No one argues that the challenges of verification are growing exponentially. What is needed to meet these challenges are solutions – tools, methodologies and process that deliver revolutionary results with evolutionary enhancements to existing flows.
This session leads-off where all successful verification projects begin: verification planning and management.
This session is an an update of verification methodologies UVM and OVM, including the use of pre-verified verification IP.
This session will show how to apply intelligent automation of testing while retaining your investment in standard UVM and OVM verification environments.
In this session we next study applying low power design techniques with UPF to augment an existing flow for RTL and netlist.
As the system is assembled, acceleration and emulation may be required for design size and performance. Additionally, the software also must be verified along with the hardware.
This session will wrap up the tutorial with a discussion of proven techniques that can be used for full SoC verification.


text:
JNF Celebrates 'Special in Uniform'
By Pearl Markovitz | February 07, 2019
Israeli President Reuven Rivlin with the soldiers of Special in Uniform.
Ben Levy, a soldier with Cerebral Palsy, walks proudly with the commander of IDF's Homefront command.
Gadi Eizenkot, IDF Chief of General Staff, with soldiers of Special in Uniform.
The Jewish National Fund (JNF) has expanded its dream and mission of re-establishing a Jewish homeland in Israel exponentially since its founding in 1901. From the pennies dropped into its iconic JNF Blue Boxes, there has emerged a vast network of projects and programs which involve participants worldwide. Within Israel, the projects into which JNF has expanded all strive to provide an enhanced quality of life to Israel's residents and beyond. In addition to greening the deserts, building parks, creating new cities and bolstering Israel's water supply through new agricultural technologies, JNF is very much focused upon the special needs population within Israel. During the month of February which the Jewish world has designated as Jewish Disabilities Awareness and Inclusion month (JDAIM), JNF has taken upon itself, along with its partners in Israel, to work tirelessly in assisting communities with disabilities or special needs to fully integrate into their surroundings and mainstream society. The ultimate goal is to improve and enhance the quality of life for these individuals and their families.
Taking seriously the statistic that 13% of Israel's population is considered physically or mentally disabled, JNF has created programs that address these communities. Their activities go beyond the bustling Jerusalem-Tel Aviv corridor, up to the Galil and down to the Negev, to include as many individuals as possible. Included in these projects is making nature accessible to those who are challenged by nature's terrain. In partnership with LOTEM, an organization that works in nature with people with disabilities, JNF offers field trips, accessible hikes and creative workshops for people of all ages. Individuals with visual impairments are provided with three-dimensional models, explanations in Braille as well as other accommodations. JNF has helped establish the first fully accessible inclusive park, Nahal HaShofet, near Yokna'am in the Galil.
In the Southern Negev area, JNF has been instrumental in providing unparalleled rehabilitative services, medical care and special education. At ALEH Negev-Nahalat Eran, a world-class rehabilitative village in the heart of the Negev, residents and outpatients receive outstanding services that have been studied by experts from around the world. Plans are in the works for a full rehabilitative hospital to partner with ALEH Negev. The hope is that a blooming community will form around it, bringing doctors and a full spectrum of medical practitioners and therapists to the Negev in keeping with Ben Gurion's dream of "making the Negev bloom." Nearby, JNF provides therapeutic horseback riding at the Red Mountain Therapeutic Riding Center, located at Kibbutz Grofit in the Arava Valley. The center offers weekly horseback riding therapy to nearly 200 children and adults with physical and mental disabilities as well as emotional and behavioral issues.
Last week, in advance of JDAIM, the offices of The Jewish Link were visited by individuals who are involved in yet another JNF program: Special in Uniform (SIU). Celine Leeds, executive director of JNF's Central New Jersey offices, accompanied Yossi Kahana, director of JNF's Task Force on Disabilities in NYC, and Major (Res.)Tiran Attia, executive director of Special in Uniform in Israel. During the summer of 2014, when Operation Protective Edge was waging, a JNF mission from the U.S. came to Israel to volunteer its services. The volunteers met with General Gaby Ofir, head of the Homefront Command, and came up with the idea of incorporating individuals with special needs into the IDF. Ofir, whose daughter Ronit is afflicted with Williams Syndrome, was fully on board. Retired after 28 years in active service, Major Tiran Attia took on the project. During the next several years, the program was brought up to professional standards and to date over 600 soldiers have served the IDF in many different capacities through SIU.
Shai Levy of Eilat suffers from Cerebral Palsy (CP), and is confined to a wheelchair and speaks with the aid of an iPad. Coming to the IDF as a volunteer, he was trained for six months, after which his social worker suggested that he be considered for moving on to the IDF. After one year of training, Levy became a soldier. His first responsibilities included keeping track of all visitors to a local naval base through charting. Currently, he is working in intelligence on the Egyptian border. In working with Levy, it was discovered that he had special visual acuities that could be utilized in border surveillance.
Ricky Golan, a young woman who also lives with CP, rose to the rank of major in the IDF, through the support of SIU. Roi Shiffman, confined to a wheelchair, is the third individual with CP to go through the program. He works at a base in the south of Israel where he is in charge of arranging all doctors appointments for the soldiers. Levy, Golan and Shiffman are testimonies to the success that SIU has achieved in just a few years.
But SIU does not end its relationship with these soldiers, some who serve out a full army service of three years for men and two years for women, once their service is complete. SIU ensures that these veterans of the IDF receive their full benefits, including further education and training. They provide services in finding employment and even once employed, SIU works with their employers on understanding their special needs and providing accommodations for them.
A JNF Mega Mission to Israel is being planned, during which at least 20 task forces will be dealing with different areas of disabilities and how individuals can be incorporated to their maximum potential into society. The JNF SIU program has caught the attention of high-ranking American armed forces officers who will be looking into providing similar services to their servicemen.
By Pearl Markovitz
To learn more about JNF's SIU program and to participate in any of their ongoing projects in the U.S, and Israel, contact Celine Leeds, executive director of Central New Jersey JNF, at This email address is being protected from spambots. You need JavaScript enabled to view it.. For specific information about SIU contact Yossi Kahana, director, JNF Task Force on Disabilities, at This email address is being protected from spambots. You need JavaScript enabled to view it. or Major Tiran Attia, executive director of SIU, at This email address is being protected from spambots. You need JavaScript enabled to view it..

redpajama_set_name: RedPajamaCommonCrawl


text:
Patrick Mahomes | search
Click here to view Patrick Mahomes news from 60+ newspapers.
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Get the latest news about Patrick Mahomes from the top news sites, aggregators and blogs. Also included are videos, photos, and websites related to Patrick Mahomes.
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Patrick Mahomes, QB for the Kansas City Chiefs at NFL.comPublished: Jan. 20, 2019 at 08:18 p.m. Kansas City Chiefs tight end Travis Kelce puts the Chiefs on the board with an impressive 12-yard dart from quarterback Patrick Mahomes.
Patrick Mahomes Stats, News, Bio | ESPNLatest on Kansas City Chiefs quarterback Patrick Mahomes including news, stats, videos, highlights and more on ESPN
Patrick Mahomes buys $1.9M KC home - bizjournals.comThe Kansas City Chiefs quarterback bought a nearly $2 million home near the Mission Hills Country Club.
Patrick Mahomes - WikipediaPatrick Lavon Mahomes II (born September 17, 1995) is an American football quarterback for the Kansas City Chiefs of the National Football League (NFL). He is the son of former Major League Baseball (MLB) pitcher Pat Mahomes.. Mahomes played college football and college baseball at Texas Tech University.Following his sophomore year, he quit baseball to focus solely on football.
Patrick Mahomes Stats | Pro-Football-Reference.com7/7 It happens every year.A handful of top-tier teams will inevitably miss the playoffs. In 2018, a staggering seven teams who made the postseason in 2017 missed it the following season.
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Eid al-Fitr is a festival celebrated by Muslims on three days of every year. The festival marks the end of another festival called Ramadan. Learn more about the history and traditions of this Muslim holiday.
Series Jones, Grace, 1990- Festivals around the world.
Subjects ʻĪd al-Fiṭr -- Juvenile literature.
Fasts and feasts -- Islam -- Juvenile literature.
Fasts and feasts -- Islam.


text:
Q: module object is note callable, Siamese neural network im trying siamese neural network with this site.
but i got error like this...

i've tried to call con_model but it still give error
i dont know much about siamese or keras or neural network. im just trying and learn.
any body can help me to solve this code?

A: Instead of that merge, which is probably not imported from the correct place, and is probably not recommended anymore, you can use a Lambda layer.
merged_model = keras.layers.Lambda(l1_distance)([model_output_left, model_output_right])

If you're using Tensorflow, the Lambda layers will not require an output shape. If you want an output shape for some reason, you need keras.backend.int_shape(x[0]). The value x[0] alone is not a shape!

redpajama_set_name: RedPajamaStackExchange


text:
Q: Getting error in parsing an XML file using JDOM I have this XML document:
<?xml version="1.0" encoding="utf-8"?>
<RootElement>
   <Achild>
      .....
   </Achild>
</RootElement>

How can I check if the document contains Achild element or not? I tried
final DocumentBuilderFactory factory = DocumentBuilderFactory.newInstance();
// Use the factory to create a builder
try {
    final DocumentBuilder builder = factory.newDocumentBuilder();
    final Document doc = builder.parse(configFile);
    final Node parentNode = doc.getDocumentElement();
    final Element childElement = (Element) parentNode.getFirstChild();
    if(childElement.getNodeName().equalsIgnoreCase(...

but it gives me an error (childElement is null).

A: I think that you're getting #text node (that between <RootElement> and <Achild>) as first child (that's pretty common mistake), for example:
final Node parentNode = doc.getDocumentElement();
Node childElement = parentNode.getFirstChild();
System.out.println(childElement.getNodeName());

Returns:
#text

Use instead:
final Node parentNode = doc.getDocumentElement();
NodeList childElements = parentNode.getChildNodes();
for (int i = 0; i < childElements.getLength(); ++i)
{
    Node childElement = childElements.item(i);
    if (childElement instanceof Element)
        System.out.println(childElement.getNodeName());
}

Wanted result:
Achild

EDIT:
There is second way using DocumentBuilderFactory.setIgnoringElementContentWhitespace method:
factory.setIgnoringElementContentWhitespace(true);

However this works only in validating mode, so you need to provide DTD in your XML document:
<?xml version="1.0" encoding="UTF-8"?>
<!DOCTYPE RootElement [
    <!ELEMENT RootElement (Achild)+>
    <!ELEMENT Achild (#PCDATA)>
]>
<RootElement>
   <Achild>some text</Achild>
</RootElement>

and set factory.setValidating(true). Full example:
final DocumentBuilderFactory factory = DocumentBuilderFactory.newInstance();
factory.setValidating(true);
factory.setIgnoringElementContentWhitespace(true);
final DocumentBuilder builder = factory.newDocumentBuilder();
final Document doc = builder.parse("input.xml");

final Node rootNode = doc.getDocumentElement();
final Element childElement = (Element) rootNode.getFirstChild();

System.out.println(childElement.getNodeName());

Wanted result with original code:
Achild

A: It sounds like .getFirstChild() is returning you a text node containing the white space between "" and "", in which case you would need to advance to the next sibling node to get to where you expect.


Do you have a 5-year plan? Planning (and then acting to make your plan a reality) is key when it comes to reaching your goals and making your money work for you.
But sometimes we get so caught up in what's going on right now that we forget to give enough thought to the slightly more distant future.
Really think about where you and your family want to be 5 years from now and how you're going to get there — both financially and otherwise.
You could schedule this time to recur automatically in your calendar (say, every six months) or tie it to some sort of annual event (such as New Year's or your birthday). That's also a good time to evaluate the progress you've made to date, and to identify areas where you want to continue to improve.
Keep in mind too that plans can (and very likely will) change over time. That's another reason it's good to review them regularly. There's no rule that says your plans are set in stone. But if you don't plan, you're less likely to do and get the things that are really important to you.
What about you? Do you have a 5-year plan or some other sort of long-term plan? What have I left out?


text:
Cytotoxic and potent CYP1 inhibitors from the marine algae Cymopolia barbata
Simone Badal1,
Winklet Gallimore2,
George Huang3,
Tzuen-Rong Jeremy Tzeng3 &
Rupika Delgoda1
Extracts from the marine algae Cymopolia barbata have previously shown promising pharmacological activity including antifungal, antitumor, antimicrobial, and antimutagenic properties. Even though extracts have demonstrated such bioactivity, isolated ingredients responsible for such bioactivity remain unspecified. In this study, we describe chemical characterization and evaluations of biological activity of prenylated bromohydroquinones (PBQ) isolated from the marine algae C. barbata for their cytotoxic and chemopreventive potential.
The impact of PBQs on the viability of cell lines (MCF-7, HT29, HepG, and CCD18 Co) was evaluated using the MTS assay. In addition, their inhibitory impact on the activities of heterologously expressed cytochrome P450 (CYP) enzymes (CYP1A1, CYP1A2, CYP1B1, CYP2C19, CYP2D6, and CYP3A4) was evaluated using a fluorescent assay.
7-Hydroxycymopochromanone (PBQ1) and 7-hydroxycymopolone (PBQ2) were isolated using liquid and column chromatography, identified using 1 H and 13 C NMR spectra and compared with the spectra of previously isolated PBQs. PBQ2 selectively impacted the viability of HT29, colon cancer cells with similar potency to the known chemotherapeutic drug, fluorouracil (IC50, 19.82 ± 0.46 μM compared to 23.50 ± 1.12 μM, respectively) with impact toward normal colon cells also being comparable (55.65 ± 3.28 compared to 55.51 ± 3.71 μM, respectively), while PBQ1 had no impact on these cells. Both PBQs had potent inhibition against the activities of CYP1A1 and CYP1B1, the latter which is known to be a universal marker for cancer and a target for drug discovery. Inhibitors of CYP1 enzymes by virtue of the prevention of activation of carcinogens such as benzo-a-pyrene have drawn attention as potential chemopreventors. PBQ2 potently inhibited the activity of CYP1B1 (IC50 0.14 ± 0.04 μM), while both PBQ1 and PBQ2 potently inhibited the activity of CYP1A1 (IC50s of 0.39 ± 0.05 μM and 0.93 ± 0.26 μM, respectively). Further characterizations showed partial noncompetitive enzyme kinetics for PBQ2 with CYP1B1 with a K i of 4.7 × 10–3 ± 5.1 × 10–4 μM and uncompetitive kinetics with CYP1A1 (K i = 0.84 ± 0.07 μM); while PBQ1 displayed partial non competitive enzyme kinetics with CYP1A1 (K i of 3.07 ± 0.69 μM), noncompetitive kinetics with CYP1A2 (K i = 9.16 ± 4.68 μM) and uncompetitive kinetics with CYP1B1 (K i = 0.26 ± 0.03 μM) .
We report for the first time, two isolated ingredients from C. barbata, PBQ1 and PBQ2, that show potential as valuable chemotherapeutic compounds. A hydroxyl moiety resident in PBQ2 appears to be critical for selectivity and potency against the cancer colon cells, HT29, in comparison to the three other malignant cell lines studied. PBQs also show potency against the activities of CYP1 enzyme which may be a lead in chemoprevention. This study, the first on isolates from these marine algae, exemplifies the value of searching within nature for unique structural motifs that can display multiple biological activities.
Cymopolia barbata (Linnaeus) V.Lamouroux (Dasycladaceae) is widespread in shallow waters and is seen covering rocks by the shorelines in tropical marine habitats. Known to grow to about 10-cm high, these green algae (Chlorophyta) have tufts at the end of their stems that are lightly calcified. Extracts from this plant have previously shown significant pharmacological properties such as antifungal, antitumor, antimicrobial, and antimutagenic activities [1–8]. Although the cymopols are known halogenated natural products which have been isolated from C. barbata, active ingredients responsible for the displayed biological activities remain unspecified. In this study, we investigated bioactivities of prenylated bromohydroquinones (PBQ), cymopol-related metabolites which are known to accumulate in C. barbata, and report, for the first time, biological activities from single ingredients isolated from this marine algae. Two of these compounds namely, 7-Hydroxycymopochromanone (PBQ1) and 7-hydroxycymopolone (PBQ2), shown in Figure 1 were investigated for cytotoxicity against three cancerous cell lines, one normal cell line, in addition to their potential for chemoprevention via inhibition of cytochrome P450 (CYP) 1 enzymes.
General structures of polyisoprenylated bromohydroquinones (PBQ1 and PBQ2) isolated from the marine algae, C. barbata.
The CYP1 family of enzymes and in particular CYP1B1 appears to be a universal molecular cancer marker and a target for drug discovery. Findings of the over-expression of CYP1B1 in many tumor tissues compared with normal surrounding cells have led to the search for prodrugs reliant on CYP1B1 metabolism for the conversion into cytotoxic therapeutics [9]. The modification in the expression levels of CYP1B1 has been shown to modulate tumor progression [10] and thus specific inhibitors are expected to be of therapeutic/preventive benefit. Further, the involvement of CYP1 enzymes in the bioactivation of procarcinogens such as polycyclic aromatic hydrocarbons (PAHs), heterocyclic amines, aromatic amines, and nitro polycyclic hydrocarbons [11], in addition to the biotransformation of anticancer drugs, has stimulated research into inhibitors of CYP1 enzyme activity [12, 13]. Such inhibitors are thought to be potential anti-carcinogens if they could inhibit the activities of CYP1B1 and CYP1A1 to metabolize PAHs to toxic intermediates and/or decrease their ability to detoxify cancer drugs. A number of natural products have been found to be direct inhibitors of CYP1 enzymes, as well as generate metabolites that are CYP inhibitors with cytotoxic properties. In the study described in this article, PBQ2 demonstrated potent inhibition against CYP1B1 activity, together with promising and specific activity against the colon cancer cell line HT29. The examination of a close structural relative, PBQ1, also allows identification of structural motifs critical for biological activity.
All chemicals for the MTS and CYP inhibition assays were purchased from Sigma-Aldrich (St. Louis, MO, USA). All CYP substrates and metabolites were purchased from Gentest Corporation (Worburn, MA, USA).
Cell lines and CYP microsomes
All cell lines along with their respective media and supplements were purchased from ATCC (Manassas, VA, USA). Escherichia coli membranes expressing human CYP1A1, CYP1A2, CYP1B1, CYP2D6, CYP3A4, and CYP2C19 co-expressed with CYP reductase were purchased from Cypex Ltd. (Dundee, UK).
Cell culture and cytotoxicity assays
Cell lines (CCD18 Co, HepG2 and MCF-7) were maintained in ATCC-formulated Eagle's Minimum Essential Medium and HT29 was maintained in McCoy's 5a Modified Medium supplemented with 10% fotal bovine serum (Atlas; Fort Collins, CO, USA), 10 mM HEPES solution, 100 mM l-glutamine penicillin streptomycin solution, 3 g/L glucose, and 1.5 g/L of sodium bicarbonate. Cells were maintained at 37°C with 5% CO2 in Corning 75 cm2 culture flasks. Cells were exposed to a given isolate or known anticancer agent for 24 h. Following the appropriate treatments, cell viability was evaluated using an MTS assay according to the manufacturer's instructions [14]. All assays were performed at least three times and were monitored spectrophotometrically at 590 nm [15]. Cell viability was recorded as percentage relative to vehicle solvent-treated control.
CYP inhibition assays
The test compounds were evaluated for their ability to inhibit the catalytic activity of human CYP1 enzymes by means of high throughput fluorometric detection assays conducted in 96-well microtitre plates as described elsewhere [16, 17]. 7-Ethoxyresorufin (ERes) was used as a substrate for detecting activity of CYP1B1 and 7-ethoxy-3-cyanocoumarin (CEC) was used as a substrate for both CYP1A1 and CYP1A2. Further, the substrates, 3-[2-(N N-diethyl-N-methylamino)ethyl]-7-methoxy-4methylcoumarin (AMMC), 7-benzyloxy-4-trifluoromethylcoumarin (BFC), and CEC were used as substrates for CYP2D6, CYP3A4, and CYP2C19, respectively. The reactions were monitored fluorometrically at 37°C, using a Varian Cary Eclipse fluorescence spectrophotometer. All inhibitors were dissolved in a solvent of 20% acetonitrile in water and less than 0.3% of acetonitrile was used in the final assay.
IC50 and K i values were determined by fitting the data in Sigma Plot (version 10.0) and enzyme kinetics module, using nonlinear regression analysis. The apparent K i values were determined on the basis of visual inspection of Eadie-Hofstee and various statistics to evaluate goodness of fit, such as the size of the sum of squares of residuals, Akaike information criterion, and standard error (Enzyme kinetics module, version 1.3). The data listed represent the average values from three different determinations.
Two PBQs (Figure 1) were isolated from the marine alga C. barbata and investigated for biological activity. The ability of these compounds to interfere with the reduction of the tetrazolium salt in the MTS assay was examined as a measure of impact on cell viability (Figure 2) using normal and cancer colon cells (CCD18 Co and HT29, respectively) along with liver and breast cancer cells (HepG2 and MCF-7, respectively). IC50 values were calculated for test compounds and positive control known drug entities, doxorubicin, fluorouracil, and tamoxifen (Table 1). PBQ2 selectively impacted the viability of colon cells, HT29 with comparable potency to fluorouracil (for HT29 cancer cells: IC50, 19.82 ± 0.46 μM compared to 23.50 ± 1.12 μM and normal colon cells, CCD18 Co IC50, 55.65 ± 3.28 compared to 55.51 ± 3.71 μM, respectively). PBQ1 had no significant impact (<10% at 60 μM) on any of the cell lines tested.
Percentage cell viability of colon cancer cells (HT29; A) and normal colon cells (CCD18 Co; B) in the presence of PBQ2 and known chemotherapeutic drug fluorouracil.
Table 1 IC 50 values (µM) obtained from the interaction of isomers of PBQs with colon cancer cell line (HT29) and the normal colon cell line (CCD18Co) along with positive controls
To verify the accuracy of experimental techniques employed to detect CYP inhibition, assays with known inhibitors were carried out with furafylline (against CYP1A2 activity), ketoconazole (against activities of CYP1A1, CYP1B1, and CYP3A4), (−)-N-3-Benzyl-phenobarbital (against 2 C19) and quinidine (against CYP2D6 activity) and the obtained IC50 values (0.8 ± 0.2, 0.04 ± 0.01, 6.3 ± 1.7, 0.06 ± 0.01, 0.3 ± 0.01, 0.03 ± 0.01 μM, respectively) compared well with published values (0.99, <10, <10, 0.06, 0.25, and 0.04 μM, respectively; [17–20]). Michaelis constant, K M, was determined for each marker substrate under the specified experimental conditions, in order to determine suitable substrate concentrations for assessing inhibitory potential of test compounds [21].
Both PBQs 1 and 2 potently (IC50 < 1 μM) inhibited the activity of CYP1A1 (IC50s of 0.39 ± 0.05 and 0.93 ± 0.26 μM, respectively). PBQ2 also potently inhibited the activity of CYP1B1 (IC50, 0.14 ± 0.04 μM) as shown in Figure 3. For those interactions yielding an IC50 < 10 μM against the activities of CYP1 family, further kinetic characterization was carried out to determine the nature of the inhibition, and Eadie-Hofstee plots are illustrated in Figure 4. Reversible enzyme kinetics was observed for PBQ1 with partial noncompetitive inhibition of CYP1A1 activity, noncompetitive inhibition of CYP1A2 activity (K i s of 3.07 ± 0.69 and 9.16 ± 4.68 μM, respectively) and uncompetitive inhibition of CYP1B1 activity (K i of 0.26 ± 0.03 μM). PBQ2 displayed uncompetitive inhibition of the activity of CYP1A1 (K i of 0.84 ± 0.07 μM) and partial noncompetitive inhibition of the activity of CYP1B1 (K i of 4.7 × 10–3 ± 5.1 × 10–4 μM).
Inhibition of activities of CYP isoforms by PBQs 1 (A) and PBQ2 (B). Human recombinant CYP1B1-catalyzed dealkylation of ERes (0.37 μM), CYP1A1, CYP1A2, and CYP2C19-catalyzed dealkylation of CEC (0.5, 5, and 25 μM, respectively) CYP2D6-catalyzed dealkylation of AMMC (1.5 μM) and CYP3A4-catalyzed debenzylation of BFC (50 μM) were determined in the presence of varying concentrations of PBQs ranging between 0 and 900 μM, as described in the section "methods". Control enzyme activity (mean ± SEM) for CYP1B1, CYP1A2, CYP1A1, CYP2C19, CYP2D6, and CYP3A4 was 0.34 ± 0.08, 0.23 ± 0.04, 0.86 ± 0.01, 0.25 ± 0.02, 0.10 ± 0.003, and 1.28 ± 0.07 μM/min/pmol of CYP, respectively. Data are expressed as mean percentage of control enzyme activity for three independent experiments.
Eadie-Hofstee plots for inhibition of activities of CYP1A1 (A), CYP1A2(B), and CYP1B1(C) by PBQ1 along with inhibition of activities of CYP1A1 (D) and CYP1B1 (E) by PBQ2. CEC dealkylation catalyzed by recombinant CYP1A1 and CYP1A2 was determined in the absence and presence of six different concentrations of PBQs along with ERes dealkylation catalyzed by recombinant CYP1B1. Each point represents the mean ± SEM of three independent experiments.
Further characterization of the isolated test compounds against other major drug metabolizing P450 enzymes (CYP2C19, CYP2D6, and CYP3A4) was carried out. A summary table with all IC50 data is presented in Table 2. As seen therein, while both PBQs 1 and 2 moderately (IC50 > 1 μM) inhibited the activities of CYP2D6 (IC50s, 1.03 ± 0.40 and 2.75 ± 0.96 μM, respectively) and CYP3A4 (IC50s, of 5.07 ± 3.54 and 8.31 ± 4.67 μM, respectively). PBQ1 and PBQ2 potently inhibited the activity of CYP2C19 (0.08 ± 0.03 and 0.12 ± 0.06 μM, respectively).
Table 2 IC 50 values (µM) obtained from the interaction of isomers of PBQs with CYP enzymes
From the panel of cell lines tested, the impact on the viability of malignant colon (HT29) and normal colon (CCD18 Co) cells by PBQ2 was similar to that imparted by the chemotherapeutic drug, fluorouracil, with comparable IC50 values. PBQ2 also displayed selective cytotoxicity toward HT29 cells with no impact on cancerous liver (HepG2) and breast (MCF-7) cells. PBQ1, its structural isomer on the other hand, had no impact on any of the cell lines investigated and thus the presence of a tertiary hydroxyl group on PBQ2 appears to be critical for the observed bioactivity. Be it the formation of hydrogen bonds with key residues within the cell or during receptor-mediated cell permeability, the conjugated, open ring, and hydroxyl group presence in PBQ2 plays a crucial role in impacting cell viability compared with epoxy moiety of PBQ1.
Inhibitors of CYPs1A1 and 1B1 enzymes have received particular interest due to their role in reducing the activation of carcinogens and thus as chemoprotectors and chemotherapeutics. Several classes of natural compounds [22], including flavonoids [23, 24] and organosulfur compounds [13, 25, 26], have demonstrated great potential in chemoprevention and thus provide the impetus for the search for others. Both PBQs potently (IC50 < 1 μM) inhibited the activity of CYP1A1while PBQ2 also displayed potency toward CYP1B1. Studies using knock-out mice models have linked CYP1B1 with the activation of several carcinogens, such as Ba P and DMBA [11] and have also been shown to play an important role in modulating tumor progression [10, 27]. Thus, the potency toward both CYP1B1 and CYP1A1 activities by PBQ2 suggests potential chemopreventive bioactivity in vivo. Conversely, PBQ1 with demonstrated CYP1A1 inhibition, devoid of cytotoxicity on all cells examined in this study, also highlights it as an attractive candidate with potential for development as a chemoprotector.
The development of novel classes of therapeutics that can target both drug metabolizing enzymes and disease pathways is a multi-targeted approach that may well suit the multi-factorial origins of a disease such as cancer. Examples of such compounds include isothiocyanate which impact both Nrf-2 transcription factors, and inhibit the nuclear factor ĸß pathway to exhibit potent anti-inflammatory properties [28]. Such attractive dual qualities are displayed by PBQ2 in this study, with potent and selective targeting of HT29 colon cancer cells, as well as the inhibition of CYP1A1 and CYP1B1enzyme activities.
The potency of PBQ2 can be put into perspective with the reported inhibitory effect of eight flavonoids tested against recombinant human CYP1B1 and CYP1A1 enzyme activities which showed a range in IC50s between 0.3 and 27 μM [29]. They made ideal chemoprotectants against prostate cancer [30]. PBQ2 had an IC50 of 0.14 μM, which appears to be more potent at inhibiting CYP1B1 activity than all the eight flavonoids tested by Chaudhary and Willet [29], making this isolate an ideal candidate for further research.
PBQs examined in this study displayed reversible, non or uncompetitive (partial or full) kinetics on CYP1 enzyme activities. In noncompetitive inhibition, typically the IC50 value is equal to the K i , while in uncompetitive inhibition IC50 will equal twice the value of the K i for experiments where the substrate concentration is close to the K m value [31], as designed in our experiments. Such approximations are observed in the kinetics of PBQ1 with CYPs1A2, 1B1 and of PBQ2 with CYP1A1, although deviations from these approximations were seen for interactions of PBQ1 with CYP1A1 and PBQ2 with CYP1B1 where the partial noncompetitive kinetics were observed and such mixed type binding may complicate relations between IC50 and K i s. Due to the non and uncompetitive nature of PBQ binding with CYP1A1, previous active site models developed for CYP1A1 using natural product quassinoids [20, 32], were therefore not useful in shedding light on structure–activity relationships within the active site. The dietary flavonoid, galangin, shown to display inhibition of DMBA-induced CYP1A1 in MCF-7 breast cancer cells, was of a noncompetitive, dose-dependent manner [33] similar to that of PBQ1.
Investigating the impact of these PBQs against the other major drug metabolising enzymes (CYP2C19, CYP2D6, and CYP3A4) allowed for the predictions of drug interaction potential. The impacts on CYP3A4 and CYP2D6, the enzymes responsible for metabolism of over 90% of drugs on the market, were only moderate by the two PBQs, suggesting unlikely metabolism-based drug interactions via these important enzymes. However, both compounds potently inhibited CYP2C19 activity. CYP2C19 is also involved in the process of carcinogenesis albeit with lower impact than the CYP1 family, and the CYP2C19 inhibition by the PBQs may prove useful in chemopreventive value, although drug interactions possibility via this enzyme that metabolises important therapeutics such as omeprazole and theophylline will remain a concern compounded by likely variations in inhibition reliant on the expression levels of this polymorphic enzyme.
Plant material
Cymopolia barbata was collected from the shoreline of the north eastern coast of Jamaica at Fairy Hill Beach in the parish of Portland at a depth of 0.5 m in June 2004. A voucher specimen (#UWI-Mona 35, 438) was deposited in the Herbarium at the University of the West Indies, Mona, Jamaica.
Extraction and isolation
The air-dried sample (962.15 g) was extracted with methanol:dichloromethane (1:1) to yield a dark green gum (30.91 g), a portion of which (12.8 g) was subjected to vacuum liquid chromatography on silica gel in a 2-L sintered funnel with a gradient elution system consisting of increasing proportions of CH2Cl2 in hexanes, 100% CH2Cl2 with final elution in 20% methanol:CH2Cl2. Of the 56 fractions obtained, fraction 22–24 (2.35 g), which eluted in 20% methanol:CH2Cl2, underwent further gravity column chromatography to afford 172 sub fractions. From this column, sub fraction 20–22 was found to contain 7-hydroxycymopochromanone (PBQ1). Another portion of the crude extract (2.0130 g) was subjected to column chromatography on a Sephadex LH-20 column in methanol resulting in 11 main combined fractions. The fifth combined fraction from this column was subjected to silica gel chromatography in 30% acetone:hexane to afford 37 fractions. Fraction 23–28 was found to contain 7-hydroxycymopolone (PBQ2). Both PBQs were identified by comparison of their 1 H and 13 C NMR data with the literature [1, 34].
NMR data for 7-hydroxycymopochromanone (PBQ1)
1 H NMR(CDCl3, ppm): 1.05, 3 H, s (H-8), 1.20, 3 H, s (H-9), 1.30, 2 H, m (H-6), 1.35, 3 H, s (H-10), 1.61, 2 H, m (H-4), 1.61, 2 H, m (H-5), 2.99, 1 H, s (H-2), 3.00, 1 H, s (H-2), 5.35, 1 H, br s (OH-6′), 7.13, 1 H, s (H-4′), 7.66, 1 H, s (H-1′), 12.00, 1 H, s (OH-7).
13 C NMR (CDCl3, ppm): 16.3 (C-5), 27.1 (C-10), 28.2 (C-8), 32.2 (C-9), 34.5 (C-4), 36.3 (C-6), 52.7 (C-2), 72.2 (C-7), 73.9 (C-3), 118.3 (C-1′), 118.8 (C-5′), 120.8 (C-4′), 121.1 (C-2′), 144.2 (C-6′), 156.1 (C-3′), 205.4 (C-1).
NMR data for 7-hydroxycymopolone (PBQ2)
1 H NMR (CDCl3, ppm):1.28, 6 H, s (H-8, 9), 1.55, 2 H, m (H-6), 1.67, 2 H, m (H-5), 2.20, 3 H, s (H-10), 2.30 2 H, t, J = 7.5 Hz (H-4), 6.69, 1 H, s (H-2), 7.18, 1 H, s (H-4′), 7.43, s (H-1′), 12.32, 1 H, s (OH-7).
13 C NMR (CDCl3, ppm): 20.5 (C-10), 22.6 (C-5), 29.7 (C-8), 29.7 (C-9), 42.3 (C-4), 43.5 (C-6), 71.5 (C-7), 115.6 (C-1′), 119.0 (C-5′), 119.8 (C-2), 120.9 (C-2′), 121.9 (C-4′), 145.0 (C-6′), 157.2 (C-3′), 162.6 (C-3), 195.9 (C-1).
The polyisoprenylated bromohydroquinone, PBQ2, was found to affect cell viability of colon cells (HT29) comparable to the chemotherapeutic drug fluorouracil, with selectivity, making this compound an ideal lead candidate suitable for further experimentation in chemotherapy of colon cancer cells. In addition, it showed potent inhibition against CYP1B1 enzyme activities, a marker for cancer and target for drug discovery. Compounds such as PBQ2 that can target both drug metabolizing enzymes and disease state cells are of high value. Such chemotherapeutic and chemopreventive potential implied by the displayed bioactivity validate the on-going search for treatment leads among natural products from endemic tropical biodiversity including marine habitats.
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We are grateful to the International Foundation for Science (IFS), Sweden, the University of the West Indies post graduate fund, the Forestry Conservation fund, and the Luther Speare Scholarship (for SB) for financial support.
Natural Products Institute, Faculty of Pure and Applied Sciences, University of the West Indies, Mona, West Indies, Jamaica
Simone Badal
& Rupika Delgoda
Department of Chemistry, Faculty of Pure and Applied Sciences, University of the West Indies, Mona, West Indies, Jamaica
Winklet Gallimore
Department of Biological Sciences, Clemson University, Clemson, SC, 29634, USA
George Huang
& Tzuen-Rong Jeremy Tzeng
Search for Simone Badal in:
Search for Winklet Gallimore in:
Search for George Huang in:
Search for Tzuen-Rong Jeremy Tzeng in:
Search for Rupika Delgoda in:
Correspondence to Rupika Delgoda.
SB carried out all CYP inhibition and cell culture assays, WG carried out extraction and purification of natural products, GH designed and assisted all cytotoxicity assays, TJT participated in coordination of cytotoxicity assays, RD conceived of the study and participated in its design and coordination. All authors read and approved final manuscript.
Badal, S., Gallimore, W., Huang, G. et al. Cytotoxic and potent CYP1 inhibitors from the marine algae Cymopolia barbata . Org Med Chem Lett 2, 21 (2012) doi:10.1186/2191-2858-2-21
Cymopolia barbata
Dasycladaceae
CYP450
Chemoprevention
Chemoprotection.


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Essays • Weekend
Street Art Is a Period. Period. Or the Emergence of Intermural Art
Rafael SchacterJuly 16, 2016
Brad Downey, detail from "Inside Out, Upside Down", Nun Gallery, Berlin 2014 (photo © Brad Downey) (click to enlarge)
Let's start off with a clear contention. Street Art, as I see it, is a period. Period. It is today just one of the many sub-groups housed within the larger category of Art, a period — much like Mannerism, Minimalism, Modernism, Maximalism and the like — that defines a practice with distinct members and distinct timeframes, with distinct styles and settings, distinct techniques and ideologies. I say this not to attempt to validate or legitimate Street Art, something that it no longer needs anyone to do. Rather my claim of periodicity aims to make clear the radical divergence between what is widely understood as Street Art today and what was understood as Street Art in its infancy. Ultimately, and perhaps initially paradoxically, it aims to move us past this now misleading term, to lay the body of Street Art to rest and give life (or rather, give name) to the body of another, a practice I call Intermural Art.
But why is this act of naming so important? What's really in a name? Well from an anthropological perspective, the basic urge to classify, to order and arrange the world is one of the very few human universals. It is mankind's way of forming social and conceptual coherence from the mass of data we encounter on a daily basis, classifying out the universe, as Claude Lévi-Strauss called it, so as to cleave the wood from the trees. Within the mass of material culture we today define as Art (something itself classified in distinction to "craft"), this imperative to classify is accompanied by the concept of the period. Informally termed the "isms," these terms codify the various subdivisions housed within the larger structure, the particular forms, particular methodologies, and particular styles that mark out this type from that, that temporally and theoretically bind them as distinct, ordered practices.
Yet the period also defines characteristics which are more than just material. It comes, in fact, to define both the wider moral world in which these works are set as well as the overarching framework from within which they are understood. The period thus not only impacts how the work is received by the viewer — where it is understood to be situated in ethical and relational terms — but determines our very ability to receive and perceive it in itself, enabling and constraining its interpretation within the same moment.
Today, regrettably however, from my perspective as a researcher, writer, and curator within this subgenre of Art, what has become abundantly clear is that the term Street Art, Street Art as period, Street Art as material has become entirely untenable. It is a period in a categorically ambiguous position, defining a now inapposite ethic, providing a now misleading frame of reference. The need for a movement away from this initial term and for the foundation of another has thus become, in my opinion, inescapable.
John Fekner, "My Ad Is No Ad" (1980), Sunnyside, New York (photo © John Fekner) (click to enlarge)
Assimilative not Interruptive
Perhaps it is best to work backward in order to move forward. As a defined artistic milieu, I would argue that Street Art was operative and, crucially, innovative, between approximately the years of 1998 and 2008 (the time period of our period). Although Street Art practices as such were seen prior to 1998 (anticipatory, proto-Street Art works being quite visible in the poetic messages of John Fekner and the graffiti abstractions of Futura2000 in the 1970s, in the eponymous stencils of Blek le Rat in the 1980s, and in the stickers, posters and roll-ups of REVS & COST in the 1990s for example), the critical mass of practices began occurring at this date.
By 1998 a core group of artists had thus begun to explore new ways of assimilating and integrating themselves within the city. This group of approximately 100–200 artists worldwide, mainly from Europe, North America and Latin America, came, primarily, from a background within the wider graffiti culture. Yet many had also received a more classical art or design-based education alongside their independent, illicit one, possibly the first generation of graffiti practitioners to have received this twofold training en masse. Many artists at this point felt that graffiti had become too authoritarian, too restrictive, or merely felt that they wanted to push their practice into a new direction. They were looking for ways of continuing their work in the street — the critical medium and location for their practice — yet exploring new ways of modeling their message, ways of continuing their public engagement yet changing their communicative reach.
Swoon, Untitled (2007), New York City (via Flickr/editrrix) (click to enlarge)
1998 was thus the year in which Parisian artist STAK (known today as Olivier Kosta-Théfaine) began bringing his logos, pictograms and text-based slogans to the streets of the French capital, the year in which Invader undertook his first ceramic tile "invasion" of the same city. It was the year in which New York collective Faile formed, the year in which Philadelphia's Steve Powers (then ESPO) began his Exterior Surface Painting Outreach project, in which Swoon began installing her wheat-paste posters on the street. 1998 was the year in which the work of Brazilian twins Os Gemeos became internationally visible (thanks to the all-important 12oz Prophet Magazine), the year in which StudioChu and the DOMA collective started their work on the streets of Buenos Aires. It was the year when Banksy (yes, I must mention him), began to focus solely on stencils and leave his previous freehand approach behind.
A mural by Os Gemeos (2005), Sao Paulo (via Flickr/Thomas Hobbs) (click to enlarge)
While quite clearly different from each other stylistically and or conceptually, these artists can all be argued to have been attempting to work in dialogue with rather than in opposition to surrounding architectural forms (the formal basis of the period), being intentionally attentive rather than purposefully disruptive to the context which they inhabited. These artists were all moving away from typography and the letter-form and intent on creating a more open, more accessible from of visuality (the stylistic basic of the period), stripping their work of the menace that Graffiti had been imbued with by the media and anti-graffiti authorities since the early 1980s. These artists were all moving away from the ubiquity of the spray-can (the technical basis of the period), utilizing media such as stencils or posters, producing forms such as sculptures or installations, methods that transformed the viewership of the practice from an exclusive to a more inclusive public. Yet these same artists all held on to the DIY, self-sufficient spirit of Graffiti culture (the ideological basis of the period), they held on to the autonomy and independence that gave its artists opportunities that institutions would never have allowed: They retained graffiti's refusal to be professionalized or standardized, they retained the belief that spontaneity and fidelity would always trump permissibility and legality.
Street art as it emerged in 1998 thus contained all the key elements of what we would see as a traditional artistic period: a time, a place, a style, a technique, an ethic, an ideology. Yet by the latter date of 2008, these specificities began to unravel. What had been ten years of innovation, evolution and maturation began to transform into repetition, imitation and simulation.
Google Images Street Art screengrab (first 24 results) (click to enlarge)
Street Art on Steroids
After 2008 the practice became more renowned, more refined, but not necessarily more experimental or pioneering. Much of this may simply be due to the natural cycle of the period (as with all good things) coming to an end, the boundaries having been pushed, the artists having moved on. Yet more alarmingly, it was around this time that the term itself came to mean something very different to that originally intended, that it came to be abused, misused, on a widespread level.
By 2008 then, the very term Street Art had come to be radically reattributed by the market, the media, and municipal authority. In the first case, almost inconceivably, the term was commonly used to denote a type of artwork produced, exhibited, and sold inside. Not only a basic category error and entirely (oxy)moronic — as long as the works looked "street" or urban (with the requisite drippy paint) the appellation "street" could apparently be added — but the key element of Street Art, the street of its very name, became entirely irrelevant. In the second case of the media, however, Street Art came to be used as a term for institutionally authorized, legally sanctioned murals. The Tate Modern's Street Art exhibition of 2008 (which I should note that I partly co-curated) stands as a key boundary marker here. The massive global prominence of this event, both in terms of international media attention and institutional validation, began, I believe, to steer public perceptions of Street Art in a particular and quite singular direction. Street Art was identified with big, colourful, exterior wall paintings; it became known as an "edgy" form of popular muralism. All the other diverse practices, the installations, the actions, the "minor", small-scale works, came to be excluded from the term. Moreover, the success of the exhibition (in a quantitative sense at the least) led to the promulgation of what are today the thousands of Street Art Festivals that have spread across the globe. These municipally initiated festivals, our third element, produced at the behest of urban planners and publics servants rather than critics and curators, have not only today become the dominant mode whereby Street Art is encountered (in particular through its digital distribution), but have been a key element in both the recuperation of Street Art and its contemporary complicity within processes of gentrification. It has become a (relatively) cheap way of "bringing in culture" to a site, of locating it within the (much critiqued) Creative City model of city planning. It has turned art into a project of branding (of place, of lifestyle), it has turned artistic value into financial rather than cultural or societal gain.
As such, much of what is called Street Art today should, in my opinion, simply be termed neo-Muralism (or even Creative City Art). Neo-Muralism is Street Art turned professional, Street Art on steroids. Entranced by the belief that bigger is always better, this "more is more," Maximalist attitude has today come to act as the overwhelmingly dominant framing of Street Art. What's more, alongside this neo-Muralist pursuit, Street Art has also taken a clear turn toward Kitsch. Mickey Mouse snorting cocaine and seductive female depictions. Colourful caricatures and saccharine sentiments. Surface effects and art as advertising. It is as if the utmost parody of what Street Art once was has become the norm.
What is crucial to say, however, is not whether these works are "good" or "bad" per se; rather, it is simply that they no longer function as Street Art, that they contradict its basic periodistic prerequisites. Much of this "Street Art" fails to assimilate with its surroundings, rather coming to directly dominate it. Much of it is institutional, not independent, sacrificing autonomy yet feigning subversion. Much of it is strategic, existing for reasons of gain rather than art. Much of it fails to act consensually and rather embraces the fatuity of sentimentality or "cool." What is today called Street Art thus provides a quite misleading frame of reference. It no longer reflects the material and ideological categories that it once stood for. It is not simply that Street Art no longer exists, but that it is in a state of radical, utter confusion.
The Limits of the Category
While the above may seem overly harsh (and there are of course many exceptions to this straw-mannish depiction), the situation for those working in Street Art today is a truly confusing, frustrating one. When much of what is termed Street Art fails to comply with the primary premises of the form, those who are caught within its terminology can quickly become enemies to themselves.
And it is this, I believe, that leads us to the key point of this essay. It is not merely that what exists within the term Street Art fails to live up to the original principles of the form, but equally that the artists at the vanguard are pushing at the very limits of the category, engaging and inhabiting the outside limits of the Street Art terrain while still, for want of a better term, being housed within it. These are artists who are emerging from the Street Art and Graffiti arenas, but who are developing practices that now both exceed and are tarnished by this previous designation. These are artists occupying the vital space between the street and the studio, between the independent and the intuitional, artists who are moving between the outside and the inside in highly conscious ways. These are artists occupying the spaces in between in disruptive, innovative, boundary shifting ways.
As such, the need for a terminological transformation, for a movement away from Street Art and towards something new, has become imperative. It has become imperative so as to be able to successfully explicate what this work now is. It has become imperative to enable people to materially and morally decipher these new aesthetic forms. It had become imperative so as to create a new platform from which these artists can both speak and be heard.
Intermural Art
The term I am proposing for this new practice is Intermural Art. In literal terms, Intermural Art means Art in between the walls. Not art inside the walls (intramural), nor outside them (extramural), but art between these same walls. The relationship between inside and outside is key to Intermural Art – the way in which the inside can affect the out and the outside the in. The way the internal can critique the external and, in the same manner, the external the in.
Intermural Art emerged directly from both Graffiti and Street Art. Yet it is an art form that — due to its time-frame (emerging as a wider discourse post-2008), to its location (both in the street and the gallery) as well as its basic material qualities (its visual divergence from both these earlier forms) — can no longer productively reside within these previous terminologies. Likewise, Intermural Art is a practice often simply labeled Contemporary Art, yet while it is influenced by the myriad of practices that come under the term, is obscured by its breadth (it meaning so much that it denotes almost naught).
Although commonly a practice occurring within an institutional frame, Intermural Art is not merely a movement transplanting Graffiti or Street Art into the permissible realm of the gallery or museum. It is, rather, a practice utilizing these previous visual styles in one or more of three key ways: First, as a conceptual foundation — artistically investigating, dissecting and exploring the aesthetic and culture of Graffiti and Street Art; second, as a methodological tool — using the techniques and methods of Graffiti and Street Art yet subverting their traditional regulations and codes; and third, as an ethical imperative — using the independent ethic (rather than aesthetic) of Graffiti and Street Art, as a way of understanding the world, appreciating one's environment rather than as a simple visual regime.
There are a number of individuals who, for me, exemplify the conceptual, methodological and ethical approaches of Intermural Art. Within this essay, however, I will discuss just two, the Berlin-based, American-born artist Brad Downey and the Parisian artist Antwan Horfee.
Brad Downey, installation view of "Inside Out, Upside Down", Nun Gallery, Berlin 2014 (photo © Brad Downey) (click to enlarge)
Downey, for me, represents one of the central figures within Intermural Art, with an expert understanding of both the theories and practices of Contemporary Art and the theories and practices of Street and Graffiti Art. His recent work "Inside Out, Upside Down" (2014), produced at the gallery nun in Berlin's Neukölln district, is a particularly pertinent example. Working with everyday, commonplace wall plugs in a variety of colors and sizes, Downey created a series of unique, site-specific patterns and designs over the entirety of the gallery space. Including nothing else within the space but these simple plugs, objects normally used to install more conventional artworks (and thus remaining invisible while being crucial to the final display), he produced a minimalist, highly decorative installation, a playful intervention on and in the gallery walls.
Brad Downey "House of Cards #3" (2007), Berlin (photo © Brad Downey) (click to enlarge)
Physically situated amid and between the walls of the gallery, "Inside Out, Upside Down" moves beyond Intermural Art as metaphor: it acts as intermural art in the most literal of senses. Yet like our description of Intermural Art above, Downey's work can also be seen to relocate the conceptual, methodological and ethical frameworks he institutes on the street within the site of the gallery itself. Just as his public practice of interventionism, of re-appropriation and re-use, comes to explore and critique the customs and conventions of the street, here Downey brings the same process into the interior realm. As can be seen in public works such as "House of Cards" This is, quite clearly, no longer Street Art. It is both literally and conceptually Intermural. It is infected and inflected by his public practice, a conduit between the city and the street.
Brad Downey "Misunderstood Lovers (Square)" (2013), Denmark (photo © Brad Downey)
For Antwan Horfee, the aim is not specifically to question our surroundings, but rather to continue experimenting with medium and form in the institutional realm as he has in the public. As one of the world's most esteemed graffiti artists, responsible for a paradigm shift within the movement over the last ten years alongside his Paris collective PAL, Horfee has formed a richly naïve style of graffiti production, a chaotic amalgamation of letter and image, of colour and form, in which purity of line and an improvisational freedom are key. Studying at the National School of Fine Arts in Paris, however, and with a passion for contemporary art to match his obsession with painting in the street, Horfee has never seen the need to restrict himself to one site: he treats all images and spaces as "fields of research," both his objects and his sites understood as things that are truly "alive".
Antwan Horfee, "Mattresses" installation view, London, 2016 (photo © Rafael Schacter) (click to enlarge)
For his recent residency and exhibition with Russell Maurice at Somerset House in London, Horfee chose what at first may seem an odd artistic surface, six queen-size inflatable mattresses. Painting these objects with the shapes and forms that have become key to his visual vocabulary — fungi, palm trees, plants, snakes — the final works contain, in themselves, a quite formal beauty, a careful balance of colour and form, sharpness and brutal confidence of line. Yet these works are also implicitly Intermural, following a clear trajectory from graffiti to gallery, from street to studio, and are difficult to fully comprehend without awareness of this journey. As within graffiti, the works use an impoverished, non-art surface on which to produce art, a surface that is uneven and indented, much like the shop shutters these artists so commonly use. As within graffiti, the works are subject to an inevitable process of destruction (through their slow yet inescapable deflation), a process mirroring the latent ephemerality of the graffiti in our streets. As within graffiti, the works embrace a refusal to work within normative boundaries, resisting the tyranny of canvas, resisting the rules of conventional practice. Yet these works take much influence from the history of Contemporary Art, from the "soft" sculptures of Claes Oldenburg for example, his method of making hard into soft, of rejecting the exalted and embracing the everyday. Horfee's works thus not only create a direct link between these two realms, but they push the boundaries of each of them. They embrace the fine line, the frictions that this border zone presents.
Antwan Horfee, Untitled (2016), Paris (photo © Gues) (click to enlarge)
Street Art is a Period. PERIOD!
Of course, Graffiti and Street Art have both appeared in galleries and museums before, since their very genesis in fact. But Intermural Art — as seen not only in the works outlined above but in the generative abstractions of Eltono, the sculptural installations of Clemens Behr, and the projects and performances of Filippo Minelli for example — takes the Graffiti and Street Art model, as concept, as method, as ethic, and translates it into a new form of art. An art that may not look like Graffiti or Street Art but smells like it. An art venturing beyond and between the gaps in these previous terminologies, exploring the space in between the walls.
As Intermural Art this work can be identified and interpreted. As Intermural Art its frame of references can be read, its concepts rather than just its locations or mediums deciphered. And, perhaps more importantly, as Intermural Art it can start to encourage a new descriptive and conceptual language for other practices working within the same milieu. It can start to bind, and thus develop, the practices working both inside and outside the institution, the practices that those at the very edge of what was termed Street Art are now exploring.
People often criticise the pigeonholing of (art) practices. They say "it's just a name", "it's just a category." They say we should spend less time thinking and more time acting. Yet these terms, these words, are hugely powerful. Names, genres, periods matter. And Street Art, as a period, is something that we must now move past. Street Art is a period. Period. A period whose radical mantle can be seen continued today within the category of Intermural Art.
Antwan HorfeeBrad DowneyFeaturedgraffitigraffiti artJohn Feknerstreet artSwoon


text:
Q: Woocomerce round up weight on cart and checkout I need to round up prices on my Woocomerce so when my shipping plugin calculates the costs, it rounds up to 1. Not sure if that makes sense, but let me put an example:
If the total weight of the cart is 6.23 lbs, I need the cart to show 7 lbs (lbs = pounds).
I guess I would need to input a function in the functions.php file, but not sure where to start, I'm trying to find it myself digging through different online forums, but can not seem to find the slightest clue about it.

A: A bit late but maybe still useful. You can try the woocommerce_cart_contents_weight hook:
add_filter('woocommerce_cart_contents_weight', 'round_cart_contents_weight');
function round_cart_contents_weight($weight) {
  return ceil($weight);
}

A: You need to round first, then return $weight.
add_filter('woocommerce_cart_contents_weight', 'round_cart_contents_weight');
function round_cart_contents_weight($weight) {
    $weight = ceil($weight);
    return $weight;
}


On a trip to England, a history professor falls in love with an enchanting woman. They travel back in time, meeting all the legendary characters he has idolized along the way.
College professor ROBERT IRWIN decides to wrap up his visit to the historic places of England by spending the night outside Stonehenge. The next morning he meets the ethereal young beauty NINIANE "ANNE" MELLERS who instantly evokes figures from mythology in Robert's mind. Reality and fantasy become one, and they quickly become lovers. As they travel throughout the countryside, Robert and Anne soon find themselves crossing paths with all the great English heroes, myths, and legends from Robin Hood to Merlin. In his trademark style the master of fantasy, novelist Robert Nathan, weaves a tale of enchantment and fantasy, filtered through the universal experience of love.


text:
import { BrowserModule } from '@angular/platform-browser';
import { NgModule } from '@angular/core';

import {
  ManagerContractModule,
  ManagerContract,
  ManagerContractService
} from '@ngpz/manager-contracts';

import { AppComponent } from './app.component';
import { ClientModule } from './client-view/client-view.module';
import { Client } from './client-view/client-view';
import { ClientServiceModule } from './client-data/client-data.module';
import { ClientDefService } from './client-data/client-data';
import { ListModule } from './lib/list.module';

export const translateConfig: ManagerContract.TranslateConfig = {
  prefix: '/assets/',
  suffix: '.json'
};

@NgModule({
  declarations: [
    AppComponent
  ],
  imports: [
    BrowserModule,
    ManagerContractModule.forRoot(translateConfig),
    ClientModule,
    ClientServiceModule,
    ListModule
  ],
  providers: [],
  bootstrap: [AppComponent]
})
export class AppModule {
  constructor( private _managerContract: ManagerContractService) {
    _managerContract.addContract(Client.contract);
    _managerContract.addContract(ClientDefService.contract);
  }
}

redpajama_set_name: RedPajamaGithub


Vladimir Vernadsky (1863-1945) was a Russian geochemist and mineralogist who is considered to be one of the founders of geochemistry and biogeochemistry. This complete translation of his ground-breaking work, The Biosphere, is essential reading for anyone looking to comprehend the nature of the Earth in its planetary, cosmic scale.
The term "biosphere" which is much used today was first introduced to scientific world in 1926 when Vernadsky published a monumental research paper entitled "The Biosphere" (first published in English in 1984 by Synergetic Press). Vernadsky continued to work on theory of the biosphere till the end of his life.This definitive edition of Vernadsky's 'The Biosphere", also includes the translation of his second major book written near the end of his life entitled "Essays in Geochemistry. This combined publication offers the English-speaking reader the opportunity to gain a solid understanding of Vernadsky's comprehensive thinking.


The popular german fashionhouse Hugo Boss has footprints in a dark time of our modern history that probably not many of the clothe's proud owners know about. Learn about the Hugo Boss nazi-involvement.
In 1997, a spokeswoman fron Hugo Boss told the press that they had became aware of connections between the company's founder Hugo Ferdinand Boss and the german nazi regime.
Hugo Boss began as a familiy-run business in Germany 1923 which manufactured police and postal uniforms.
Hugo Ferdinand Boss joined the Nazi Party in 1931 and circa two years later, somewhere between 1932-33 his company began manufacturing uniforms for the nazis.
Hugo Boss company produced the new black unfiroms worn by SS (SchutzStaffel) units, brown shirts worn by SA (Sturmabteilung) storm troopers and also the black- and brown unfiroms for the Hitler youth.
Hugo Boss continued to manufacture unfiforms for the nazis throughout the Second World War.
According to the Austrian news magazine "Profil", the company brought forced laborers from Poland and France to its factory to increase their output in the later years.


-Explain how does every family have its own reality, regarding cultural diversity.
-Explain what can the therapist learn by asking the child about the picture they drew.
-Explain what is one way that the Family Drawing exercise can be made more effective for multiracial/multiethnic children.
-Explain what was the government's policy until 1825, wince it was felt that Indian and white societies could not blend.


text:
Kenneth M. Sappio 1955-2021
WEATHERSFIELD — Kenneth M. Sappio, 66, of Weathersfield, passed away Saturday, Nov. 27, 2021.
He was born Nov. 5, 1955, in Youngstown, a son of Rocco and Iola Neil Sappio.
Kenneth was a member of the Niles Kingdom Hall of Jehovah's Witnesses. He was a 1973 graduate of Mineral Ridge High School and in 1987, received an associate degree from Kent State University Trumbull Campus.
Kenneth was employed as a SCADA modeling specialist for FirstEnergy, where he had worked since 2016. He had also worked for Axion Power in New Castle, Pa., as a project engineer and in the research and development department of Ajax Magnethermic in Warren.
Kenneth enjoyed working with electronics and computers. He especially liked programming, which he first learned in the 1980s on his Radio Shack TRS-80 computer. He also enjoyed working on electronic projects in his home shop. Some of his other interests included science fiction movies, boilers, old cars, engines, electrical equipment and mechanical things. He was a regular exhibitor at the Canfield Fair Antique Equipment Pageant, Antique Power Exhibition in Burton, Portersville Pennsylvania Steam Show and the Algonquin Mill Festival.
Kenneth is survived by a son, Michael Sappio of Weathersfield.
He was preceded in death by his parents and two brothers, James Sappio and Robert Sappio.
A private burial was held in Forest Lawn Cemetery in Youngstown.
(special notice)
Brookfield fills empty board seat
Mon. 11:47 a.m.: Out of this world: 555.55-carat black diamond lands in Dubai


The Latvian National Museum of Art is hosting the exhibition The Chair as Artwork. Galila's Collection, Belgium from 11 April until 12 May 2019. The exhibition is situated in the lobby on the 3rd floor of the main building of the Latvian National Museum of Art, and is organised by the art and culture portal "Arterritory.com" as a collateral project of the Purvītis Prize 2019.
The Chair as Artwork: Galila's Collection, Belgium focuses on the manifold character of the chair, which has made this seemingly common, everyday object such a source for creative inspiration and experimentation. 50 chairs from Belgian collector Galila Barzilaï-Hollander's collection are on view, the authors being artists, designers and architects, both well-established and those still young and emerging. Indeed they are based all around the globe, from France, Germany, Great Britain and Belgium to Senegal, Lebanon, Israel and South Korea.
...In December 1888, Vincent van Gogh immortalised two chairs in two different paintings: his own and that of his fellow genius Paul Gauguin. These works later became a symbol of the relationship between these two artists. Gauguin had arrived in Arles to visit Van Gogh, and for eight weeks the two shared a studio in the city's legendary Yellow House. This was a very creative period for Van Gogh, and in Gauguin's company he created a painting a day. However, given the conceptual differences in the views of the two artists, as well as their different approaches to the creative process, their relationship soon took on a fairly destructive tone, culminating in Van Gogh's infamous fit of insanity.
Painted on one of the canvases Gauguin had brought him, the image of Van Gogh's chair feels empty and sad. Its owner has seemingly abandoned his chair, leaving only a pipe and tobacco pouch on it – intimate links to the person who once used this piece of furniture on a daily basis. Gauguin's chair, on the other hand, is fancier, with armrests and curved legs; it stands on an ornate rug and seems to expansively move outward from the frame. A candle and two books have been placed on the chair. At exhibitions and in books, Gauguin's chair is usually placed on the left, conspicuously turned away from Van Gogh's chair, thereby accenting the men's strained relationship. Both paintings have been interpreted countless times, both from a populist and analytically theoretical perspective.
Joseph Beuys' Fat Chair (1964) has often been compared to Van Gogh's chair. It is a sculptural object made of a simple, used wooden chair and a thick layer of fat – a favourite material of the artist – spread across the seat like a huge slice of cake or yeast. The German name of this chair, Fettstuhl, is a play on the double meaning of the word Stuhl, which can refer to both 'chair' and 'faeces'. At the same time, it represents and uniquely frames the anatomy of its user, the human: intestines, sexuality, bodily fluids and organ systems.
"The fundamental aspect is undeniably present in the chair as object. Stability. Roots. Of all kinds: ethnic, linguistic, country of residence, genealogy. When you build a house, you first lay the foundation. In a way, the chair symbolises this foundation. At the same time, it is an instrument of communication. It invites us to sit down and begin a conversation. The chair is also a symbol of power – for good reason, one of the oldest interpretations of a chair is the throne," says Belgian art collector Galila Barzilaï-Hollander.
Her collection of chairs makes up only one part of her art collection, which contains a total of more than one thousand objects. But it is definitely one of the most expansive parts of the collection, vividly confirming that the chair as medium has no limits. The chair is humankind's closest comrade from the world of objects. It is a tool for contemplation as well as communication. Ever since Homo sapiens learned to control fire and first sat down on an improvised seat, the chair has evolved in step with humans. It embodies understanding and support, power and status, the creation and taking away of life, torture and execution.
Just as the chair can tell us about humans, it can also shed light on the world of things, including politics and esoterics, love and hate, art and daily life. The chair is not limited by choice of material; it can be made of practically anything. Perhaps this is why the chair as an object has always fascinated artists, designers and art theoreticians – from the aforementioned Van Gogh to Andy Warhol and Robert Rauschenberg. For example, artist and theoretician Joseph Kosuth used the chair as an object through which to begin a conversation about the concept and understanding of art.
The chair provokes us to think. By creating seemingly functional and comfortable conditions, it invites us to take a journey of the imagination outside our comfort zone. As confirmed by Barzilaï-Hollander's collection, the chair is able to be as diverse as the world itself, and thus also to a certain extent become a metaphor for the world.
Lucas Munoz. TUBULAR - Chair. Ventilation tubes, copper.
Johnny Swing. 1/4 dollar chair. 2002. Coins.
Réjean Peytavin. Chair BTP. 2012. Wood, concrete.
It is precisely the chair's "normalcy" that creates the greatest challenge, believes French designer Réjean Peytavin: "This very «normal» condition makes a chair fascinating, because it gives it a strong hidden psychologic side. Some other objects have the same power. A teacup can be seen like a poison container, a pen like a weapon.
The availability of an empty chair is the most welcoming idea on earth, and at the opposite, a dirty chair can be really awkward. Some industrial manufactures simply remove chairs in order to improve productivity. In these contexts, chairs appear as a non-productive and laziness symbol.
So a chair conveys many different ideas, which gives it a huge aura.
For me, a chair is an extension of the human body, a prothesis, and it is made to bring a primary comfort. I mean, the fact of sitting is the really first comfort. The chair is the tool that your body will naturally always look for; a place to sit. As you are sitting, the chair allows you to be located in space and offers you a stabilised point of outlook on your surroundings.
It is this aspect that the exhibition's architect, Latvian artist Krišs Salmanis, has accented. An illuminated, matte glass floor inspired by Stanley Kubrick's legendary film 2001: A Space Odyssey serves as the exhibition's main architectural element and creates the impression that these fifty chairs, or works of art, have just landed on this "pedestal" like an extravagant horde of extraterrestrials. Self-sufficient, inspiring, and full of creative madness. They thus provide a two-fold experience for visitors: the chance to view the installation as a whole and, thanks to the illuminated floor, to also examine each individual chair in detail and in its full artistic refinement. At the same time, they reaffirm the fact that there's nothing more ambiguous than an empty chair – it embodies just as vivid a metaphor of the past as of the eventual future.
Along with the exhibition, the catalogue The Chair as Artwork. Galila's Collection, Belgium, assembled by Krišs Salmanis, contains an interview with Galila Barzilaï-Hollander as well as descriptions of all fifty chairs and their creators.
Participating artists: Bokkinga Sander, Ericson Johanna, Vanlian Vick, Munoz Lucas, Lee Kwangho, Marcon Marco, Vuerich Baptiste, Moises David, Swing Johnny, Remy Terjo, Regis-R, Fatoumata Ba Amadou, Rollins Caldwell Benjamin, Pagart Remy, Madabe Adam, Dumont Henri-Francois, Hjorth Eva, Linke Kai, Morellet Francois, Luiz Philippe, Fouts Nancy, Vanden Eynde Maarten, Lane Danny, Mayor Julian, Peytavin Rejan, Zieta Oskar, Bohlin Jonas, Studio Job, West Franz, Arturo Felipe, Arnaud Eubelen, Borkenhagen Florian, Aran Ron, Dennier Boris, Price Tom, Bering Marcus, Rucli David, Heinz Julien, Burstein Eyal, Barzier - Jones Mark, Pesce Getano, Hans Peter Feldmann.


I am not aware of having any LEWIS ancestors, but I think @bsumrell does... right? I'm seeing the same names over and over again with the LEWIS families in Beaufort, Craven, and Pitt Counties so I'm trying to figure out if they're all related, or if it's just a coincidence.
Last night I posted a transcription of a release in which the children of James LEWIS give up their rights to his land to his widow, Nancy, and there is a witness named David. The children named are Elisha, William, Nathan, Mary, and Sally. I'm guessing David must be another child, but perhaps with Nancy, whereas the others may have had a different mother.
Does anyone know anything about how these lines shake out?
Specifically, I noticed there's an Elisha LEWIS over in the Swift Creek area in the late 1780s/1790s, which means he was likely a contemporary of James rather than James's son, Elisha, right? I have seen that the old Pitt County Rootsweb tree (Lisa Scarola's - feonadorf site) has James LEWIS as being from County Clare in Ireland (like that Ancestry hint!), but Beaufort County deeds make it seem to me like James Lewis could've been a son of George LEWIS, as there's a James LEWIS named as "heir at law" in a 1754 Beaufort County deed to Hugh HARDY of Edgecombe County.
I also noticed there's a William LEWIS named as though he were a son in deeds by John MORRIS in Craven County. Not sure what to make of that.
Yes, I do have a Lewis line.
My great-grandmother was Letha Arbell Lewis (1898-1970). She married twice. First to Charlie H. Johnson (late 1870s-193?) 5 May 1914, then Radie Colorado Banks in 1936.
Josephus Lewis (1870-1932) married Malissa Katherine Rowe.
Gideon Watson Lewis (1837-1892) married first Ann Maria Rowe, and second Winifred Elizabeth Edwards (1844-191?).
Tillman Lewis (1812-?) married Elizabeth ?, then Mary Ellen ?
Benjamin Lewis (by 1784-1817). I don't know for sure who he married, but she may have been a Mary Stapleford. The only female head of household in Beaufort County in 1820 was Mary Lewis and, in his will, Benjamin appoints his "brother in law," William Stapleford, Executor. Also, in 1804, Benjamin was one of the securities to pay the administrator bond on the estate of Thomas Stapleford.
This is my Lewis brickwall. I think that Benjamin is connected in some way to William Lewis, Joseph Lewis and the three John Lewises, but I'm not sure how. I know that a Joseph Lewis (there was more than one) witnessed his will. I've recently become aware of a Benjamin Lewis in Craven County court records, but he's much too old to be this one. Maybe, there's a connection, though.
I may have another Lewis line, but this one is just a theory and I haven't done much with it, yet. I'm playing with the possibility that the wife of Jeremiah Warren was a Lewis.
So you don't suspect at all that these Lewises are connected to the James Lewis I posted about the other day, huh?
Elizabeth Mitchell (abt. 1800–1855) m. Jesse POLLARD, son of Frederick POLLARD and Rachel NELSON. Elizabeth and Jesse moved to Tennessee.
I don't know if the Beaufort County Lewises, which mine are, are connected to the Craven Lewises.
Elizabeth "Betsy" Warren (abt. 1780-185?) married Thomas Laughinghouse, Jr. 13 Mar 1798, this is my line through their son, Young Laughinghouse. Proof of the relationship between Betsy and Jeremiah can be found in Beaufort County Grant Book 1 (the other Deed Book 1!), page 158.
Louisa Warren married 1) Reuben Bell 23 Aug 1809 and 2) Benjamin Marriner 18 Apr 1813. Proof from Craven County deeds. The first is from Deed Book 41, page 160 where Jeremiah makes a gift of land to his granddaughter Frusanna Martin Marriner. In another, Deed Book 43, page 256, within a deed selling land to Amanda J. Bell, he also gives her the bed that had belonged to her grandmother, "now deceased."
For a while, I wondered if Sarah Warren Otterson (abt. 1772-1807) was his daughter, not his sister, but there's the whole "uncle" thing in her estate papers (Note: There was no daughter Sarah mentioned in Abraham Jr.'s estate papers). According to the census records, he had, at least, two sons other than Lewis, but I don't know who they were.
I know it's going to take time for the right folks to find the forum, and/or to interact with it.
Back to the Lewises, though... that James Lewis I posted about was from Beaufort County. Do you have any suspicions about how you might connect with him? All but two of his children, Nathan and William, moved away.
Where do those mid-1700s John, William, Joseph, and George fit in? I know the 1754 James Lewis is referred to as "heir at law" of George Lewis.


text:
using System;
using Sketching.Interfaces;

namespace Sketching.Extensions
{
	public static class GeometryVisualExtensions
	{
		public static void CopyTo(this IGeometryVisual self, IGeometryVisual copy)
		{
			if (copy == null) return;
			copy.IsFilled = self.IsFilled;
			copy.IsStenciled = self.IsStenciled;
			copy.MaxSize = self.MaxSize;
			copy.MinSize = self.MinSize;
			copy.Size = self.Size;
			copy.ToolSettings = self.ToolSettings;
		}
	}
}


text:
Ishida in his Time
Nov 7, 6:30pm
Tetsuya Ishida, Untitled, 2004, Acrylic and oil on canvas, 35.8 x 46 in, Private collection. © Tetsuya Ishida, 2019; Photograph: Takemi Art Photos, courtesy Kyuryudo Art Publishing Co., Ltd.
An expert panel will discuss Ishida, inserting him into both the art historical canon and Japanese history. Participants to date include Janice Katz, Roger L. Weston Associate Curator of Japanese Art at the Art Institute of Chicago, Laura Allen, Chief Curator and Curator of Japanese Art at the Asian Art Museum in San Francisco, and E. Taylor Atkins, Distinguished Teaching Professor and Assistant Chair in Northern Illinois University's Department of History.
Dr. Laura Allen-+
Laura Allen is the Chief Curator and Curator of Japanese Art at the Asian Art Museum in San Francisco. There she curated Tetsuya Ishida: Saving the World with a Brushstroke with Dr. Yuki Morishima, assistant curator of Japanese art. She holds a Ph.D in Japanese Art History from the University of California, Berkeley, an M.A. in Art History from the Institute of Fine Arts at New York University, and a B.A. in Art History and Asian Studies at Oberlin College.
Dr. Janice Katz-+
Janice Katz is the Roger L. Weston Associate Curator of Japanese Art at the Art Institute of Chicago, and has been with the museum for over 13 years. She received her Ph.D. from Princeton University in 2004. Her research focuses on paintings from the Edo period (1615–1868) and the history of art collecting in Japan. She was the primary author of the catalogue Japanese Paintings in the Ashmolean Museum, Oxford (2003), and the organizer of the exhibition Beyond Golden Clouds: Japanese Screens from the Art Institute of Chicago and the Saint Louis Art Museum (2009), which traveled to St. Louis and San Francisco. She received the Japan America Society of Chicago 2009 Cultural Achievement Award.
Dr. E. Taylor Atkins-+
E. Taylor Atkins is a Distinguished Teaching Professor in Northern Illinois University's Department of History. His scholarship encompasses modern Japanese and Korean cultural history, ethnomusicology, transnational popular culture, public memory, colonialism and nationalism. He is considered a pioneer in "New Jazz Studies" for his efforts to internationalize jazz historiography. Dr. Atkins earned both his M.A. and Ph.D in history from the University of Illinois at Urbana-Champaign and a B.A. in history from the University of Arkansas.


So dreamy, right? When Bryce Covey sent over the wedding of Donovan Baddley and Becka Citron, I couldn't wait to share it with you. Becka owns an adorable store in NY called Modern Anthology. Alder Manor was an abandoned Yonkers estate built in the early 20th century before the Irish American cultural organization bought it from the city and restored it.
This vintage wedding is such a refreshing mixture of nature and glamour. Alder Manor provides the perfect backdrop against the sparkle of her Jenny Packham Eden wedding dress and beautiful vintage wedding jewelry. Are you planning to incorporate any vintage wedding elements for your wedding?
Great photos I just love that beautiful vintage wedding dress it's amazing.
gorgeous Bryce! Love the images, location…style seems effortless. love.
everything about this wedding is absolutely stunning.
Loving the vintage look. Well done!
Now, this dress is gorgeous.
What a stunning wedding. It reminds me a bit of Downton Abbey. Anyone esle think so?
This wedding is STUNNING! Thanks for sharing it. Beautiful photos Bryce!
Gorgeous work, Bryce! Beautiful wedding, beautiful photos. Perfectly captured!
WOW !!!! These are so beautiful Bryce, love them !!!!!!!!!
Absolutely gorgeous vintage styled wedding! The bride's dress is just stunning and blends in perfectly with the theme. The bm dress are gorgeous too, as well as all the other elements of the wedding! Well done!
fyi – i don't know if you know this, but in my google reader the whole paragraph about the wedding with the list of vendors was not shown. i clicked on the post itself and again, it was not showing up. it wasn't until i clicked on the "home" button today did i see all the writing & figured out where the dress came from.
Wow, amazing wedding and color palette! This is why I love OnceWed!!
Such beautiful photos! We had fun with this wedding… a small rustic wedding cake served along side angel food cake, apricot pistachio pie, and pear crostada.
Wow, every detail is absolute perfection! Love it!
Gorgeous pictures.. Perfect atmosphere for a vintage wedding. Beautiful bridal dress.. Simply lovely!!
I adore her Art Deco inspired dress. It created a very 1920's elegant look, especially when paired with her bob.
Nice photographs that gave me some fresh feelings.
WOW!! Very Good Combinations for Wedding Photography.
Contests	Win a Seat from Ginny Au!


This charming fortified city, built on a promontory, resembles a miniature Dubrovnik. Separated from the mainland by just 1 270m, it protected the island against potential invaders. At its zenith in the 16C, it had 6 000 inhabitants. When times were less troubled, from the 18C onwards, it began to spread outside of its walls along the two bays which encircle the town. The architectural details visible in the streets, particularly musical motifs, are a reminder of the island's great traditions.


text:
How does perpetuating a material lie square with Democrats' professed concern for democracy?
November 3, 2022 by Elizabeth Vaughn
It's not hyperbole to say that last Tuesday night's Pennsylvania Senate debate may have saved the state and the country from another two years of liberal wreckage. Voters finally learned what the Democratic Party, the liberal media, campaign officials, John Fetterman's doctor, and particularly his ambitious wife, Gisele, have been trying desperately to hide: Fetterman's stroke earlier this year has rendered him unfit to perform the duties of a senator.
For months, this group worked together to conceal the truth from voters, and they were prepared to do whatever was necessary to carry him over the finish line. Unfortunately for them, from the moment Fetterman uttered his first words during the debate — "Hi. Good night, everybody" — the jig was up.
Knowing Fetterman was in no shape for a debate, his campaign tried desperately to avoid one. They saw nothing wrong with covering up a material fact about their candidate's fitness for office. America already has a "Weekend at Bernie's" president. Why not a senator as well?
Although the election of a cognitively challenged senator pales in comparison to the election of a cognitively challenged president, whoever wins the Pennsylvania Senate seat may very well determine party control of the Senate — and Democrats know it. Barring any October (or November) surprises, Republicans need to win three of the races currently ranked as toss-ups by RealClearPolitics: Arizona (D +2.4), Georgia (R +1.6), New Hampshire (D +3.4), Nevada (R +0.6), Pennsylvania (D +1.5), and Wisconsin (R +3.3).
As of Tuesday morning, Fetterman leads his Republican opponent, Dr. Mehmet Oz, by 1.5 points in the RCP average of polls in the Keystone State. This average includes an InsiderAdvantage poll conducted the day after the debate that found Oz up by 3 points — the first time Oz has prevailed in any survey of this race.
Given that 82% of voters surveyed in a post-debate snap poll thought Oz had won, it's reasonable to believe the debate was a game-changer. And although $2 million in donations poured into Fetterman's coffers from Democratic Party operatives following the debate, it's reasonable to assume that Fetterman will soon be feeling Oz's exhaust.
Republicans are right to be optimistic heading into November. Over in Wisconsin, incumbent Sen. Ron Johnson (R-WI) is polling well ahead of his Democratic challenger, Mandela Barnes. Of the last 10 polls in this race, Johnson has led in nine and tied in one. This race no longer belongs in the toss-up column.
And if the GOP prevails in Pennsylvania and Wisconsin, it needs just one more win to take back control of the Senate. Although some Republicans are optimistic about a pickup in New Hampshire, as it currently stands, incumbent Sen. Maggie Hassan (D) is clearly ahead. In Georgia, new allegations surfaced last week that Republican nominee Herschel Walker paid for a girlfriend's abortion in 1982. The anonymous woman, "Jane Doe," did not provide "direct proof of the abortion claims," according to NBC News. Still, this is just the latest in a string of accusations against Walker, and it may very well hurt his chances of victory.
That said, Senate Majority Leader Chuck Schumer (D-NY) had a hot mic moment last Thursday and was overheard admitting to Biden, "The state where we're going downhill is Georgia. It's hard to believe that they will go for Herschel Walker." This race is anyone's guess.
The outlook for the GOP is much brighter in Nevada and Arizona. In the Silver State, Republican Adam Laxalt has come from behind incumbent Sen. Catherine Cortez Masto (D-NV) to lead by 0.6 points. Laxalt is widely expected to win this race.
And, although incumbent Sen. Mark Kelly (D-AZ) remains ahead of Republican challenger Blake Masters by 2.4 points, his lead has been shrinking steadily, which has many predicting an upset victory in this race.
Both Laxalt and Masters have significant momentum, and the current positive environment for Republicans is likely to carry one, if not both, candidates to victory.
If Democrats had simply been honest about Fetterman's cognitive decline from the get-go, they might not be in this position. They could have nominated a physically healthy, more centrist candidate to take his place and given Pennsylvania voters a legitimate choice. Instead, Democrats covered up the extent of Fetterman's injuries and are now asking Pennsylvania voters to ignore what they've seen with their own eyes and vote for him anyway.
All of this raises a serious question: The Democratic Party repeatedly warns Americans about the threat Republicans pose to our democracy. How does perpetuating a material lie square with that? And why is no one talking about it? Just asking.
Categories Biden Administration, Elections, Politics Tags Control of senate, John Fetterman, Mehmet Oz, Pennsylvania Senate race
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1 thought on "How does perpetuating a material lie square with Democrats' professed concern for democracy?"
And, in a not so distant universe, a fix may be in, and all our swelled up and hopeful heads will explode when the clues that have been slowly dribbling out from Biden and friends, about their chances appear very good to be the winners.
With the polls showing all these wins for the Republican future, what will happen if/when they don't appear?
We can't let our guard down, and we must vote, just to show that when they pull their fast one, again, we might actually do something about it. Recent history demands that we be vigilant.