajamaWikipedia


Puheklinikka is located in Turku city center on Käsityöläiskatu.
When you enter the building (look for a sign that says Meritalo above the entrance), take the elevator to the 6th floor. You will find us opposite the elevators on the 6th floor.
You can reach us on 040 772 1839, or contact your therapist directly (find numbers below). We also gladly correspond via email.
We will get back to you via email. If you prefer we call you instead, please let us know.


text:
Home » Listing » North America » Our Lady of la Salette shrine
Our Lady of la Salette shrine
La Salette Shrine, 947 Park St, Attleboro, Massachusetts, Združene države Amerike
lasaletteshrinedirector@gmail.com
La Salette shrine
Our Lady of la Salette shrine, know for their Christmas Festival of Light. They offer many opportunities to come closer to God through different ministries. Daily Mass, daily reconciliation, programs, events, ethnic pilgrimages and the peaceful and prayerful atmosphere of grounds themselves.
Christmas Festival of Light
Best known for our Christmas Festival of Lights. Dating back to 1953 on opening day with a simple but beautiful outdoor manger, this festival has grown into a spectacular display of more than 300,000 lights. Inspiring displays, concerts and other events during the Christmas Season.
It has been a Christmas tradition for thousands of families for well over half a century!
Our Lady of La Salette story
The Blessed Mother appeared to two shepherd children at La Salette. A small hamlet in the French Alps. Through the children she gave her message of "Reconciliation" to the world.
She insisted that this message be made known to all her people. Consequently in 1852 the Missionaries of Our Lady of La Salette were founded. To serve as a "perpetual remembrance of Mary's merciful Apparition." In 1892 two La Salette Missionaries arrived to explore possible settlement in the New World and ultimately settled in Hartford, Connecticut. Since then the United States presence has grown nationwide.
In 1942 the La Salette Missionaries bought the Attleboro, Massachusetts property as a major seminary and announced in 1952 the construction of the Shrine.
The Feast of the Immaculate Conception, December 8, 1953, marked the official opening of the Shrine of Our Lady of La Salette in Attleboro.
From this beginning to today they have united their gifts and talents with those of the laity. Looking to Mary as their model, they discern new opportunities to make known Her message of hope and reconciliation.
Our Lady of La Salette shrine – Marian Apparition, with seers Maximin Giraud and Melanie Calvat
National Grotto Shrine of Our Lady of Lourdes in Emmitsburg
National Shrine of Mary, Mother of the Church
National Shrine of Our Lady of the Miraculous Medal
Best known for our Christmas Festival of Lights. Dating back to 1953 on opening day with a simple but beautiful outdoor manger, this festival has grown into a spectacular display of more than 300,000 lights, inspiring displays, concerts and other events during the Christmas Season. It has been a Christmas tradition for thousands of families for well over half a century!
FROM 95 (N & S):
Take Exit 3 (Rte 123 E) through 5 lights to the center of Attleboro (follow sign saying 123 East—118 South—Norton—Brockton).
This is Park St. Follow Park St. under the bridge staying in the right lane. At lights, follow 118 South (toward Rehoboth) for 1.5 miles driving by Bliss Bros. Restaurant and Hope Gardens on your right; watch for shrine entrance on right.
FROM 295:
At the northern end of the road, take 95 South to Exit 3 (Rte. 123 E) and follow the above directions for 95.
Take Exit 10 (Rte. 123 W); turn towards Norton/Attleboro; follow Rte. 123 W approx. 5 miles to a set of lights with a Honey Dew Donuts on the left; turn left at the lights onto Forest St.; follow Forest St. until it ends at Park St. (Rte. 118 S); turn left onto Park Street (one way); drive 1.5 miles passing Bliss Bros. Restaurant and Hope Gardens; watch for shrine entrance on right.
Weekdays 12:10 p.m & 6:30 p.m
Saturdays 4:30 p.m
Sundays 12:10 p.m
Saturday & Sunday: 1:00-4:00 p.m
Monday – Friday: 1:00-2:00 p.m
Wednesday: 5:00-6:00 p.m
Saturday – 1:00 – 4:00pm
First Fridays – 1:00pm – 6:00pm
La Salette story
The Blessed Mother appeared to two shepherd children at La Salette, a small hamlet in the French Alps. Through the children she gave her message of "Reconciliation" to the world. She insisted that this message be made known to all her people. Consequently in 1852 the Missionaries of Our Lady of La Salette were founded to serve as a "perpetual remembrance of Mary's merciful Apparition." In 1892 two La Salette Missionaries arrived to explore possible settlement in the New World and ultimately settled in Hartford, Connecticut. Since then the United States presence has grown nationwide.
In 1942 the La Salette Missionaries bought the Attleboro, Massachusetts property as a major seminary and in 1952 the construction of the Shrine was announced. The Feast of the Immaculate Conception, December 8, 1953, marked the official opening of the Shrine of Our Lady of La Salette in Attleboro. From this beginning to today they have united their gifts and talents with those of the laity. Looking to Mary as their model, they discern new opportunities to make known Her message of hope and reconciliation.
Boston Basilica of Our Lady of Perpetual Help
Book recommendation – 52 Things Sons Need from Their Dads – Father Son relationship
Padre Pio prayer for Healing
What does Jesus' Parable of the wicked Tenants in the vineyard tell us?

redpajama_set_name: RedPajamaCommonCrawl


Home ENTERTAINMENT jhené aiko and dot da genius got married secretly?
Dot Da Genius dropped a bomb on social media when he revealed that he has wifed singer Jhené Aiko. The surprise announcement came up on Instagram when the producer wished his new wife a happy birthday. "Happy Birthday to my gorgeous wife. Happy to be on this quest w/ you!!!" he captioned a picture of him putting a ring on it. Rumours about their marriage have been doing the rounds since Genius shared a pic of the couple's Hawaii trip featuring matching bands on their left fingers.
In December (2015) Dot had posted a pic on Instagram saying, "Congratulations to my wife on her Grammy nomination!!" That image was deleted but since his Instagram and Twitter are obviously linked, the tweet related to the IG post is still live. Which puts their marriage earlier than December last year but it's still not exactly clear when they hooked up.
The new couple actually collaborated in that year when Dot and Woodro Skillson as HeadBanga Muzik jumped on Jhené's 'Sail Out' EP track "The Worst." Congratulations to the newly(?) weds on their union and keeping it private.


Lgenellhawes 1 year, 9 months ago.
My ex-boyfriend and I reconnected after a 6 month separation.Everything was going well until Suddenly he accussed me of sleeping with another man before I slept with him.Which I hadnt done.He doesn't believe me that Im telling him the truth.He broke up with me again.Will my exboyfriend Terrence and I get back together and finally have a happy ending or am I wasting my time by having hope for this union?
If he has trust issues, that will affect relationship for sure.


Do you feel a lack of purpose and need to become focused on achieving your Business, Career or Personal Development Objectives?
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Do you need clarification on what you are trying to achieve, or help in facing the challenges you are involved in?
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I will help you to create and develop self-awareness to achieve both your personal and professional objectives. I will bring enthusiasm, energy and pace to your project. I am skilled at finding the right approach or angle to suit the needs of individuals, teams and organisations.
I have been a Professional Coach since 2010, I am an accredited member of the International Coaching Federation. I have over 20 years experience in Private Business Sector specialising in Human Resources and have gained invaluable experience in Business Acumen and Career Recruitment and Management.
I am passionate about education and continuous personal development with young people, women and community projects. and have been a volunteer coach/mentor on several projects in Public and Third Sector. I have also been involved in Restorative Justice and a Public Governor (South Essex) for SEPT NHS Foundation Trust.


text:
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    /**
     * Constructs an exception object that is thrown due to a developer error, e.g., invalid argument,
     * argument out of range, etc.  This exception should only be thrown during development;
     * it usually indicates a bug in the calling code.  This exception should never be
     * caught; instead the calling code should strive not to generate it.
     *

     * On the other hand, a {@link RuntimeError} indicates an exception that may
     * be thrown at runtime, e.g., out of memory, that the calling code should be prepared
     * to catch.
     *
     * @alias DeveloperError
     * @constructor
     *
     * @param {String} [message] The error message for this exception.
     *
     * @see RuntimeError
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    function DeveloperError(message) {
        /**
         * 'DeveloperError' indicating that this exception was thrown due to a developer error.
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        /**
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        this.message = message;

        //Browsers such as IE don't have a stack property until you actually throw the error.
        var stack;
        try {
            throw new Error();
        } catch (e) {
            stack = e.stack;
        }

        /**
         * The stack trace of this exception, if available.
         * @type {String}
         * @readonly
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        this.stack = stack;
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    DeveloperError.prototype.toString = function() {
        var str = this.name + ': ' + this.message;

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redpajama_set_name: RedPajamaGithub


text:
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Richard Unwin Chairman of Mainstrategy Ltd the dynamic Exporting consultancy business, has been invited to Washington DC in June 2018 as a speaker at The Africa Trade and Investment Global Summit. 2000 delegates will be attending from across Africa with 70 nations being represented.
Mainstrategy team advises companies & corporates seeking export success in addition to mentoring export executives.
Richard, having deep experience in Sub Saharan Africa recognises the massive potential of so many nations within the wealthiest continent on our planet.
His company assists African governments to maximise their excellent potential & global trade policies.
Great opportunities exist both out of Africa and into Africa!


This new edition of Liberty Law Talk is a conversation with Daniel J. Mahoney of Assumption College regarding Alexis de Tocqueville's counsel in Democracy in America on how Americans can best combat an unbound egalitarianism and the prospect of soft-despotism. Tocqueville's writings have been significantly featured over the past few years given his warnings and sense of the dangers of overly centralized government, so this conversation with a noted Tocqueville scholar will add greater depth to our understanding of what the author of the best book ever written about democracy can teach us regarding the challenges and opportunities that America now faces.
Daniel Mahoney's Welfare Rights as Socialist Manqué.
Aurelian Craiutu's Redeeming Liberty: Tocqueville on the Omnipresent Threat of Democratic Pantheism.
Daniel J. Mahoney holds the Augustine Chair in Distinguished Scholarship at Assumption College. He has written extensively on Marxism and totalitarian ideology in the twentieth century. His latest book is The Idol of Our Age: How the Religion of Humanity Subverts Christianity (Encounter Books, 2018).
Well done, Dan. My question on, surprise, the Declaration in Tocqueville's thought, concerns his reaction to a Fourth of July celebration in New York.The celebration moved him, but the oration in praise of the Declaration, "seated at the center of the universe," disgusted him with what he called a pompous harangue (letter to Chabrol, July 16, 1831). While he does not recount the episode in _Democracy_, he does on occasion chide Americans for their irksome patriotism. Is that criticism not related to his omission of the Declaration?


Clients, volunteers, and staff all had a great time at the Client Christmas Party on December 6th. Twenty-three clients came to the party and enjoyed the food provided by our volunteers and received gifts for their new babies provided by special donors. We had a great response from the clients this year, and they all enjoyed the chance to visit with each other.


text:
Youssef Chouhoud
Tags: Civic Engagement and U.S. Policy, Demographics and Diversity, Religion
chouhoud@usc.edu
@_abuelbanat
Disclaimer: the work linked below reflects the view of the author and does not necessarily reflect the view of ISPU.
Youssef Chouhoud is an assistant professor of political science at Christopher Newport University, where he is affiliated with the Reiff Center for Human Rights and Conflict Resolution. Youssef completed his PhD at the Political Science and International Relations program at the University of Southern California as a Provost's Fellow. His research interests include political attitudes and behavior, survey methodology, and comparative democratization.
Youssef's dissertation theorizes the changing contours of political tolerance in both established and nascent democracies. Through original survey analysis, experimental findings, and in-depth elite interviews, his project demonstrates how group identity conditions the expression of liberal norms. This comparative examination of tolerance offers new theoretical and empirical traction for public opinion researchers, while also providing practical insights for community advocates and rights activists.
Prior to enrolling at USC, Youssef earned a bachelor's degree in History at Lehigh University where, as a President's Scholar, he went on to complete a master's degree in Political Science. He is an alum of the American Muslim Civic Leadership Institute and a Fellow at the Yaqeen Institute for Islamic Research.
BA, MA, Lehigh University; PhD, University of Southern California
Race and Ethnic Politics
Political Attitudes and Behavior
Non-Black Muslims Will Need to Do More Than Post Hashtags and Attend Rallies to Combat Anti-Black Racism
June 15, 2020,
By Quaiser Abdullah
The events of the past two weeks have highlighted the disastrous outcomes that emerge when racism and white supremacy interplay with police brutality. The unbridled aggression by the police results from ineffective and insufficient sanctions on police power and authority. The casual murder of Mr....
To Have and to Hold, Part Two: Interracial Marriage among American Muslims
January 22, 2020,
By Youssef Chouhoud
Nearly 1 in 5 married Muslims report being in an interracial relationship.
The Majority of Muslims Believe Poverty Is the Result of Bad Circumstances, Not Bad Character
November 27, 2019,
American Muslims are significantly more likely than the general public to believe that poverty is primarily due to circumstances beyond one's control.
To Have and To Hold: Interfaith Marriage Just as Common among Muslim Americans as Christians
By Katie Grimes
Across all faith groups, interfaith marriage is becoming increasingly common in America. This pattern is partly a function of the broad acceptance of interracial marriage beginning in the Civil Rights era and a decreasing adherence to organized religions in the last several decades (some estimates reporting...
Born in the USA: How Nativity Affects the American Muslim Experience
A significant proportion of American Muslims are immigrants, with the Institute for Social Policy and Understanding's (ISPU) 2018 American Muslim Poll finding that 49% were born outside the United States. Given the often (and, at times, vastly) differing life experiences between native-born and foreign-born American...
What's the Hidden Story Behind American Muslim Poverty?
October 2, 2018,
Muslims in America fare better socioeconomically than other minority Muslim populations around the globe, such as French or British Muslims, on average. This point has supported claims that American Muslims are well-integrated and "mostly mainstream." The ever-expanding universe of successful Muslim entrepreneurs helps further this...
Which Muslims Voted for Trump?
August 10, 2018,
If there is anything that three consecutive years of ISPU's American Muslim Poll has shown, it is that Muslims are not a monolithic community. From racial and ethnic diversity to the various ways that individuals interact with society and each other, Muslims in America are...
American Muslim Poll 2018: Key Findings
April 30, 2018,
By Dalia Mogahed
This is a summary of the key findings of ISPU's annual poll, which returns for a third year to measure the attitudes and policy preferences that impact the lives of American Muslims across faith communities, including results from Catholics, Protestants, Jews, white Evangelicals, and the...
American Muslim Poll 2018: Full Report
ISPU's annual poll returns for a third year to measure the attitudes and policy preferences that impact the lives of American Muslims across faith communities, including results from Catholics, Protestants, Jews, white Evangelicals, and the non-affiliated. In American Muslim Poll 2018: Pride and Prejudice, we...
Who Thinks Muslim Leaders Should Condemn Terrorism?
The answer may surprise you. Following a terror attack bearing the hallmarks of ISIS or other such groups, it is now customary for Muslim leaders to issue public condemnations. Should that be the case? On the one hand, immediately condemning such acts preempts (and, ideally,...
How American Minorities Responded to Hostility
Latino Americans in the general public and Muslims of all ethnic backgrounds hold similar views of the current political climate. This analysis is Part 2 in a two-part series on intersectionality. Read Part 1. In our previous piece on intersectionality, we examined the extent to...
Discrimination Across Intersections
Muslim Americans share common struggles with other marginalized communities. This analysis is Part 1 in a two-part series on intersectionality. Read Part 2. Although the term "intersectionality" has been around for decades in academic circles, it has only recently gained widespread salience. This idea that one's...
All the Single Ladies
October 25, 2017,
Marriage is a perennial topic in American Muslim circles—alternatively a source of joy or anxiety depending on the context. On the one hand, the centrality of marriage should come as no surprise given the numerous textual prescriptions (both in Quran and hadith) lauding and encouraging...
What Makes Muslims Vote?
September 20, 2017,
The 2016 election was supposed to be a political coming of age for the American Muslim voter. The received wisdom in the months leading up to November was that the nomination of Donald Trump—through a combination of fear and heightened civic duty—would drive record numbers...
Why Muslims Give
Charitable giving is an essential component of many faith traditions. It is not surprising, then, that the religiously affiliated and those who regularly attend religious services tend to donate more often than their non-affiliated or less religious counterparts. What's more, although the proportion of donations...
This is a summary of the key findings of ISPU's American Muslim Poll 2017: Muslims at the Crossroads, a poll which offers a timely and groundbreaking look into the American Muslim community. From early on in a deeply divisive presidential election cycle until today, American...
American Muslim Poll 2017: Muslims at the Crossroads offers a timely and groundbreaking look into the American Muslim community. From early on in a deeply divisive presidential election cycle until today, American Muslims have been at the center of heated social and political debates. One byproduct...
Why the Muslim Vote Will Be Crucial in This Election
One of the hallmark theories in political science is the so-called "paradox of voting." The reward citizens get from casting a ballot, according to this model, is a function of the benefit accrued from their preferred candidate being elected, multiplied by the probability that their...
Berry, Justin, Youssef Chouhoud, and Jane Junn. "Reaching Beyond Low-Hanging Fruit: Surveying Low Incidence Populations." In The Oxford Handbook of Polling and Polling Methods. New York: Oxford University Press, 2016.
Chouhoud, Youssef. "Modern Pathways to Doubt in Islam." Dallas, TX: Yaqeen Institute for Islamic Research, 2016.


Can I share warning letter with another employee?
Can I give one employee a copy of a warning letter from another employee's file?
The employee asking for the copy has a complaint against the other employee.
No, I would not recommend this. The complaining employee is entitled to be kept up to date on the status of the internal investigation, to be informed of the outcome, and to be advised that, if the complaint was substantiated, corrective action will be taken. The other employee has privacy rights, even if the complaint is found to be valid.
Note that in the event of litigation, all relevant documents, which may well include the entire personnel file, may have to be produced.


text:
Art In Conversation
Thomas Ruff with Vicki Goldberg
Thomas Ruff, "Self-Portrait" (1987), C-Print, Edition of 4. Courtesy of David Zwirner, New York.
The German photographer Thomas Ruff achieved international recognition in the 1980s alongside Thomas Struth and Andreas Gursky, all students of Bernd and Hilla Becher. Of these three influential photographers, Ruff is the most experimental in theme and technique. He made his name with monumental, straight-on, emotionally uninflected portraits and went on to photograph—or appropriate and enlarge photographs or Internet images of—architecture, interiors, landscapes, nudes, stars, machines, and newspaper photos; he has also made night-vision photographs, superimposed negatives, and created montages, stereographs, and computer-altered images, including abstractions derived from Japanese manga.
In March, David Zwirner in New York showed Ruff's recent altered photographs based on JPEG photographs from the Internet. This work made Ruff's concern with questions of perception immediately visible: the pictures were nearly indecipherable from a great distance, resolved into recognizable images of landscapes and catastrophes at a middle distance, and dissolved into a mass of pixels up close. This interview was conducted in person in New York and later extended by e-mail.
Thomas Ruff: When I started at the Kunstakademie in 1977, I was an amateur. I took photographs like the ones you find in amateur magazines. I wanted to travel around the world taking beautiful photographs of beautiful landscapes and people. I thought that the most beautiful pictures were made at art academies, so I applied there. At that time Düsseldorf was the only art academy in Germany with a photography class. I applied with my twenty most beautiful slides, and strangely enough Bernd (Becher) took me.
I was completely shocked when I saw Bernd and Hilla's photographs the first time—I thought they were boring industrial photographs, the complete opposite of my visual world. I was so shocked that I couldn't work. The friends I made at the art academy were painters and sculptors. I started to look at art and realized my idea of images was the kitsch thing; the true thing was the Bechers. Bernd said to me, "Thomas, these are not your own images. They are imitations of things you have seen. They don't come from your soul. But I accepted you because you use color in such a beautiful way." I really believed the documentary photograph could capture reality. My heroes were Bernd and Hilla Becher, Walker Evans, the FSA photographers, Steven Shore, Joel Meyerowitz, just to name a few.
Vicki Goldberg (Rail): Were the photographs of interiors taken in that documentary spirit?
Ruff: I didn't change anything. I only used light that came through the windows. I started doing interiors in black and white, then changed into color. The students in the Becher class said I couldn't do that because documentary photography has to be black and white. They were more doctrinaire than the Bechers. But Bernd said, "This is beautiful. You should continue in color."
Rail: How did your subjects feel about the deadpan, emotionally uninflected, even affectless nature of the portraits that first brought you international recognition?
Ruff: The people I took the portraits of were very happy with them. They were all proud. As I started that project during my time in the academy, I showed the first four portraits at the Rundgang, the end-of-the-year student show. Nobody said, "I don't want to be photographed," when I asked them. It was just obvious for us to do it in that way. We had all read 1984 by George Orwell and were wondering, how will that year be in comparison to Orwell's visions? We knew we lived in an industrialized society where you can find surveillance cameras everywhere; we looked at the camera in a very conscious way, with the knowledge that we are watched.
If you look at a portrait of a person, it can't give you any information about the life of the sitter, like, is he going to have a visit from his mother in two hours? So what kind of information can a photograph deliver? I have no idea of what kind of information a portrait can convey. I think the possibilities of a photographic portrait are very limited. If there are photographers who say their portraits give more information than mine, I say they only pretend.
When you take a portrait of a little girl laughing, it tells that the girl is happy. What else? It doesn't tell us that she loves her parents. We can only guess that she must and they're good to her. Maybe she's living with her grandparents because her parents are dead.
[August] Sander had this kind of sociological project of society: the boss, the employee, the worker, the farmer, the craftsman, all these kinds of professions, at a time when the differentiation had started to disappear, more or less. He really thought he could capture them and make a sociological encyclopedia about his time. When I started the portraits I excluded that immediately, [the implication that] if somebody's wearing a worker's clothes, he's a worker, if he is wearing a suit, he is an employee. The dress code has changed so much; there is no recognizable code any more. I decided to concentrate on the face because that's the most expressionistic part of the whole person.
When I made the portraits I thought, "We are all even, equal, nobody is more important than anybody else, and at the same time everybody is unique." I wanted to treat all my friends equally, but I was conscious that every one of my friends is unique. Twenty years ago I said photography can only capture the surface of things. It cannot go beyond the skin of a person.
Rail: Do you still feel that?
Ruff: Sometimes yes, sometimes no. The portraits are about mediated images, about photographic portraits, but at the same time it's the person portrayed.
Rail: There is something stark in the clarity and isolation of those faces.
Ruff: If I make portraits, you can see only faces; if houses, only houses; stars with no planets or astronauts, pure stars...
It was very convenient to do the portraits because it happened in the studio, where you have no factors distracting you from the work. When you take a photograph outside of the studio, you have to depend on the weather and the circumstances of the motive, as cars could be parked in front of a house you want to photograph, or trees could be in the way, or other problems appear. As I was more interested in the image of the house than in photographing it in a documentary way, I waited until I had the right circumstances. But even so I had to manipulate two images out of the thirty I took.
My idea was architectural photography questioning the nature of reality. It wasn't really a deliberate decision. It came from my everyday life. I was nineteen or twenty when I did the interiors. I had left my parents' home. The work was probably about leaving home.
When I settled in Düsseldorf, my new friends studied at the academy also. I didn't know old people or babies, so it was obvious [from the portraits] that I chose my nearest acquaintances. Then I worked on the image of architecture, the architecture surrounding my generation when I grew up. So it all was autobiographical.
Rail: You have also investigated the subject of architecture and modernism in your photographs of Mies's buildings.
Ruff: At the end of the 1980s, I said in an interview that I can never photograph a Mies van der Rohe house because it's already so beautiful. Mies is too big. That was pure egoism. Fifteen years later I thought I could make it up with him. When I did the Mies series, I was not afraid of his strength any more. I was able to change some of his architecture and its surroundings. I took away the color of the brick, made the sky flat, pale blue, so it looks like those awful 1950s social buildings where the big ideal was a Mies building from the 1920s. I treated not the buildings but the image of the buildings. Some of the interiors are a kind of psychedelic room. If he inhales, he gets a kind of flash, but only for a couple of seconds.
Rail: You worked from archival photographs, appropriating, as you often do.
Ruff: I didn't have the time to go to Stuttgart, and in Berlin the situation was that I could not take photographs of the buildings at all, so I asked Terry Riley to send me archival photos. I colored them; I was sampling.
Appropriation developed into sampling. Sometimes you could say I'm appropriating, or sometimes I'm sampling. Using one image is appropriation, two or more is sampling. When I appropriate, I'm not questioning authority. It's more pragmatic. When I did the stars [large pictures of the night skies, originally taken by astronomers] I realized I don't have the equipment or the technology for taking the photographs myself. The work of taking the image should always be done by the most professional people. I'm professional with an 8×10 or a 4×5.
Rail: Didn't you think about becoming a professional astronomer at one time?
Ruff: I had a telescope when I was fourteen. Photography and astronomy were my two high-school interests. I had to decide which [to concentrate on]. The stars were personal favorites of mine.
Rail: In the series of Anderes Porträts (Other Portraits) in 1995, you used a montage unit from a police history collection to superimpose two of your earlier portraits on top of one another and photograph the result. What was the impulse for this?
Ruff: When I started them, I wanted to reconstruct one of my portraits. Some critics wrote about my portraits that they were anti-individualistic and anonymous. I wanted to prove that the people depicted in my portraits are unique. It was important to me to make the Anderes Porträts in an analog way. I used a kit that the police use to build mug shots. I realized that I couldn't reconstruct one of my portraits by matching parts [of the face]. But as I had the possibility to work with this kit, I said, "Okay, let's do new faces that do not exist, in an analog, old-fashioned way." I was altering photographic images but in an old fashioned way. There's been such a lot of manipulation since the early days of photography; it didn't start with the tool Photoshop. Just look at all those images with Stalin—who is still there and who has disappeared.
I wanted to give the viewer a chance to recognize that he's standing in front of a manipulated image. I never made a secret out of my technical apparatus. Some photographers make a secret out of their technique. They're afraid people could imitate it. Everybody should have the same basis and the same kind of technical opportunity. [An Anderes Porträt is] a new face, believable, but if you see the manipulation, you realize it's an artificial face. I believe in my photographs.
Rail: In a way, you believe in the artificiality of your photographs. And what about the montages [a series of posters, mostly on political subjects]?
Ruff: [Laughs.] I was trying to do something impossible. It was obvious that it's completely stupid in a way to do montages. It's not contemporary at all. Of course an artist's comment on political decisions or disasters is also completely stupid, and to do this kind of work is stupid. But at the same time, I had a lot of fun. They look like bad posters for B movies, but politicians behave like actors in B movies.
Rail: The news photographs you showed are straight enough, and again they are appropriated.
Ruff: If I'd taken them, they never would have been printed.
Rail: What was your interest in photojournalism?
Ruff: I was collecting newspaper images for about ten years. At first I collected portraits, as I was working on the portraits, and I was interested in how other photographers did them. Then I was interested in other things, and I cut out what attracted me—images from the main pages, world politics, business, sports, arts, science, and so on. When I looked at them ten years later, I thought, this is a nice stamp collection. I had the idea of showing them, but the paper would turn brown in a couple of weeks. I decided to make a reproduction and also to enlarge it, to make you see the dots, so you'd definitely see that it was already printed.
Maybe by that time I already became slightly theoretical. I was interested in what happens when you take away a text from an image printed in a newspaper to illustrate the text. How much information will remain? Some scenes can't be connected any more to anything; they've lost all information. But they keep their visual aesthetic. On the other hand, this kind of photography is the most mistreated in the world. An editor cuts part of the image not under aesthetic but under editorial reasons. I give them back some dignity by treating them as artworks. [Asked if he knew about John Szarkowski's 1973 show, From the Picture Press, Ruff said he hadn't heard of it.] These pictures show something very important, so important they were published in the newspaper and 100,000 people saw them. In the end they couldn't keep their promise.
It depends on what you expect from a photograph. An art photograph within the art context doesn't have to say very much because it is perceived by itself and has no reference except to itself. It doesn't have to prove anything but be a good image. Journalistic photographs and other categories should have aesthetic qualities as well as contain information: "A picture says more than 1,000 words." But it seems very hard to do that kind of photograph.
Rail: What sparked the series of night photographs made with an image intensifier?
Ruff: I had seen images on TV of the Gulf War; I was fascinated and offended. Technically fascinated with the visual appearance of what they showed and emotionally offended by what it means to view a war happening someplace else, broadcast in real time.
Rail: The Zwirner show's subject matter included the eruption of Mount Saint Helens and two images of the World Trade Center on 9/11, as well as landscapes. This project began as an attempt to create an encyclopedia of contemporary history. Why an encyclopedia?
Ruff: I have a little daughter; she's nineteen months old. In a way I want to explain the whole world to her. Maybe in the beginning I thought of a visual encyclopedia for my daughter, but then the work developed independent of that idea. The JPEGs start with Aa: American Architecture, and there's An, African Nile. In the beginning, "Encyclopedia" was kind of a working title. In the meantime, I don't think I can explain the whole world in images.
Most of the images were taken from the Internet, some come from postcards, others I took. What I did [with the digital images] was alter their pixel structure, enlarging them, sometimes changing the color slightly. That was all I did. You just have to find the right images within a selection of more then 1,000 images. Sometimes you find one that reminds you of classical images, like the landscape of burning oil that looks like a Caspar David Friedrich.
Rail: Not long ago, you exhibited brightly colored abstractions based upon images from Japanese manga. Why manga?
Ruff: Again, that was very pragmatic. I needed hard-edged colors, green beside red beside blue, as photographs are too smooth in color and graduation. For what I intended, I tried one substrate with different Alex Katz paintings. It worked, but the colors were not as intensive as the manga. The substrates are the result of the Mies psychedelic images. The buzzing of information on the Internet...On the Net, you get such a lot of images and information you cannot hear or see anything any more, and then you see these colors.
Rail: Scale has been so crucial in the last two decades in photography. When did you begin making the monumental portraits?
Ruff: In 1981 I started making portraits in the size of 18×24 cm. Of course the camera records precisely what is in front of it, but I realized the one behind the camera has ninety percent of the control of the image. I chose the people, the light, gave them instructions like "head up, down, look self-conscious," and so on.
Rail: You used large-scale color photography earlier than most. The size radically changes the picture's impact, and it has been a highly influential strategy.
Ruff: For the first time with the big portraits, a completely different physical presence emerged. With the stars it was the same. The first images I displayed in my studio horizontally, but it wasn't satisfying. The horizontal format is a window, but the images I had in mind weren't a window. I wanted the door, suggesting, "Put on a helmet, go out into space, become a Captain Kirk." That's why I made them vertical and as big as possible.
Rail: The nudes are smaller...
Ruff: This is kind of a smoking parlor, the room where men sit together, have a smoke, and talk without the women. I imagined that they also have some kind of erotic images there, so I used a size that I thought would suit there. It wouldn't have made sense to have them any larger.
Rail: The nudes were lifted from pornographic Web sites.
Ruff: I just don't have the fantasy to do all these different kinds of things I found on the Internet.
Rail: Those images have been described as impressionist because of their soft, blurry quality. Is that what you had in mind?
Ruff: I must confess I didn't think about impressionism but about the whole history of nude painting. What I wanted to do with the nudes was to create photographic images of nudes, but in a contemporary way. I wanted to show contemporary desire: the whole variety of sexual desire in our society today. I really wanted to show everything; I couldn't show only male hetero desires but wanted also the male homosexual desire and all the fetish stuff. When I started my research on the Internet, I was quite surprised at the exhibitionism of people showing themselves naked, as well as the voyeurism of the people looking at them and the total anonymity of it all. The Internet is the perfect medium in which to show the self, make the contact, and also be an exhibitionist who shows his desires.
It's about how our society deals with all these images. It's more sociological. [The Internet] probably told me that not only sexual desire but all parts of life are exhibited, as in those stupid "Big Brother" soaps where normal people are invited into the camp and filmed night and day.
I wanted to make the pictures a kind of parlor size: 80×140 cm or 100×140 cm. If you enlarge a digital image just by calculating the pixels up, you get a very ugly structure. If you enlarge and shift the pixels to the right or the left, it's cut into four, nine, or sixteen parts. The change happens by chance. I was experimenting at the time with pixels and didn't have this kind of photography in mind. I was playing around. I applied it with one of those porn photographs and had this very strange, beautiful, and at the same time awful image.
Probably I'm working on a kind of grammar of the media. I want to understand how it works. I see images, and I don't know how they were done; I have to find out how the image works, how we perceive it. The visible world is seen through the eyes, but it's our brain that creates the images and our whole experience that gives meaning to what you see in the world. Especially in photography there's still a lot of misunderstanding in regard to perception. In the early days of photography, people believed that the camera registers what's in front of the lens, and it's absolutely true. But now it is clear that the person behind the camera is controlling what is shown on the photograph. During the civil war in Yugoslavia, a news photographer might take an image of a wedding in front of a church, neglecting that next to it there might be refugees or people being killed. It's the photographer's decision what you see on a photograph. You could get a completely different impression of what happens, depending on the ideas of the photographer.
With digitalization you can change parts of the picture very easily. It's not serious if you do it for yourself or within the arts, but in my eyes it's a crime if you do it for the news. You don't have to manipulate [the picture], you [just] transfer the information you want people to see.
Rail: To what degree have you been influenced by the theoretical discourse on mediated images and the media?
Ruff: For a long time, photography was second degree because everybody can take one good photograph in his life. So that's why artists working with photography invented this reflection about the media, but at the same time photography is already reflecting the media.
My work is not that theoretically based. I don't go with a thesis and try to prove it. It's a kind of trial and error. Mit dem Bauch denken—aus dem Bauch heraus means "according to instinct." (Bauch is literally translated "abdomen" or "tummy.") I grew up with TV, movies, photographic images on the wall, cheap calendars. It was just natural to pick up a camera and do photographic images, not paintings. It became more and more obvious that we live in this kind of mediated world. Advertising becomes more and more elaborated, and also TV becomes more and more commercial in Germany. The whole society goes on into consuming more and more and more...People don't think about working as something valuable, only free time. They work for vacations. They don't think of Marx: selbstbestimmt arbeit—self-determined work. They work just to play golf or go to the beach. The working time is a horrible time; only the leisure is good. I'm the opposite.
Maybe in our society we are not only consuming products and nature but doing the same thing with information. Twenty years ago we had a journalistic ethos, but now in Germany an article that size [he holds up a finger and thumb close together], you read it just to forget it, the photograph coming with it too. In the end you don't remember anything. The style, the language becomes so cheap that it's really awful reading these magazines. And you find more and more advertising pages. We are consuming information, we swallow it and it is gone, it doesn't reach our brain.
Asked if he was talking about this issue in his work, Ruff replied, "Maybe," preserving in language the ambiguous nature of perception that lies at the heart of his photography.
Taking Shape: Abstraction from the Arab World, 1950s–1980s
By Sahar Khraibani
FEB 2020 | ArtSeen
How do we study abstraction across different contexts, and what modes of analysis do we use?
Joseph Holtzman: Six Recent Paintings
By Gilles Heno-Coe
DEC 20-JAN 21 | ArtSeen
Holtzman finds an excellent collaborator in Sam Parker, whose refreshingly visionary approach shares the painter's energy and tongue-in-cheek humor, qualities that are often lacking in the woefully conventional and overly-serious New York art scene. Holtzman's first solo exhibition on the East Coast, much like his installation at the Hammer Museum in 2014, features an all-encompassing environment of color and pattern, visually situated somewhere between Biedermeier, Arts and Crafts, De Stijl, and 1980s Pattern and Decoration. This campy atmosphere of celebratory excess serves as the perfect backdrop for his recent oil on marble paintings.
"We Are Our Own Monuments": Dispatch from Philly
By Paul M. Farber
DEC 20-JAN 21 | Critics Page
The juxtaposition of armed troops called into the city to "protect" and an elevated portrait of Black Lives Matter protesters' rituals of recognition, right where the Rizzo statue marked systemic racism's enduring roots, highlighted the complexities and contradictions that undergird Philadelphia.
INCONVERSATION
Zillions of Things Become One Thing: CATHERINE CHRISTER HENNIX with Marcus Boon
SEPT 2020 | Music
For this interview, conducted remotely from her studio in Istanbul where she currently resides, Hennix wanted to talk about music as a sonic or vibrational practice, and the ways that in the coronavirus-related lockdown, the enforced stasis that we face could become the site of new kinds of discovery and recognition.
No Room at the Inn: Ratner Continues to "Game" Officials and the Public
By Kate Greer
Dope in the Slope
By Benjamin James
Reindeer Games
By Megha Bahree
Fort Greene's Poetry Park
By Jenny Clevstrom
Art in a B.A.G., or Art Calisthenics
By Lela Moore
Democracy, A New Idea in Europe
By Francois Cusset
Digging up Gov. Clinton
By Peter Lamborn Wilson
The Afro-Culture Wars: Bill Cosby vs. Michael Eric Dyson Cultural Criticism as Pseudo-analysis, Pt. 1,
Gun Boy Acts Like a Man
Lessons for the War on Terrorism: Pam Yates In Conversation with Williams Cole
University, Inc.: Jennifer Washburn with Norman Kelley
Chillin' with Calvin Trillin with Pamela Ryckman
By Daniel Baird
Catherine de Zegher and Hendel Teicher with Chris Martin
Railing Opinion
By Wilfred Brendel
By Megan Heuer
OK/OKAY: Recent Art From Europe
By William Powhida
Unica Zurn: Drawings from the 1960s
Ron Gorchov
By Ben La Rocco
By Roger Kamholz
Charles Cajori
Thomas Trosch
Karin Davie
By Tomassio Longhi
By M. Weimer
Off the Shelves
A Reporter at War: Meditations on Death and Truth
By David Buchbinder
Agent Provocateur: Harry Matthews with Johannah Rogers
From Mambo to Salsa
The Collected Essays of Milton Babbitt
By Richard Kostelanetz
Remember Fun?
Bridging the Latino Diaspora Through Dance
By Tina Louise Vasquez
Making Intentions Clear
By Nicole Pope
Dancing on the Rail: Body Politics
By Vanessa Manko
Star Wars: The Aliens and the Critics
By Gragory Zucker
His Master's Voice
By David N. Meyer
The End of PBS?
By Douglas Singleton
White girl, I mean Greek girl, got flavor: Angela Kariotis
By C. Denby Swanson
Pillow-in-Yer-Face
By David Kilpatrick
Channeling Oedipus
By Pamela Ryckman
excerpts from Citizen (a novel in progress)
By Steven Paul Lansky
excerpt from Queen Cocaine
By Nuria Amat
FUSES (after Carolee Schneemann)
By Caroline Bergvall
Three Photographs, Lucca: Twenty-Minute Walk
By Robert Hershon
A Brand New Dance, Forget the Island, What Leads
By Chet Weiner
Chosen, A Jewish Joke
By Peter Wortsman


If Pleasant Hill is the destination, make plans to stop by Hilltop Bar & Grill for some great dining opportunities. A variety of appetizers will be available on Thursday, Feb. 14, such as crab cakes with roasted red pepper aioli or cherry tomato basil focaccia flatbread. These appetizers are perfect for starting off the evening on the right foot.


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Gender Equality1
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Displaying records 1 - 25 of 35 in total
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Contemporary Process of Large-Scale Land Acquisitions by Investors: Case Studies from Sub-Saharan Africa
Full citation: German, L., Schoneveld, G. and Mwangi, E., "Contemporary Process of Large-Scale Land Acquisitions by Investors: Case Studies from Sub-Saharan Africa," 68 CIFOR OCCASSIONAL PAPER (2011).
Collection Type:
Multiple Countries, Zambia, Mozambique, Ghana, Tanzania
German, L., Schoneveld, G. and Mwangi, E.
Women's Land Rights in Southern Africa: Consolidated Baseline Findings from Malawi, Mozambique, Zambia and Zimbabwe
Full citation: Kachika, T., "Women's Land Rights in Southern Africa: Consolidated Baseline Findings from Malawi, Mozambique, Zambia and Zimbabwe," NIZA & ACTIONAID REPORT (October 2009).
Multiple Countries, Malawi, Zimbabwe, Zambia, Mozambique
Kachika, T.
The Impact of National Land Policy and Land Reform on Women in Zambia
Full citation: COHRE and WLLA, "The Impact of National Land Policy and Land Reform on Women in Zambia," WLLA REPORT (November 2010).
COHRE and WLLA
Report of the National Conference on Women's Property Rights and Livelihoods in the Context of HIV and AIDS
Full citation: FAO, "Report of the National Conference on Women's Property Rights and Livelihoods in the Context of HIV and AIDS ," FAO SOUTHERN AFRICA REPORT (January 2006).
Women's Land Rights in Zambia: Policy Provisions, Legal Framework and Constraints
Full citation: Machina, H., "Women's Land Rights in Zambia: Policy Provisions, Legal Framework and Constraints," WOMEN'S LAND RIGHTS CONFERENCE PRESENTATION (Zambia National Land Alliance, May 2002).
Machina, H.
To Have and to Hold: Women's Property and Inheritance Rights in the Context of HIV/AIDS in Sub-Saharan Africa
Full citation: Strickland, R., "To Have and to Hold: Women's Property and Inheritance Rights in the Context of HIV/AIDS in Sub-Saharan Africa," ICRW REPORT (International Center for Research on Women, June 2004).
Multiple Countries, Lesotho, Namibia, Malawi, Zambia, Kenya
Strickland, R.S.
Reclaiming our Lives: HIV and AIDS, Women's Land and Property Rights, and Livelihoods in Southern and East Africa
Full citation: FAO, "Reclaiming our Lives: HIV and AIDS, Women's Land and Property Rights, and Livelihoods in Southern and East Africa," FAO PAPER (HSRC Press, July 2006).
Multiple Countries, Swaziland, Eritrea, Zimbabwe, South Africa, Zambia, Kenya, Tanzania, Rwanda, Uganda
Strategies to Get Gender onto the Agenda of the "Land Grab" Debate
Full citation: Daley, E., "Strategies to Get Gender onto the Agenda of the 'Land Grab' Debate," ILC POLICY BRIEF (March 2011).
Multiple Countries, Benin, Pakistan, Philippines, Nepal, Ethiopia, Zambia, Rwanda, India
Daley, E.
Zambia Constitution
Republic of Zambia
Zambia: family laws and inheritance laws
This document includes the Marriage Act; Births and Deaths Registration Act; Legitimacy Act; Juveniles Act; Adoption Act; Maintenance Orders Act; Maintenance Orders (Enforcement) Act; Deceased Brother's Widow's Marriage Act; Administrator-General Act; Intestate Succession Act; Wills and Administration of Testate Estates Act; Probates (Resealing) Act; Administration of Estates (Trust Corporations) Act; Trusts Restriction Act; Affiliation and Maintenance of Children Act; and the Persons with Disabilities Act
Property Rights and Resource Governance Country Profile: Zambia
Land Rights for African Development: From Knowledge to Action
Full citation: UNDP, "Land Rights for African Development: From Knowledge to Action," CAPRi POLICY BRIEF (2006).
Multiple Countries, Burkina Faso, Zambia, Uganda
Zambia Lands Act (1995) and The Lands Amendment Act (2010)
Government of Zambia
Zambia Lands and Deeds Registry Amendment Act
The original law is in the record Laws of Zambia: land laws
Zambia Land laws
This document includes: Lands Act; Lands and Deeds Registry Act; Land (Perpetual Succession) Act; Agricultural Lands Act; Land Acquisition Act; Forests Act; etc.
Zambia Laws of local governance
This document includes: Local Government Act; Chiefs Act; etc.
The 2010 Local Government Act is included as a second item.
Zambia Matrimonial Causes Act
Zambia Lands Tribunal Act, 2010
The Gender and Equity Implications of Land-Related Investments on Land Access and Labour and Income-Generating Opportunities: A Case Study of Selected Agricultural Investments in Zambia
Full citation: FAO, "The Gender and Equity Implications of Land-Related Investments on Land Access and Labour and Income-Generating Opportunities: A Case Study of Selected Agricultural Investments in Zambia," FAO REPORT (2013). - This paper is two case studies of the gender dimensions of agricultural investments in Zambia. The lack of explicit corporate gender policies and strategies have meant that prevailing socio-cultural attitudes towards gender have penalized women in relation to the costs and benefits created by the venture. A key principle is that a 'gender neutral' approach to agricultural investments is not enough: investors must adopt explicit gender policies and take proactive steps to ensure that company behaviors help to overcome rather than reinforce pre-existing gender inequalities. This means adopting policies to offer employment on a priority basis to those local women and men who have suffered a loss of livelihood as a result of the land acquisition. All investors should also ensure that the scheme's membership criteria do not directly or indirectly discriminate against women, and should take proactive measures to encourage women to join.
Two fundamental aspects of land tenure governance in particular need to be addressed: the cost of land rent required for leasehold tenure and the powers vested in customary authorities. Options for communal registration of customary land tenure should be explored. Affirmative action to protect women's rights to land and natural resources should also be prioritized including ensuring that the new land policy provides for joint registration of land under joint occupation by married people. [Threats to Women's Land Tenure Security and Effectiveness of Interventions - Annotated Bibliography]
Food and Agriculture Organization (FAO)
African Regional Civil Society Consultation: Women and Adequate Housing
Multiple Countries, Eritrea, Zimbabwe, Zambia, Kenya, Rwanda, Uganda
Bringing Equality Home: Promoting and Protecting the Inheritance Rights of Women: A Survey of Law and Practice in Sub-Saharan Africa
Multiple Countries, Swaziland, Nigeria, Botswana, Ethiopia, Senegal, Zimbabwe, South Africa, Zambia, Ghana, Rwanda
Gomez, M. and Scholz, B.
Hidden in the Mealie Meal: Gender-Based Abuses and Women's HIV Treatment in Zambia
Putting gender on the map: Methods for Mapping Gendered Farm Management Systems in Sub-Saharan Africa
Multiple Countries, Zambia, Ghana
Akamandisa, V., Behrman, J., Hope, L., Karelina, Z., Meinzen-Dick, R., van Koppen, B. and Wielgosz, B.
Report of the "Circle of Learning on Gender Equality and Women's Empowerment in Agriculture"
Multiple Countries, Mali, Honduras, Angola, Sri Lanka, Malawi, Ethiopia, Zimbabwe, Zambia, Ghana, Kenya, Burundi, Uganda
The Global Land Rush: Securing a Better Deal for Women
Polack, E.
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De La Salle Collegiate Basketball
Sync Games to Calendar
Details & Contact
Warren, MI
on demand |
Farmington Hills, MI
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Pershing G Keith Appling Goes Inside for the And-1
Location TBA
Pershing G Keith Appling Goes Coast to Coast for the Layup
Pershing G Keith Appling With the Nice Spin Move
Pershing G Keith Appling Drills the Corner 3
De La Salle Collegiate High School, home of the Pilots, is a private high school located in Warren Michigan. De La Salle Collegiate High School is part of the Catholic High School League with approximately 831 students and 13 varsity sports. De La Salle Collegiate is dedicated to the Lasallian, Catholic education of its diverse students, including the poor and disadvantaged. We are a college preparatory high school inspired by the spirit and tradition of St. John Baptist de La Salle, where learning takes place in the presence of God. Each student is encouraged to develop his faith, character, intellect, and morality.
14600 Common Rd, Warren, MI 48088


Whenever basic hypothesis such as ergodicity are not satisfied, the Boltzmann-Gibbs statistical mechanics, based on the additive Boltzmann-Gibbs entropy, can yield results that are not confirmed by experiments. A more general theory, namely nonextensive statistical mechanics, based on nonadditive entropies, satisfactorily cover a wide class of such anomalous, though ubiquitous, situations in natural, artificial and social systems. A brief review of the present status of this thermostatistical approach will be presented.