Alien! The Real or Imagined Monster?
Have you ever seen a "real monster"? How exactly you define someone or something as a monster? The opinions about monsters are already created in our minds when we were a child. Parents usually make up something seem scary, ugly and called "monster". Then they use it to have kids not doing something. For instance, if a kid keeps watching TV and doesn't go to sleep, his parents may tell them the monster is coming to catch him- the-not-good boy. So, what exactly monster is? And how they look like? The answers are different because there are not official norms to define a monster. However, in the book "Monster Theory: Reading Culture", Jeffrey Jerome Cohen gives out seven theories to define a monster. In other word, Cohen gives readers the general ideas about how people consider something or even someone as a monster. To have a deeper analyzation about what monster is, I will pick one among the variety of monsters- Alien which is the foreign creatures on another plant, to evaluate.
Since many decades ago, there are many Alien stories have been told. It even became a trendy topic for movie producers in 90s. Although the wave of Alien movies has lowered the sail in recent years, people and scientists still trying to figure out whether Aliens exist. There are many researches have been done by many scientists, but nobody gets the answer yet. The first movie about Aliens is "The Thing from Another World" which was made in 1951. The movie talks about the US air force crew and scientists are forced to defend themselves against malevolent, plant-based alien in Artic. After that, movie producers start paying more attention to exploit the Alien topics. Many different movies talking about Aliens were made. Appearance of Aliens is being changed over time, along with movie special effects development. One of the famous movies is "Aliens" of James Cameron director. The movie has many seasons, but the most impressive season for me is in 1986. The 1986 movie is the following season of the previous in 1979. In 1986 version, Ellen Ripley and her crew decided to go back the moon and try to kill disgusting creatures which they believe as dangerous monsters. Ripley and her crew believe those creatures are monsters at the first time because of the appearance difference. According to the theory IV in Cohen's book, the monster dwells at the gate of difference (Cohen, 7). The appearance of monster does not look like anybody or anything that people have ever seen. Because they are not look like others, they are wrong and need to be eliminated. The body of monsters may be not made of skin and bones, but chemicals or even unknown ingredients. Aliens- the creatures from another planet usually have ugly, disgusting and scary appearance. They may evolve from different elements and base molecules, emerging from radically different environments (Csicsery-Ronay). Movie producers have various ideas about how to make monstrous creatures. In the movie "Aliens" of James Cameron, the strange creatures are life-form aliens which seemed to consist primarily teeth, eat every warm and moving things, and then incubates their young inside the victims' bodies (Ebert). James Cameron was successful in building the image of his monster which makes audience feel sick, even want to pill out if they eat during the movie.
Most of the movies about monster have the opening ending so movie producers have chance to make the next episode in following years. During movies, although human tried so hard to kill monsters, they will escape somehow and return in future. Jeffrey Cohen also mention that aspect in his second theory "The Monsters Always Escapes" (Cohen, 4). Monsters are considered as immortal, no matter how many times human try to kill them. A normal person or animal can not alive if there is a bullet going over his heart, but it is possible with a monster. In movies about monsters, human cannot easily kill monsters by fire or bullets, but they need to find out the weakness of monsters which brings death to them. Cohen writes "We see the damage that the monster wreaks, the material remains…but the monsters itself turns vanishes, to reappear somewhere else" (Cohen, 4). The aliens in the movie series "Aliens" of James Cameron is an example of escape ability. Not being bothered about thousand bullets of Ripley and her screw, the disgusting creatures easily get into the aircraft and kill many people. Although they are killed by fire at the end of movie, James Cameron still gives audience the signal that those creatures will comeback one day. It means they are not really died. That's how movie producers continue the next season. How about in real life? With Cohen's descriptions, alien is an exact example of monster when human just can find out the signs which is believe the existence of aliens, but not themselves. Through the live video that NASA has done on Mars in May 2018, people realize a 4-inch mummified being on Mars which has head, arms, hand and bony body (ArtAlienTV). The stories about alien appearance, such as UFO, footprints or even aliens' shadow have been told in years. However, scientists have done many researches on other planets to find the answer about alien existence, but by now, all they got are just the signs, signals that they believe are aliens.
People believe that one day aliens will come and take over the Earth. Aliens will kill all humans and create their own era on the Earth. Alien is usually considered as a cause of the end of the day when all lives on the Earth are destroyed. It directly correlates with thesis III of Culture Monster: "The Monster Is Harbinger of Category Crisis" (Cohen, 6). Most of movies about aliens talk about human perdition which is kind of punishment for natural detriments. Eventually, people usually like to classify mysterious natural phenomenon as signs of extraterrestrial civilization. People still believe that one day the-beyond-Earth creatures will find out the way to take over our planet. For example, the existence of aliens which was created by James Cameron in his movie, is a danger bringer. They kill human and produce their eggs inside human body. Human safety will be threatened if somebody who has the alien's eggs inside go back to the Earth. As being classified as dangerous creatures, aliens will be called monster which have to be killed.
The existence of Aliens is controversial topic through many years. People started believing that there is an extraterrestrial civilization when there were continuous mysterious natural events happened. To find out the truth, scientists have done researches about living on other planets. In 1976, NASA decided to do research on Mars at the first time by landing robotic spacecraft named Viking 1 and Viking 2 on Mars. The results they only got were unclear images which made them think there is life on Mars. In May 2018, NASA again do the exploration on Mars with the high-tech equipment. However, there is no specific images of Aliens, only the images of rock formations. "This in combination with the discovery of organic molecules and long chain fatty acids will surely point to Mars as a world that once had life" (Kettley). The gained achievements seem like not satisfy human curiosity, so they will keep doing researches in future. Because there is no exact answer about if Aliens is real or what they look like, people imagine them in different ways, but something not look like human, something wrong, dangerous and difficult to capture. Therefore, Aliens, which is different, is classified as monster. Again, the existence of Aliens- one of monster is still an X which requires researchers more time and efforts to clear up.
1. Cohen, Jeffrey Jerome. Monster Theory: Reading Culture. Minneapolis, University of Minnesota Press, 1996.
I will use the discussions from this book to identify my monster. The theories II, III, IV from the book will be utilizing. It helps me understand more clearly about how we defy something or someone as a monster. The book is one of my scholarly sources.
2. Csicsery-Ronay, Istvan. "Some Things We Know about Aliens." The Yearbook of English Studies, vol. 37, no. 2, 2007, pp. 1–23. JSTOR, JSTOR, www.jstor.org/stable/20479299.
I use this journal article as another scholarly source. The author discusses about the knowledge relating to Aliens that human knows. I think it is helpful for my essay because it gives my many information that I can use in my essay. The creditability of this article is high because it is journal article that I found from school library.
3. Aliens. Directed by James Cameron, performances by Sigourney Weaver, Michael Biehn, Carrie Henn, and Lance Henriksen, 1986.
This is the citation of the movie which has the monster that I will discuss. There are many versions of the movie "Aliens", but I will pick 1986 version to analyze my monster.
4. Elbert, Roger. "Alien", Rogerelbert, 26 October 2003, https://www.rogerebert.com/reviews/aliens-1986.
The author discusses and analyzes the movie on his own blog. I found it's helpful because I need to gather many reviews about the movie to evaluate my monster. This is the personal blog where the author shares his own opinions; therefore, I think the source is high creditability.
5. Kettley, Sebastian. "NASA news: Mars discovery could reveal LIFE ON MARS in Curiosity announcement", Sunday Express, https://www.express.co.uk/news/science/970376/NASA-news-Mars-announcement-aliens-life-discovery-space-Curiosity-conference. Accessed 28 October 2018.
This is an online article which is written by Kettley. He gives out the information about NASA keeps doing researches on Mars to find out if there is any Aliens. The article gives me general ideas about how people and scientists think about aliens nowadays. The source is reliable because it is an official website.
6. ArtAlienTV, "Creepy 4 Inch Mars Mummy (Whitecoats)." YouTube, 28 October 2018, https://www.youtube.com/watch?v=2CwbDYz9Xe8.
The author points out some evidences that he believes is the existence of Aliens. Through the video that he cut from Live video of Mars, he discusses about the signs that he thinks is the dead body of aliens. This source gives me some helpful information for my essay. This is a personal Youtube channel, so it is reliable.
Previous Previous post: "Penny"wise For Your Thoughts?


text:
Q: How to merge multiple .csv files using the 1st column of one of them as a index (shell scripting) How to merge multiple .csv files using the 1st column of one of them as an index (pref shell scripting - awk)
88 .csv files that look like this
input files names ZBND19X.csv
==> ZBND19X.csv <==
Gene,ZBND19X(26027342 pairs)
ENSTGUG00000013338 (GAPDH),984.31862471
ENSTGUG00000000915,862.597795025
ENSTGUG00000006651 (ARPP19),845.045872644
ENSTGUG00000005054 (CAMKV),823.404021741
ENSTGUG00000005949 (FTH1),585.628487964

and ZBND22V.csv
==> ZBND39X.csv <==
Gene,ZBND39X(26558640 pairs)
ENSTGUG00000013338 (GAPDH),971.678203888
ENSTGUG00000005054 (CAMKV),687.81249397
ENSTGUG00000006651 (ARPP19),634.296191033
ENSTGUG00000002582 (ITM2A),613.756010638
ENSTGUG00000000915,588.002298061

output file name RPKM_all.csv
Gene,ZBND19X(26027342 pairs),ZBND39X(26558640 pairs)
ENSTGUG00000013338 (GAPDH),984.31862471,971.678203888
ENSTGUG00000000915,862.597795025,588.002298061
ENSTGUG00000006651 (ARPP19),845.045872644,634.296191033
ENSTGUG00000005054 (CAMKV),823.404021741,687.81249397
ENSTGUG00000005949 (FTH1),585.628487964,0
ENSTGUG00000002582 (ITM2A),613.756010638,0

Adding the 0 when there is no corresponding value found.

A: join can only work on two files at a time, here comes
awk to the rescue!
$ awk -F, 'FNR==1 {c++; h=h sep $2; sep=FS; next}
                  {ks[$1]; a[$1,c]=$2}
           END    {print h;
                   for(k in ks)
                     {printf "%s", k;
                      for(i=1;i<=c;i++) printf "%s", FS a[k,i]+0;
                      print ""}}' files

disclaimier: only if the data can fit in memory, also the order will be lost but if important there are ways to handle it.
Explanation Conceptually creating a table (aka 2D array, matrix) and filling up the entries.  THe rows are indexed by key and columns by file number.  Since awk array is hashing the keys we treat header separately to stay in place.  a[k,i]+0 is to convert missing elements to 0.

A: The simple answer is 'join'.
You can use the join command to match on the first column ( by default ) as long as the files are sorted.
Don't forget to sort your files.
Did I mention you need to sort your files ;)?   It's an easy mistake to make ( I've made that mistake plenty; hence the emphasis ).
sort  ZBND19X.csv >  ZBND19X.csv.sorted
sort ZBND39X.csv  > ZBND39X.csv.sorted
join -t, ZBND19X.csv.sorted ZBND39X.csv.sorted > RPKM_all.csv

Here's the contents of RPKM_all.csv after running above :
ENSTGUG00000000915,862.597795025,588.002298061
ENSTGUG00000005054 (CAMKV),823.404021741,687.81249397
ENSTGUG00000006651 (ARPP19),845.045872644,634.296191033
ENSTGUG00000013338 (GAPDH),984.31862471,971.678203888
Gene,ZBND19X(26027342 pairs),ZBND39X(26558640 pairs)

We can also look for rows that don't match like this:
$ join -v1 -t, ZBND19X.csv.sorted ZBND39X.csv.sorted | awk -F, -v OFS=, '{print $1,$2,0}'
ENSTGUG00000005949 (FTH1),585.628487964,0

$ join -v2 -t, ZBND19X.csv.sorted ZBND39X.csv.sorted | awk -F, -v OFS=, '{print $1,0,$2}'
ENSTGUG00000002582 (ITM2A),0,613.756010638

Now you can combine the whole thing:
sort  ZBND19X.csv >  ZBND19X.csv.sorted
sort ZBND39X.csv  > ZBND39X.csv.sorted
join -t, ZBND19X.csv.sorted ZBND39X.csv.sorted > RPKM_all.csv
join -v1 -t, ZBND19X.csv.sorted ZBND39X.csv.sorted | awk -F, -v OFS=, '{print $1,$2,0}' >> RPKM_all.csv
join -v2 -t, ZBND19X.csv.sorted ZBND39X.csv.sorted | awk -F, -v OFS=, '{print $1,0,$2}'  >> RPKM_all.csv

A: the awk code (awk -F, 'FNR==1 {c++; h=h sep $2; sep=FS; next} ):
does anyone can do more explanation on this, the code doesn't print the header correctly, all the headers just jump to different rows and the first header is missing too
P21
P22
P24
P24
AamoA_EU022762  1   1   0   0
AamoA_EU099963  0   1   0   0

redpajama_set_name: RedPajamaStackExchange


Google's search app for iOS has always included voice search. Now iPhone, iPod Touch and iPad users can try Google's updated voice search, 5 months after the Android Jelly Bean launch. Just install the latest version of the Google Search app.
The original voice search feature was just another way to enter a query. The new version shows instant answers and a robotic voice reads them for you. Another improvement is that your words are displayed as you speak, so you don't have to wait so much.
Google's voice search is more interactive and Google does a better job at answering simple questions, but it doesn't integrate with the operating system like Google Search for Android or Siri. You can't use it to launch apps, play music, check your calendar or add an alarm, but it's great for weather forecasts, sports scores, definitions, unit conversions, simple calculations, facts. Try "play Rihanna Diamonds video" and the video starts playing, "cat pics" returns image search results, "directions to Los Angeles" shows Google Maps directions.
It's hard to beat Siri because Apple's iOS feature is easier to access and it integrates with the built-in apps. Siri is also conversational, it remembers things and doesn't require some specific keywords in a certain order. For example, you can ask Siri [is it cold outside?], [will it rain should I get my umbrella tomorrow?] and you get accurate answers. Google doesn't answer the second question and only shows the current temperature for the first question. Google's voice is less robotic, Google supports more languages than Siri, local search results are not limited to a few countries and Knowledge Graph results constantly get better. Still, Siri feels more like a voice assistant, while Google Voice Search is another way to search the Web and get impersonal answers from Google. Understanding the query continues to be a difficult task.
I mentioned last week that you can join an experiment that lets you see results from Gmail and Google Drive in Google Search.
Google shows personal results if they are likely to be relevant to your query, but there's an easy way to trigger the results. Start your query with "gmail" to see Gmail results and "drive" to see results from Google Drive.
Unfortunately, you can't use advanced search operators to restrict results to a Gmail label, to messages from a contact, to starred files or use other features because they're ignored by Google.
Google Docs meant a lot of things: the service that allowed you to store files online, the online word processing app, the service that included online editors for documents, spreadsheets and presentations. Now Google Drive is the name of the file storage service and Google Docs is only the word processing app. Sheets replaces Google Spreadsheets, while Slides replaces Google Presentations.
The new names are shorter and less generic, so they're better suited for shortcuts. Chrome OS already includes shortcuts to the apps, but you can manually install them in Chrome - Docs, Sheets, Slides. The Chrome apps only create a new document, spreadsheet or presentation. If you're using other browsers, you can simply bookmark: New document, New spreadsheet, New presentation.
Back in August, Opera and Google extended the revenue-sharing agreement for another two years, which means that Google will continue to be the default search in engine in Opera, Opera Mini and Opera Mobile. The deal included an interesting tidbit: Google's services will be promoted in Opera's desktop and mobile browsers.
Opera Mini's start page now links to Google Search, Gmail and Google+. The search interface is very old and doesn't include the features released in the past 4-5 years. Gmail sends you to the basic mobile interface even if you're using a tablet. The Google+ web app is great and it works well in Opera Mini.
Obviously, Opera Mini is optimized for slow Internet connections and can't handle web apps properly because the rendering engine is in the cloud. Imagine having to reload Gmail every time you tap on a message, check your inbox or label a message.
While you can install Opera Mini on a smartphone, the browser is really popular on feature phones. "More than 168 million people used the Opera Mini browser in March, 117 billion pages were served and more than 19 petabytes of operator data were compressed for Opera Mini users," informs Opera. Back in November 2011, the top handsets that used Opera Mini were Nokia 5130 XpressMusic, Nokia 2700c, Nokia C3, followed by a lot of other Nokia feature phones and Symbian phones.
Now that Google's voice search technology has improved and it's used by more and more people, the search engine has to be smart enough to understand natural language queries, which are often verbose.
As you can see from these screenshots, Google can find instant answers for complicated queries like [225 cm + 134 mm plus two times 45 cm minus one and a half meter] or [127 euros times 3 - 15 percent in hungarian money]. You don't even have to know the name of the currency you want to convert and Wolfram Alpha won't help you.
Google found an interesting way to use the authorship data it has obtained. As you probably noticed, many search results from news sites and blogs include the name of the author and link to the corresponding Google Profile. There's also a link that lets you restrict the results to the pages written by an author: "more by [author name]".
Now Google adds 3 search results from the same author after you visit a page, spend some time reading it (more than 2 minutes?) and then go back to the search results. Google doesn't know if you actually liked the page, but it assumes that you found it useful because you haven't gone back to the search results page after a few seconds.
... and this is what happens after visiting the page, reading the article and going back to Google's SERP.
"If a user visits an article by an author and it seems like they'd be interested in finding more articles by this author, when they click the 'Back' button to return to the results page, we'll show more results by that author," explains Google.
The results added by Google aren't always useful and sometimes they aren't even related to your query. For example, the 3 links from this screenshot send you to a search results page from Ars Technica, a page that includes some other articles from the same author and the Google+ profile page.


Looking for a caterer in the Philadelphia Area? We serve center city Philly and the entire main line and philadelphia Suburbs.
The Garrett Ave- Scrambled Eggs (western style or traditional), Lancaster Bacon or Country Sausage and Red Bliss Home Fries. Includes Freshly Baked Bagels, Cream Cheese and Jam!
Other seasonal selections from the chef daily!
Accompanied by flour tortillas and served with sautéed trio of sweet peppers and onions, house made guacamole, aged cheddar and Monterey jack cheeses, Pico de gallo, and sour cream.
Please contact Andrew Tamaccio at (610)564-6347 or at Andrew@brotherscateringcompany.com. All of our food is made to order and requires a minimum of 24 hours notice for Express luncheons and specialized luncheon selections.
You may cancel your order up to 24 hours prior to delivery at no charge. Because our catering is custom-prepared, cancellation within 24 hours of an event will incur a charge of 50%.
Disposable plates, cups, napkins, utensils and serving pieces are provided upon request at no extra charge. Disposable chafing dishes are available for hot food items for an additional fee. Flatware, china, and linens can be ordered for an additional charge.


Often considered to be Poland's greatest ever composer, Frédéric François Chopin was born Fryderyk Franciszek Szopen on March 1, 1810, in the small village of Zelazowa Wola, Duchy of Warsaw (now Poland). His mother introduced him to the piano at an early age, and he gave his first public performance at just eight years old on February 24, 1818. His debut was an unmitigated success, the Warsaw press began to refer to the young Chopin as the "Polish Mozart". In September 1835 at the age of 21, Chopin obtained French citizenship and become one of the many expatriates of the Polish Great Emigration. During his time in Paris, he became acquainted with a number of his contemporaries, including Franz Liszt, and soon became well-known for his delicate and intricate playing style. He would remain in Paris for the last eighteen years of his life, amassing a large following, but seldom performing publicly, preferring the more intimate atmosphere of the salon. Chopin's output as a composer decreased rapidly throughout the latter years of his life, as a result of a debilitating illness. He made his last public appearance at London's Guildhall during his tour of England and Scotland on 16 November 1848, performing for the benefit of Polish refugees in recognition of Polish heritage. By this time he was seriously ill, weighing as little as 99 pounds, and he died less than a year later on October 17, 1849 at just 39 years of age.
As a pianist and composer, Chopin's talents were beyond emulation: he has contributed many significant works to the piano's repertoire and his innovations in playing style, harmony, and musical form, were extremely influential throughout Romantic period and thereafter. He uniquely devoted himself to the piano, and is particularly noted for taking the new salon genre of the nocturne, established by John Field, to a far more discerning level of sophistication. He was also the first to write ballades and scherzi as individual concert pieces, and made advancements to many other musical forms including mazurkas, polonaises, études and impromptus. His musical superstardom and early death made him one of the leading figures in the romantic era.
"Mazurka in D" & "Contredanse"
Nocturne in A♭ major; arr.


Photographic print on a collage of vintage book pages.
Streets, squares and buildings are common features of everyday life – fundamental elements that represent us, that show us for what we are.
Nicolò Quirico constructs the essential constitutive parts of every metropolitan space as images devoid of self-referentiality, by capturing them through a gaze which grasps the vital flow that springs from them or is concealed within them.
These fragments of cities come alive the moment in which they are apparently no longer contaminated by any human presence. They reveal the life that constitutes them: an intimate and arcane life, as it emerges from the present, steeped in history. The focus is on those concealed elements which encapsulate our existence as a whole – not just our private life but also our public one, our relations with others. Cities thus show themselves as a web of spatial and programmatic events, whose nature is that of a constant flux that is often unmeasurable, incomprehensible and unpredictable.
In these images space is never taken for granted, but must be contemplated and acknowledged in order for it to speak to the eye, so as to disclose the hidden life of places that constitute points of departure and of arrival, venues for reflection on the city and our existence within it. What we have here is the charm of the perceptible side of cities grasped as an enchanted reality. Quirico reconstructs this reality by taking photographic snapshots that are enriched with – and connected to – its various aspects through cultural references to the places portrayed and the use of texts as a medium for the photographic prints. Following Quirico's itineraries as enthralled spectators, we suddenly catch a glimpse of architectures that illustrate the many facets of the city as a sum of variants, recording unexpected movements and mysterious convergences.
Life and memories mingle through streams of words surfacing from behind the pictures: voices and sounds, stories and thoughts, which through collages made from the pages of vintage books emerge out of the photographic prints. Books and the material they are made of are a crucial part of Quirico's work.
They create a dense web of correspondences through their characters and layout, echoing the geometries of buildings – almost lending substance to their structure. These books are "disassembled" in order to be reassembled; through words, they are built like palaces, displaying iconic characters on sheets that always fold and overlap in a unique way, so as to create works that are never the same.
The relation between inside and outside, between distance and proximity, and the synthesis of image, life and memory open up each frame to encompass 'other places', leading the viewer's gaze towards things and the interior of things towards the viewer's gaze, expanding it in all directions. Perception cuts through reality and extends so as to include what according to our sensory and intellectual habits is the only reality, through photographs that reconfigure the balance between concepts and images in a clear and detailed way.
Quirico's works blend real images with dreamt and constructed ones, ciphered images with numerous possible interpretations to be intuited and discovered, starting from the horizon of a city.
They invite us to discover the most unpredictable sides of beauty by adopting unusual points of view, vantage points that are all the more valuable because they are vital, and whose charm lies in their capacity to convey a feeling of playful intellectual wealth.
"Cities, like dreams, are made of hopes and fears" writes Italo Calvino in his book The invisible towns. When you look at Palazzi di parole – Palaces of words of Nicolò you cannot avoid thinking to these words and believe that towns, more and more similar the one to the other, if you look at them, listen to them… they answer to your questions. The town voice, this is what this project is concentrating on. Like Wim Wenders angels, we look at the town from an unusual perspective, we reach its heart and listen to a voice, to its thousand voices. A babel of voices: sounds, words, rumors, …whispers, shouts, thoughts and memories. In a simple word, Life, yes, because first of all a town is a vital place, a dynamic place, always changing.
Nicolò has stolen the soul of the town, sometimes by chance, just holding on to its various buildings that belong to different periods, built for different lives but all correlated to each other and nearly melted in one element, all sharing the same nervous and restless rhythm of the urban.
His eyes are not caring about the architectural aspects or celebrity, nor look. In a click, he is capturing life, the life that has been spent and still has to come in these buildings, to hundreds and more stories that have been told among those walls. Nicolo's buildings are made of men, lived by men. At first sight, these buildings seem all the same, monolithic with no life or beauty, cold and static objects, without virtue… but, let's leave aside for a while our know-how, forget about the importance of Architecture in history, let's forget about reasons and research that sometimes are hidden behind the design of these buildings. Let's look at them from the every-day people's eyes: high buildings, surrounding and pressing on them. There is no interest for their innovative and elegant shapes, like the Torre Velasca, or basic and useless of a suburb block of flats: they will look at them as not-animated block of buildings, sad big cathedrals built on a modernity project. Nicolo's eyes have left apart these aspects, crossed-over walls, cement and stones. He has listened to voices. Voices trapped inside but that can witness the life of people that have lived there for days, months, years or for an eternal life.
Nicolò is used to projects that go beyond the boundaries, projects where Art and Literature dialogue together. He has imagined these building like an ultrasound machine to capture the echo of people and with a trick, buildings become alive through words printed on books pages, books printed on the buildings' period. Buildings voice becomes loud and visible and it shows the town soul. In between picture and painting, Palazzi di parole, Palaces of Words provide sight, sound, touch, even smell sensations of familiar but sometimes granted images.
A project based on palaces built years ago but that would like to invite everybody to think about the actual urban spaces, to reflect about the role of Architecture today, a project that seems winking to architects in order to invite them to reflect and think about a more "human" space, more reachable and in connection between users and the surroundings.
This project is not only a visual art-work but it would also like to open and develop discussions among architects and people, through a wide, critic, wise and global reality that surround us.
When one decides to start one's journey through Nicolò Quirico's Palazzi di Parole (Palaces of Words), the first sensation is the one of a magic estranging. What seemed, upon a first and superficial glance, simple photographs of buildings begin to liven up, to pulse, to come alive; the buildings of Quirico start to vibrate, we feel the beat of their existence. Only then we become aware that what livens up and makes these buildings expressive are the pages of vintage books on which the photographs of the artist have been printed. It is really from this original vibration that these Palazzi di Parole open their doors to us, unfolding a space in which you can «wander in them with your thoughts, loose yourself in them, stop and take some fresh air or run away», as it happened to Kublai Kan while hearing Marco Polo's stories in Invisible Cities by Italo Calvino.
Immediately the essential question raised by the artistic work of Quirico comes up: what is the essence of these vibrating buildings? We could better say: what is holding and what is held in these buildings that become alive upon our look? What is skeleton and what is flesh? Is architecture a skeleton offering the foundations that contain the words (Palazzi di Parole) or do the very words become architecture, making up a building (Words-building)?
The magic and charm of Quirico's works comes from the knowledge that the only possible answer is: neither one or the other, or even better, both together. In the works of the artist, building and word are nothing but two sides of the same coin, two sides of the same fabric. Architecture (building) and culture (word) are the poles of a sole chiasmus that the artist reveals to us and invites us to explore: building and word continuously pouring into each other.
This is the reason of the vibrating nature of Quirico's images and stories.
However let's try to carry on with our journey. Italo Calvino himself could be guiding us; his Invisible Cities can provide us with a key to explore this chiastic relationship and understand Palazzi di Parole.
If we read the Introduction, Calvino shows us that this masterpiece which is Le città invisibili has been written little by little, almost like every city invented by the author, and that it has the name of a woman, like a poem. While working, the author collected cities in separate folders that were used to identify different themes (cities and memory, cities and desire, etc.). Finally 11 themes were chosen by Calvino. It seems to me that 3 of them can be a signpost in our journey through Quirico's Palazzi di Parole.
The first theme is The city and the exchanges. In Quirico's photographs the buildings are indeed shown as buildings of Words for the very reason that they remind us that first of all the building, the architecture, the city in which we live are all in dialogue. Buildings are alive because inside them the interaction and exchange of messages, that is life itself, take place, because inside them we talk, because they are meant to be – or become so unintentionally – the place of exchange of our words, of our meaning. Architecture is a bearer of words and Quirico shows its essentially social nature. No matter whether we are faced with masterpieces of city planning, designed for a society in which mankind has a central role, or ugly buildings generated by uncontrolled development, that condemns people to a grey prison: under all circumstances buildings always receive the words of our existence. Even the most alienating cases – in which the buildings are nothing but barriers where the city becomes the place of "incommunicableness" that is described so well in nineteenth century literature – only confirm the structural bond between building and word. We say that a city is not "on a human scale" when it denies human beings the possibility to express their nature of social animals, in continuous exchange and dialogue with their fellow creatures. In such cases the building becomes the possibility of a denied word and the city embodies that «hell» about which Calvino writes at the end of Invisible Cities: architecture denies people the possibility of meeting each other and by doing so it only denies itself.
The essential bond between architecture, word and exchange is enhanced by Quirico when he chooses to enrich his exhibitions by using sound: while moving through the exhibition and looking at his buildings, we can hear infinite dialogues going on, overlapping each other and in which people speak infinite idioms, which symbolize a world that is getting smaller and smaller and a city that is getting more and more multiethnic.
This flow of words that is the background of our visit pushes us towards a second Calvino theme: the city and memory. In fact, if the flow of words can evoke the whole of the infinite dialogues that animate the buildings and the city at the same time, it can also become the symbol of their stratifying in history. It therefore seems that what Quirico wants to tell us, is that his buildings are Palazzi di Parole not only because they receive the lives of the people who live inside them, but because they gather the sediments of their personal experiences. In being the space assigned to human life, the buildings also witness their going by; in their duration they preserve the traces that people leave there. The artist thus seems to say that first of all architecture is a book of memories and this seems, once again, even more true for the most humble buildings that do not have anything monumental. On the other hand, if the stories and events of those who have met each other in the buildings are gathered within them, travelling in a city means first of all travelling in time: architecture becomes the word of memory and history.
The third theme of Le città invisibili that seems to have influenced Quirico's work is the city and signs. However, to face it means to be thrown directly into the reverse of that word-building chiasmus made of the same architecture-culture that we are analyzing. In fact, in the theme of the Cities and signs, it is words that come in close-up: the word (sign) is considered an architectural material and becomes the skeleton, the foundations of what will be built. Calvino proposes a subtle reflection on language that reveals itself as an ineludible medium of our experience: language filters and provides a structure to our view of reality, with words being nothing but the bricks with which our knowledge is built up and passed on. In this operation, a privileged role is played by writing and books, two elements acutely explored by the Italian writer, two elements that come back in Quirico's work. To all that is known to mankind, to the numerous perspectives with which we face the world, correspond the same number of cities: or better, cities are ways of describing the world, of talking and writing about it. Calvino could offer us the possibility to dramatically overturn the perspective with which we have looked at Quirico's Palazzi di Parole so far: and what if we saw in the artist's photographs, rather than buildings printed on book pages, book pages becoming a building? If his photos were also Words-buildings?
This assumption seems suggestive to me and shows another and more hidden meaning of Nicolò Quirico's artistic work.
Quirico's photographs, instead, are images of buildings that actually exist. His journey as an explorer is therefore once again, mirror-like and the opposite to Marco Polo's as described by Calvino. The buildings recounted by Quirico are all within reach, tangible; we can meet them, look at them, and experience them. They do not refer to the unknown borders of an empire that Kublai Kan will never be able to see and which can only be recounted.
However, in its ability to create estrangement, the buildings in Palazzi di Parole highlight something that we had forgotten and enable us to go back and look with a different view at the architecture which surrounds us. And truly, the chiasmus that Calvino invites us to investigate, emerges: Palazzi di Parole highlights the real meaning of architecture and makes it visible, which is to create a space where people can live. At the same time, Quirico's buildings make the original architectonic character of the human experience visible. Every building is life that has been written and that is being written; each page of a book is a brick of the building of our culture. This is what Nicolò Quirico's photographs remind us of and show us.
His buildings are visible cities.
1. I. Calvino, Le città invisibili, Mondadori, Milan 2006.
2. I. Calvino, Le città invisibili, cit.; Zaira, from the series Cities and memory.
3. I. Calvino, Le città invisibili, cit.; Tamara, from the series Cities and signs.
person that finds themselves living in this surreal Babel, is nothing but an «imperfect librarian»; J.L. Borges, la Biblioteca di Babele, in Finzioni, Einaudi, Turin 1995.
Architectural photography is a very specific genre whose characteristics make it particularly recognizable: the author, in fact, is in front of subjects that, due to their large size, pose shooting technical problems that are not easily solvable and that can only be overcome by resorting to professional cameras, able to avoid any perspective distortion. In this field, the history of Italian photography has an important tradition linked to the many artistic works of which the country is rich and whose photographic documentation began in the late Nineteenth Century with the works of several valuable photographers, among which, just to remember the most famous ones, the Alinari brothers, Giacomo Brogi, Giorgio Sommer, Tommaso Cuccioni, Carlo Naya. Thanks to their meticulous works, everyone had the opportunity to see landscapes, buildings, monuments, vestiges of the past even without moving, and it is necessary to point out that the art books still used in the Italian schools in the sixties reported Alinari's photographs to illustrate the works of art cited. If, from a documentary point of view, this was and still is a very important contribution, contemporary photographers soon wondered what kind of aesthetics they had to embrace in order to avoid the risk of appearing repetitive for evoking past stylistic features.
The way out was an investigation able to gradually move away from pure documentation and to digress into the neighbouring expressive fields of creativity. From this point of view, the so-called Düsseldorf School directed by the Bechers was, with its front and strictly essential hootings in black and white, an essential point of reference also in Italy, as evidenced by Ritratti di fabbriche, the work that marked the debut of Gabriele Basilico at the beginning of the eighties. If we do not keep on analyzing a field where, with different proposals, authors like Olivo Barbieri, Vincenzo Castella, Mimmo Jodice and Luca Campigotto established themselves, it is because Nicolò Quirico should not be considered as an architectural photographer, despite he has confronted himself with architecture through an original and suggestive approach. Seen from a distance, in fact, his images seem purely descriptive, but if we look at them closely, they reveal an unexpectedly complex structure, which is the result of a personal investigation that takes into account many levels of expression but also solves the problem of shooting that, in order to be rigorous, does not have to show distortions, falling lines and other defects. Combining different media and making them communicate with one another, Quirico has posed his shootings of single portions of the building as a starting point and then has reassembled them in a collage which also refers, in the same way, to the graphic element. In Palazzi di Parole, this is the name of the whole project that he has worked on for some time, photographs are not printed on white paper as usual but on sheets of old books, so that fragments of sentences, sequences of short stories and opening words of novels overlap with architectural elements by creating not random references – though sometimes cryptic or mysterious – because the books were chosen by the author so to create a harmony with the subjects portrayed. The latest images that constitute a further stage of this investigation were all shot in London, thus posing the problem, well-known to designers and urban planners but also to the public, of the relationship between the classicism tied to the history of the city and the design bravery symbolizing the desire to look ahead, towards the future. More than answering the question or taking elements for an analysis, Nicolò Quirico gives his contribution by offering us his photographic visions with a great balance, which is essential to create matches between the red brick facades and the glass and steel ones, between Elizabethan buildings and skyscrapers, between the ancient towers and the contemporary gleaming pyramids. Also in this case we should not be satisfied by observing the photographs from a distance and appreciating their careful composition: the most attentive and curious observers will approach the works and try to decipher the words that are an integral part of them. Indeed, because certain sentences, dialogues and exclamations – the author suggests – still seem to hover within these buildings, giving them a vitality that has all to be investigated.
"Paris is but a dream1" of a secret life that animates the city, made of stories, literature, music, of the past that merges with the present and of which, with great force, the irreducible and corporeal presence of the city is nourished. A unique poem that has inevitably imbued the stones of a city in constant transformation, that has inspired countless artists and writers over the centuries; Nicolò Quirico has been able to look at it and interpret it, through his inner eye, in order to offer us a distillate of history and vitality, revealing outside the inside of things.
In the series of works entitled Photo Paris, presented for the first time to the public, what we observe is a life ready to come alive unexpectedly and surprisingly, in a very similar way as it happens in La boîte à joujoux by Claude Debussy, a suggestion from which Quirico's work on the Ville Lumière starts. In Debussy's ballet, intended for the puppet theatre dedicated to children, the toys, taking advantage of the quiet of the night, come out of the box in which they are confined to live their independent lives, different from the one "known" by human beings, but to a large extent parallel to it, in which loves, battles and fights happen.
Under the lens of this double life, the works of PhotoParis also liven up, dominated by "urban theatre actors" and "silent toys", moved by an imaginary "puppeteer" in the space occupied by visionary buildings that surprise us with their architecture and the daring glimpses with which they are proposed by the artist to the gaze of all of us: whale-buildings or rocket-palaces, constructions that are in relation among themselves, as a question and an answer, or that live in community or in an opposition of views and volumes.
Paris livens then up, experiencing the double reality of a real and dreamed city, whose magic seems to light up in the colourful figures that populate it: sculptures, installations and figures that abound in the city and that are apparently dormant, tough are ready to be discovered by the eye filtered from photography. Thus, instead of toy soldiers and dolls, are the red spider by Alexander Calder or Joan Miró's characters, as well as the figures by Jean Tinguely and Niki de Saint-Phalle in the Beaubourg fountain or from the pipes of the Centre Pompidou, from the Art Nouveau entrance news-stands of the metro by Hector Guimard, or the green chairs of the Jardin des Tuileries. Any tangible and visible form and every architectural detail is part of a labyrinth, a sign of a perspective that gaze carefully contemplates in order to find, after slow observation, the trace of a hidden path.
Thus we can perceive the voices coming from the apparently dumb palaces, of an architecture that should, as a discipline of the space organization of human beings, speak through its forms of the life of those who animate it. The palaces thus become containers, boîte à joujoux, for the citizens-toys, absent from these images, vague and hidden presences, of which we can just grasp the voices, ready to talk to us through the architecture.
To the true reading of the image, on the basis of extremely rational and measured criteria, this evocative reading is added, which refers to the memory and the possibilities related to the very existence.
At first it may seem that Quirico wants to focus the attention on a precise object, but then we realize that the intent is to lead us into an open and suspended world, where each element, showing itself, also shows something beyond, referring to an infinite bond of subtle correspondences, which we are asked to search. It is as if the frame opened on another place, that draws the gaze into things and the interior of the things towards the gaze, expanding it in all directions.
As in a microcosm, every image contains something that transcends contingent time and our narcissist rationalism, always tended to bend reality to our expectations. The search is oriented towards a view dominated by movements of gaze that are nourished of slow times, almost meditative, able to dig into the folds of reality, to bring out the echo of new memories and experiences almost removed.
Quirico's works are contractions of the real image with the one dreamed and the one built, encrypted images with multiple reading possibilities to be guessed and found, starting from the horizon of a city. They are antidotes to the consumption rate of modern images, suggesting departures, entrusting a sort of "taste" that is accountable of totality without having to harm it, but rather triggering a reflection on the possible inter-crossing realities. This is why the photographs are identified in a pattern of Cartesian axes that create a geometric network of clear and meditated visions in which the images become the metaphor of a rational and humane path, inside the infinite multiplicity of experience.
In Photo Paris, Quirico confronts himself with a city that has always been at the heart of the collective unconscious and that includes an almost endless list of looks and hearts captured by its charm. Photography, which was born right here, on the banks of the Seine, has fed the city of requited love, and many photographers have portrayed Paris in its multiple forms: from Daguerre, who invented, together with Niépce, this new form of art, to Marville, Atget, Lartigue, Brassaï, Kertész, Ronis, Doisneau, Capa, Cartier-Bresson, Erwitt and many others.
Quirico's voice is clearly added to these ones, with a search that is not focused on a condition of everyday life into which measuring oneself; his images capture us because they look at the city into its eyes, without concessions to the deliberately beautiful, calling us to a new discovery, which may take place on multiple levels. Moreover, the process of vision is always ambiguous and never closed, and as in his other cycles (London Calling, for example), the buildings that he realizes have an infinite possibility of cross-references, through images and written words, through the relationship between the reality and its past and future, as well as its possible interpretations. The technique is the one to which Quirico has accustomed us, one of its distinguishing marks: a complex structure of multiple shootings joined into a collage and printed on sheets of old books, unique works which, in this case, are "based" on books bought on the stalls along the Seine. Texts, not only in French, of literature, arts, but also engineering, indistinguishable and mostly unreadable, that constitute the hidden soul that rises at times, of the works he creates.
The image thus hides the evidence of a connotation linked to the verbal language, in which the overlap between iconic and non-iconic signs find a wise balance, which is embodied by a visual presence able to consider the life of shapes and people. One way to go beyond the language of photography and find time for a thorough look in order to get to understand the "operation" of the work, the subtle play of existing references. The pages of the books that are the basis of the works create a stream of indistinguishable voices, memory and life at the same time, that substantiate them and become their structure, making them unique pieces.
In a game backwards, at the end of our journey we got to the installation work chosen as the cover image of this catalogue: the flow of voices translates into a "palace of words" and is projected outside, to direct us towards Rue Simon-Crubellier n. 11, the imaginary street of the non-existing palace thought by Georges Perec in his novel La vie mode d'emploi. The events of this "hypertext fiction" are held in a block composed of ten floors of ten rooms each, shaping a double square of a hundred elements, whose front façade allows to view each room immediately and simultaneously. In the story, which proceeds as a knight in the chess game, each room will be touched but one, that will be the only one never occupied by any event told of the one-hundred-year life of the building. One hundred photos will make the simulacrum building of Rue Crubellier n. 11, a game of preparation and of signs that intersect, in the desire of distinguishing and seeing beyond the image: "Being or nothing, that is the question. Ascending, descending, coming, going, a man does so much that in the end he disappears. A taxi bears him off, a metro carries him away, the tower doesn't care, nor the Pantheon. Paris is but a dream2".
1-2 R. Queneau, Zazie nel metro, Einaudi, Torino 1970, p. 67.
The old western town, especially in Roman culture, inherits and realises the entire corpus of traditions and religious beliefs of the culture, which it has expressed in the building. The town plans and its development were, in other words, a symbolic form organised in function for the quest of harmony with God's laws. Our cities instead tend to present themselves as «a fabric of buildings intersected by roads or as a grid of streets bordered by buildings in outlying areas and forming a full mesh in the centre, based on the division of the areas and road traffic» (1).
In what way, then, can a symbolic reinterpretation today face the urban landscape in its highest form of human activity, obviously represented by the urban territory?
In the face of urban expansions that see the introduction of architectural elements whose functionality prevails over other considerations, cities tend to lose that identity that defined the historical era in time. There is then the proliferation of buildings, of ravenous boxes that are nourished by time (2), which creates in the sensitive artist the phenomenon of his era, the need to recover the value of their traditions, to find the identitary roots of their own social living.
This restoration of identity cannot then pass through, therefore, a symbolic operation that sees buildings and monuments built or, rather, rebuilt iconically. The raw material can no longer be made of brick and concrete. The buildings are to be erected on the word now, that in images become printed, direct expression of the culture that created it.The books, material of a housing culture, become symbolically (and de facto, with their pages, as regards the realisation of the work) the basis on which you lay the foundations to rewrite the perception of the city. Here, then, that the buildings are no longer just a mere jumble of architectural vanity, but the expression of a combination of knowledge that are structured in the course of Western civilisation history.
The figurative superstructure – in itself highly symbolic – is therefore based on the word, the value of which equally symbolic opens perhaps another glimmer of thought, beginning to break the barrier of conceit typical of human beings, often unaware of the transient nature of its artifacts.
* Free translation from Italo Calvino, Le città invisibili, in Calvino romanzi e racconti, vol.II, Meridiani Collezione, Arnoldo Mondadori Editore, Milan, 2005; p. 368.
(1) - cfr. Joseph Rykwert, L'idea di città, antropologia della forma urbana nel mondo antico, Einaudi, Turin, 1981.
(2) - cfr. Stefano Boeri, L'anticitttà, Editori Laterza, Roma-Bari, 2011.


It's a no glue, tuck' n close, fold flat box! Yes, I'm sticking my 3 'known for' traits all inside one project. Got to love that haven't you!
I've made lots of variants of this box over the past year or so now, all different sizes and for all different goodies, but when Chris and I had a trip to Ikea recently to buy bedroom furniture for the children, we spotted that they had their Christmas range out.
Oh my nose!!! These smell amazing! It's the Vintner range of candles, and I could only see them in tea lights (there is a distinct possibility that I may have bought 10 packs of them) and they're divine! Difficult to give a written description of the scent – sort of winter berry with the merest tiniest undertone of cinnamon (and I hate cinnamon, so it's not overpowering) and they're wonderful!
So that led me to make this box for you!
It holds 8 of the tealights, and if you're a Yankee Candle fan or buy other brands in plastic cup holders, you'll still fit 8 in.
And how cute is the closure? Tuck 'n Close!!
I love the look of the boxes, and I certainly love the stamping on the front – thank you Stampin' Write Markers for making this so easy!
« Stampin' Up! 24 Hour FREE Shipping is a go go go!
I am not the only one that hates the smell of cinnamon! Garden centres at Christmas get me wound up…..lol.
Gorgeous, love the box and wow, nice size for 8 candles.
I just love this box.
Great box Sam and such a unique closure.
Love this box, would love to see a smaller one.


Michael Roth pitched 7.2 innings on three days' rest, and South Carolina won its second straight national championship with a 5-2 victory Tuesday night that completed a two-game sweep over Florida in the College World Series finals.
South Carolina (55-14) became the first team to ever go 10-0 in an NCAA tournament and the first since Oregon State in 2007 to go unbeaten in a CWS.
Peter Mooney doubled to start a three-run third inning and hit the Gamecocks' first home run of the CWS in the sixth.


Verified August 2014 by Xiaofan Zhu, Chinese Academy of Medical Sciences.
Mesenchymal Stem Cells (MSC) is a non Hematopoietic Stem Cells (HSC) in adult bone marrow and takes part in the bone marrow microenvironment. The response rate of early treatment on Children's SAA application combined with anti-thymocyte globulin (ATG) (40-50 days after ATG treatment) is associated with long-term effect. The injection of Umbilical Cord Derived Mesenchymal Stem Cells combined with ATG improves the efficacy of children with SAA.
Mesenchymal Stem Cells were prepared by in vitro separation, screening, and culture from healthy human umbilical cord tissue; The " injection of mesenchymal stem cells (umbilical) manufacturing and verification regulation " was also formulated.
The response and complete remission rate, relapse rate of the injection of Umbilical Cord Derived Mesenchymal Stem Cells (or combined with ATG ) for Child with SAA were determined.
Official Title: Child With Severe Aplastic Anemia (SAA) Therapy: the Injection of Umbilical Cord Derived Mesenchymal Stem Cells.
The first agent MSC injection, began two weeks after ATG application; Each patient was injected three times, one time per week; Study on single dose tolerance and efficacy index; Each subjects received three dose groups of treatment.
MSC+ATG:Starting dose was 0.5-1.0 × 106 cells /kg; And the maximum tolerated dose was 1 ×107 cells /kg after ATG application.
Complete response (CR) was defined as achieving normal levels of hemoglobin adjusted for age, platelet count >100*109/L, and absolute neutrophil count (ANC) >1.5*1.0 9/L. Partial response (PR) was defined as injection independence, reticulocyte count>30*109/L, platelet count >20*109/L, and ANC>0.5*1.0 9/L above the baseline. Persistence of injection requirement or death was evidence of no response (NR).
The relapse was defined as injection dependence again; or progressed or paroxysmal nocturnal hemoglobinuria (PNH)/acute myeloid leukemia/myelodysplasia syndrome(MDS); or cyclosporin A (CsA) dependence.


Calf Coarse Mix 18% - 25kg.
Calf coarse mix is a specialist, high quality, 18% protein molassed coarse calf mix, designed for a range of calf rearing systems. The natural ingredients used include micronized barley, peas, beans and maize alongside crushed oats. A complementary feeding stuff for calves.


Guests hit the trifecta of free Wi-fi, parking and breakfast at La Quinta Inn Miami Airport West. All 143 rooms at this six-story hotel offer work desks, premium cable TVs with pay movies and video gaming, free Wi-Fi, firm mattresses and soft sheets for a good night's sleep. Some rooms have microwaves and mini-fridges or sofa beds. Each morning starts with a signature free Bright Side breakfast of offers pastries, breakfast breads, fruit, hot and cold cereals, coffee, tea, juice and more. Take a break in the hotel's outdoor pool after a workout in the fitness center. Parking and airport shuttle service are both free. The hotel is a seven-minute drive from Miami International Airport. Shoppers make a beeline to Dolphin Mall, three miles away, and scenic Coral Gables and its Miracle Mile, a nine-mile drive. Bayside Marketplace and the downtown waterfront are 10 miles from the hotel. South Beach's daytime sun and evening fun are 13 miles away, and Key Biscayne's beaches and scenery are a 20-mile jaunt.


Kanishka is Atul Kochhar's first venture with Tina English, and will explore lesser known regions of Indian food.
The Stafford London will be launching its first independent restaurant project this summer under the direction of The Stafford's culinary director, Ben Tish.
Bringing an elevated Chinese dining experience to the capital, Imperial Treasure makes its European debut in a striking Grade II listed building on St James's Waterloo Place.
Andrew Macleod, the 27-year old restauranteur and founder of craft pasta restaurant, Emilia's in St Katharine Docks, has now added a second venue to his portfolio.
Macaulay Sinclair has transformed part of a Grade II listed lodge building for Dishoom's seventh restaurant and bar in Bridge Street, Manchester.
RUSK & RUSK expands with new £1m venue, So L.A.
RUSK & RUSK, The award-winning team behind The Butchershop Bar & Grill, Hutchesons City Grill, and The Spanish Butcher, has unveiled its latest restaurant, bar and event space, So L.A.
This July 17th, Ivan Tisdall-Downes and Imogen Davis will officially open the doors of new restaurant, Native, bringing their dedication to British wild produce and foraged focused cooking south of the river.
Locals Nick Levantis and Darryl Healy are behind the venture, which will bring a new neighbourhood restaurant to the area specialising in authentic Italian food, together with four boutique hotel rooms.


text:
Syracuse United States Buffalo Syracuse Orange men's basketball Atlantic Coast Conference men's basketball Buffalo Bulls men's basketball Mid-American Conference men's basketball Jim Boeheim Jim Whitesell Buddy Boeheim Sports Men's basketball Men's sports Basketball College basketball College sports 2019-2020 Coronavirus pandemic Doping Athlete health Men's college basketball Coronavirus Infectious diseases Diseases and conditions Health Lung disease
Syracuse, Buffalo men's hoops on pause after positive test
Syracuse guard Buddy Boeheim (35) drives with the ball between the defense of Boston College forward CJ Felder (1) and guard Makai Ashton-Langford (4) during the first half of an NCAA college basketball game, Saturday, Dec. 12, 2020, in Boston. (AP Photo/Elise Amendola)
SYRACUSE, N.Y. (AP) — The Syracuse and Buffalo men's basketball programs are on pause after a member of the Bulls tested positive for COVID-19.
The decisions announced Monday by both teams came after they played Saturday in Syracuse's Carrier Dome.
The Mid-American Conference school did not reveal who tested positive, except to say that it involved either an athlete, or member of the team's coaching or support staff. The school was notified of the positive test on Sunday.
It's unclear how long the pause will last. Buffalo said it will follow NCAA, conference and local health protocols. Contact tracing is underway at Syracuse.
"We are using an abundance of caution in this situation, as we have throughout the pandemic, " Syracuse director of athletics John Wildhack said in a statement. "The health and well-being of our student-athletes and staff associated with the men's basketball program is of the utmost importance to us."
Syracuse (6-1) postponed it game Tuesday against Notre Dame and is scheduled to play at Wake Forest on Dec. 30. Buffalo (3-3) is scheduled to play non-conference games at St. Bonaventure on Tuesday, followed by a trip to No. 7 West Virginia on Dec. 29.
The Bulls are already without head coach Jim Whitesell, who entered a 14-day self-quarantine period on Dec. 14 after coming into close contact with a person who has tested positive for COVID-19.
This is the third time in six weeks that Syracuse has been forced to pause activities because of the novel coronavirus pandemic. Head coach Jim Boeheim and an unnamed player tested positive in mid-November and the team's activities were paused for two weeks.
Boeheim said in a Zoom call with reporters that a walk-on also tested positive in late November. That halted practice for three days and sidelined his son, junior guard Buddy Boeheim, for two weeks under New York State health guidelines.

redpajama_set_name: RedPajamaCommonCrawl


If you haven't been to Art Basel or ventured beyond South Beach when you were last in Miami, it's time to visit the Wynwood Arts District. Home to over 70 art galleries, retail stores, antique shops, bars and restaurants, it is largely the result of the vision of one developer–David Lombardi. Art Basel came to South Beach in 2002, and Mr. Lombardi purchased his first lot in Wynwood around that time. As prices began to rise in the design district, Lombardi courted artists without representation. By 2004, there were 15 to 18 galleries. Creative developer Tony Goldman opened a popular restaurant. Graffiti artists tagged abandoned warehouses. The rest is real estate development history.
My favorite gallery was Robert Fontaine Gallery. A collection of bird cages, featuring silent videos of life-sized canaries, finches or doves depicted via small LCD screens are by the multidisciplinary artist Troy Abbott.
The Polish street artist Agata Oleksiak, better known as Olek, is known for her crotched works. Perhaps because I don't know how to ride one, I wouldn't mind having this in my apartment.
And last, but not least, our favorite artist was Alexander Korzer-Robinson. He makes book sculptures/cut books by going through antique books, page by page, cutting around illustrations and removing others. A removable clear acrylic pane slides in behind the cover to protect the artwork from dust and damage. Originally from Leipzig in Germany, he is now based in Bristol, England.
A commentary on how people today ingest media (ie. by looking at images as opposed to reading) spoke to Lewis and me. We couldn't resist purchasing an edition of illustrated French encyclopedia Nouveau Larousse Illustre.


text:
Going Nautical at Tallinn's Seaplane Harbour
July 18, 2015 by Ryan Murdock Leave a Comment
Exploring the Estonian Maritime Museum at the Tallinn Seaplane Harbour….
The Lennusadam Seaplane Harbour in Tallinn is home to one of the coolest museums I've visited anywhere in the world.
The museum is housed in the old seaplane hangar, which was built 100 years ago on the order of Russian emperor Nicholas II, to become a part of the neighbouring naval fortress built by Peter the Great.
It's a massive, cavernous building, and was the first column-less thin shell concrete dome of that volume anywhere in the world. It was used for seaplanes until the Second World War.
Climbing around on patrol boats outside the hangar…
Don't let the nautical theme of the museum throw you off. I'm not really into seafaring either. We just stopped by on a whim — and we had a blast.
The centrepiece is definitely the 1930's submarine Lembit. You can climb through the torpedo loading hatch and explore inside, imagining what life must have been like hunting shipping on the high seas in WWII.
All hands to the torpedo tubes on the submarine Lembit…
"Batten down the hatches and prepare to dive!"
There are lots of old ships to climb around on, of course. And examples of anti-aircraft guns and coastal batteries.
But it's the interactive exhibits that are the true highlight of this place.
They're just so well planned, and so much fun to try.
Generating whirlpools — I cranked that thing so vigorously it practically turned itself inside-out.
You can learn all about wave action and coastal erosion by designing your own shoreline, and then generating waves to see what happens.
You can see how a propellor operates by altering the pitch, turning the blade really fast, and observing the wake.
You can create whirlpools, raise sunken ships and pilot a biplane in a dynamic flight simulator.
Practicing my anti-aircraft skills on incoming planes and helicopters…
I ended up with a perfect score on the anti-aircraft gun (…I was there quite a long time…)
You can even do a lifeboat drill, climbing up the sloping deck of a ferry as alarm bells sound and red lights flash. After finding your way out of the corridor — tilted on an angle to indicate that the ship you're in is about to slip below the waves — you slide down a chute into a modern covered inflatable life raft.
Why yes, yes I would… Learning how to torpedo passing ships.
It's fun for kids, but it's even more fun for rather childlike adults.
If you're ever in Tallinn, I highly recommend checking it out.
Trying on naval uniforms — an officer on watch, having a smoke on a cold North Atlantic crossing… (the shoes obviously aren't regulation — that's my flair)
Photos ©Tomoko Goto 2015
Don't Be Such a Tourist!
Get your FREE Guide to Creating Unique Travel Experiences today! And get out there and live your dreams...
Filed Under: Europe


text:
Q: How to decode 433MHZ Soil Moisture Sensor I need to decode Soil moisture sensor using RXB7 and ESP32. I try several library, it can get data but not the correct one. Due to my knowledge on this 433mhz radio, I can't figure out.
Here's the detail I have about this Sensor, which work on RTL_433.
Here's its protocol detail on RTL_433:
https://github.com/merbanan/rtl_433/blob/master/src/devices/rainpoint.c
What I know about it:
It is OOK PCM at 500 µs rate (half-bit rate as it's Manchester)
A Transmission contains three packets with Manchester coded data, note that the pause is a constant pulse, strangely.
**Detail I get on RTL_433_SDR:
**
time      : 2023-02-14 14:06:54
model     : RainPoint-Soil                         id        : 0603
channel   : 1            Sync?     : aa81          Flags?    : 9f            Status?   : 0402          Temperature: 32.0 C       Moisture  : 7 %           Integrity : CHECKSUM
pulse_slicer_pcm(): RainPoint soil temperature and moisture sensor
bitbuffer:: Number of rows: 1
[00] {2780} 55 55 55 54 cc cd 2a ac d2 ab 4a ab 55 2c b2 aa ca aa aa cb 52 aa aa ab 34 b3 33 2a ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff da aa aa aa a6 66 69 55 66 95 5a 55 5a a9 65 95 56 55 55 56 5a 95 55 55 59 a5 99 99 57 ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff fe d5 55 55 55 33 33 4a ab 34 aa d2 aa d5 4b 2c aa b2 aa aa b2 d4 aa aa aa cd 2c cc ca 80

I have use this code(it's also manchester) and it can receive data but it's not the right value.
https://github.com/robwlakes/433MHz_Tx_Rx/blob/master/Receiver1.ino
Here's the output:
A9 10101001 FA 11111010 7C 01111100 FC 11111100 1B 00011011 7E 01111110 FD 11111101 1F 00011111 BF 10111111 FE 11111110 95 10010101
**The expected data is(correct one, as per RTL_SDR):
rainpoint_decode: : {96} aa 81 06 03 9f 04 02 20 07 00 4d 15**
Thus, I think it's the config parameters. I have no knowledge on this preamble, discarding bit...
I also try this one. It also can receive but wrong value:
https://github.com/mathertel/rfcodes/blob/4eec184ed6437ab8b7865591b04023a63dafbdaa/examples/TempSensor/TempSensor.ino
Any suggestion?
Thanks;


paper organizer for wall hanging desk organizer file wallpaper storage boxes.
giant bean bag chair giant bean bag chair lounger large chairs couch medium size of 4 l oversized bean bag chair pattern.
wall mounted jewelry organizer necklace holder wall mount wall mounted jewelry organizer wall mount jewelry box white wall mounted jewelry wall mounted jewelry organizer target.
large letters for wall large wood letters in a playroom extra large metal wall letters.
wall to wall shelving garage shelves build 1 wall to wall bookshelves plans.
wall mirror with shelf wood mirror shelf wall mirror with shelf australia.
bean bag chair covers extra large stuffed animals bean bag chair cover cotton canvas kids toy storage zipper bags stuff n sit comfy pouf for unisex boys girls bean bag chair covers pattern.
small bean bag chairs sheepskin bean bag chair small bean bag chairs babies.
wall hangings for bedroom crystal three dimensional rose flower acrylic wall stickers wall hangings for bedroom.
teal bean bag chair teal blue bean bag chairs comfy bean bag chairs leopard bean bag bean bag bean bag teal blue bean bag chairs.


text:
IESA seeks policy measures to boost energy storage
During a conference on the occasion of the 4th World Energy Storage Day on Tuesday, IESA also highlighted the huge employment opportunity presented by India's energy storage space
Updated: September 23, 2020, 11:57 IST
New Delhi: The India Energy Storage Alliance (IESA) has emphasised the importance of policy incentives, business leadership, skilled workforce, and inter-industry collaboration to make India self-reliant in the energy storage space.
During a conference on the occasion of the 4th World Energy Storage Day on Tuesday, IESA also highlighted the huge employment opportunity presented by India's energy storage space.
IESA President Rahul Walawalkar said: "India presents a significant opportunity for stationary energy storage technologies. In the next 5 years, we are entering into an unprecedented area, where thermal plants will have to pay down 30 per cent which is not an ideal situation. At the same time, we do expect that the market for e-vehicles is set to pick up beyond 2022-24. We are coming up with a new report on e-mobility."
He noted that due to persistent efforts by various ministries in the last five years, energy storage has picked up rapidly and the technology advancements have also been accelerated.
"We must focus on building capacity for integrating existing projects and making India a global hub of innovation and R&D. We urge the Indian business leaders to take a lead in terms of investing in the future.
"As the event highlighted, there is also a need for the right policy and regulatory support, beyond announcements. These initiatives will boost the local ecosystem, make India a self-reliant economy for energy storage, and become the global benchmark," he said.
Noting that energy security and sufficiency are pivotal for self-reliant India, Prime Minister Narendra Modi, in a letter to IESA, said: "We are constantly striving to ensure that electricity reaches everyone, there is sufficient electricity for everyone, and that our environment remains clean. We are also making sure that our resolve towards clean and renewable energy is taken care of in every aspect of life.
"For energy access and energy sustainability, the government is focused towards building a robust storage capability in the country."
the india energy storage alliance
rahul walawalkar
policy incentives
IESA
HMS Urge
Most Read in Power
Adani Power board appoints Shersingh B Khyalia as its CEO
Reliance, Hyundai, Mahindra bid for incentives under $2.4 billion battery scheme
India launches first coal-to-methanol plant built by BHEL
Govt land to private agencies for setting up EV public charging stations through bidding
JSW announces financial incentives for employees to buy Electric Vehicles


Last week's 'Directions for the Research Data Management in UK Universities' workshop afforded me the chance to visit our friends in the fens and engage in the debate regarding 'what happens next' with RDM. The workshop gathered about 40 people together, mostly representing UK universities but also representing some national bodies, such as Jisc, RIN, RLUK, Rugit, UCISA, and SCONUL. The workshop was particularly welcome in that it represented the re-engagement of Jisc with the world of research data management after a prolonged chrysaline hiatus during which they were reorganizing and refocusing (Jisc is no longer the acronym of the 'Joint information Systems Committee', it is now just 'Jisc'). Jisc funded several projects that helped us develop RDM infrastructure at Oxford during 2009-2013, as well as providing national coordination.
The workshop began with a summary of the progress UK universities have been making to provide their researchers with data management services and enable compliance with funder requirements. Rachel Bruce presented the findings of the DCC's survey of (mostly) Russell Group universities, whilst presentations from the Universities of Edinburgh and Manchester brought delegates up to speed with developments at two of the UK's front runners in this field. Both already provide research groups with central data storage facilities – 0.5 TB at Edinburgh, and a very generous 20TB at Manchester. We have a project underway to Oxford to provide something similar, but at present it is mostly down to departments to provide data space, with our NSMS team providing servers and private cloud. Both Edinburgh and Manchester have institutional data repositories in place, although Oxford is not far behind on this front, with our own ORA-Data service due to launch as a pilot on the 1st December 2014. Particularly impressive was the researcher information dashboard that Manchester are offering to Principal Investigators to track their research information. Again, there are plans afoot for something similar at Oxford, and we'll be looking at how others are approaching this.
The day also featured talks about research data typologies, which we may well look further at for our own support staff development, and presentations by researchers about their own data management torments, and what would actually help them avoid data loss and share their data more easily with colleagues.
Guidance on the selection of research data for long-term preservation – how should researchers and support staff decide what needs to be kept and curated, and for how long?
Setting up a national data registry remains important, and should be a priority. The DCC are working on this.
How JISC and other national organizations will take these and other suggestions forward is now for them to decide and prioritize, but it is encouraging that there seems again to be efforts afoot to provide community coordination and guidance for UK Universities in this field.


text:
Motherhood and work in Italy: A socio-cultural perspective
Adalgisa Giorgio
Politics, Languages & International Studies
This article introduces a Special Issue of the Journal of Romance Studies on Mothering and Work in Italy in the Twenty-first Century: Culture and Society, rdited by myself, setting the English translation of Carmen Covito's short story 'Tempo parziale' ['Part time'] and two articles on mothering and work in contemporary Italy into the larger socio-cultural context. The article takes a historical approach to show the continuities and ruptures with past ideologies, ideals, and policies, with reference to maternity and parental leave legislation, increasing precarization of work, and high unemployment. An apparent return to the model of 'intensive mothering' poses interesting questions on the situation of Italian women vis-à-vis work and mothering.
The Journal of Romance Studies
https://doi.org/10.3167/jrs.2015.150301
Italian motherhood
mothering and work in Italy
maternity leave in Italy
Carmen Covito's 'Tempo parziale'
10.3167/jrs.2015.150301
A.Giorgio Mothering and work in Italy
The copyrights are with the Journal of Romance Studies
Accepted author manuscript, 510 KBLicence: Unspecified
http://dx.doi.org/10.3167/jrs.2015.150301
Fingerprint Dive into the research topics of 'Motherhood and work in Italy: A socio-cultural perspective'. Together they form a unique fingerprint.
Sociocultural Perspective Arts & Humanities
Motherhood Arts & Humanities
motherhood Social Sciences
Romance Studies Arts & Humanities
Italy Social Sciences
Socio-cultural Context Arts & Humanities
Maternity Arts & Humanities
Ideology Arts & Humanities
Politics, Languages & International Studies - Honorary Academic
Person: Honorary / Visiting Staff
Giorgio, A. (2016). Motherhood and work in Italy: A socio-cultural perspective. The Journal of Romance Studies, 15(3), 1-21. [1]. https://doi.org/10.3167/jrs.2015.150301
Motherhood and work in Italy : A socio-cultural perspective. / Giorgio, Adalgisa.
In: The Journal of Romance Studies, Vol. 15, No. 3, 1, 13.07.2016, p. 1-21.
Giorgio, A 2016, 'Motherhood and work in Italy: A socio-cultural perspective', The Journal of Romance Studies, vol. 15, no. 3, 1, pp. 1-21. https://doi.org/10.3167/jrs.2015.150301
Giorgio A. Motherhood and work in Italy: A socio-cultural perspective. The Journal of Romance Studies. 2016 Jul 13;15(3):1-21. 1. https://doi.org/10.3167/jrs.2015.150301
Giorgio, Adalgisa. / Motherhood and work in Italy : A socio-cultural perspective. In: The Journal of Romance Studies. 2016 ; Vol. 15, No. 3. pp. 1-21.
@article{019ab2a46ae84fc79799fedcbac835ce,
title = "Motherhood and work in Italy: A socio-cultural perspective",
abstract = "This article introduces a Special Issue of the Journal of Romance Studies on Mothering and Work in Italy in the Twenty-first Century: Culture and Society, rdited by myself, setting the English translation of Carmen Covito{\textquoteright}s short story {\textquoteleft}Tempo parziale{\textquoteright} ['Part time'] and two articles on mothering and work in contemporary Italy into the larger socio-cultural context. The article takes a historical approach to show the continuities and ruptures with past ideologies, ideals, and policies, with reference to maternity and parental leave legislation, increasing precarization of work, and high unemployment. An apparent return to the model of {\textquoteleft}intensive mothering{\textquoteright} poses interesting questions on the situation of Italian women vis-{\`a}-vis work and mothering. ",
keywords = "Italian motherhood, mothering and work in Italy, maternity leave in Italy , Carmen Covito's 'Tempo parziale'",
author = "Adalgisa Giorgio",
note = "This article introduces a Special Issue of the Journal of Romance Studies on Mothering and Work in Italy in the Twenty-first Century: Culture and Society, edited by Adalgisa Giorgio. It also contains the English translation of Carmen Covito's short story 'Tempo parziale', translated by Adalgisa Giorgio with Gill Rye.",
doi = "10.3167/jrs.2015.150301",
journal = "The Journal of Romance Studies",
publisher = "Liverpool University Press",
T1 - Motherhood and work in Italy
T2 - A socio-cultural perspective
AU - Giorgio, Adalgisa
N1 - This article introduces a Special Issue of the Journal of Romance Studies on Mothering and Work in Italy in the Twenty-first Century: Culture and Society, edited by Adalgisa Giorgio. It also contains the English translation of Carmen Covito's short story 'Tempo parziale', translated by Adalgisa Giorgio with Gill Rye.
N2 - This article introduces a Special Issue of the Journal of Romance Studies on Mothering and Work in Italy in the Twenty-first Century: Culture and Society, rdited by myself, setting the English translation of Carmen Covito's short story 'Tempo parziale' ['Part time'] and two articles on mothering and work in contemporary Italy into the larger socio-cultural context. The article takes a historical approach to show the continuities and ruptures with past ideologies, ideals, and policies, with reference to maternity and parental leave legislation, increasing precarization of work, and high unemployment. An apparent return to the model of 'intensive mothering' poses interesting questions on the situation of Italian women vis-à-vis work and mothering.
AB - This article introduces a Special Issue of the Journal of Romance Studies on Mothering and Work in Italy in the Twenty-first Century: Culture and Society, rdited by myself, setting the English translation of Carmen Covito's short story 'Tempo parziale' ['Part time'] and two articles on mothering and work in contemporary Italy into the larger socio-cultural context. The article takes a historical approach to show the continuities and ruptures with past ideologies, ideals, and policies, with reference to maternity and parental leave legislation, increasing precarization of work, and high unemployment. An apparent return to the model of 'intensive mothering' poses interesting questions on the situation of Italian women vis-à-vis work and mothering.
KW - Italian motherhood
KW - mothering and work in Italy
KW - maternity leave in Italy
KW - Carmen Covito's 'Tempo parziale'
UR - http://dx.doi.org/10.3167/jrs.2015.150301
U2 - 10.3167/jrs.2015.150301
DO - 10.3167/jrs.2015.150301
JO - The Journal of Romance Studies
JF - The Journal of Romance Studies
M1 - 1


The European Council defines the general political direction and priorities of the European Union. With the entry into force of the Treaty of Lisbon on 1 December 2009, it became an institution. Its President is Donald Tusk.
The European Council provides the Union with the necessary impetus for its development and defines the general political directions and priorities thereof. It does not exercise legislative functions.
The European Council consists of the Heads of State or Government of the Member States, together with its President and the President of the Commission.
Study Guides will be distributed via email.


A new independent shop specialising in British made cards, stationery, gifts and homewares has opened in Derby's Cathedral Quarter.
Ink & Thread in The Strand is run by Emily Baker who said: "'I have always had an interest in design and interiors and have thought about opening my own shop for a long time and it just felt like the right time to set up my own business.
"My passion is supporting British designers and producers – mainly smaller companies who focus on quality rather than quantity.
"As I started to source stock I quickly realised that I didn't want to sell mass produced items made thousands of miles away and that lead me to one obvious solution, buy British from small suppliers.
"Just as people are increasingly wanting to know the provenance of what they are eating, we are returning to the days of being proud of buying British rather than something that has been churned out in a factory on the other side of the world and then shipped thousands of miles to our shop shelves.
"Once I started researching I discovered lots of fantastic designers and manufacturers who produce great quality items, they also employ staff from their local communities whether that's in Stoke-On-Trent, Glasgow or Leeds which is another positive.
"The style of the ranges here are modern with bold bold primary colours that celebrate British heritage and style.
"By opening in time for Christmas I hope people will find something a bit different for their family and friends, they can also have the added satisfaction of knowing that they are supporting British producers; which I think is very important particularly in the current climate.
Martin Langsdale from commercial property agent Raybould & Son who have leased the property to Ink & Thread is also the chair of the Cathedral Quarter management group, which drives forward activities under the area's Business Improvement District status.
He said: "Ink & Thread is the perfect addition to the retail offer in this wonderful part of the Cathedral Quarter.


Indian J Palliat Care. 2019 Jan-Mar;25(1):24-29. doi: 10.4103/IJPC.IJPC_183_18.
Conspiracy of Silence in Palliative Care: A Concept Analysis.
Lemus-Riscanevo P1, Carreño-Moreno S1, Arias-Rojas M2.
Universidad Nacional de Colombia, Nursing Faculty, Research Group Nursing Care for the Chronic Patient, Bogota, Colombia.
Universidad de Antioquia, Nursing Faculty, Medellin, Colombia.
With chronic diseases on the rise, there is a growing demand for palliative care. The global landscape of the integration of palliative care into health-care systems is incipient, which leads to a lack of social awareness of this reality and consequently, to communication failures, particularly a conspiracy of silence. The aim of this study was to analyze the concept of conspiracy of silence in palliative care.
Walker and Avant method of concept analysis was used. Review and synthesis of literature supported the analysis process. Forty-seven articles were analyzed.
Results showed that the conspiracy of silence in palliative care is a communication failure, typical of limited life expectancy prognosis, and involves patients, their families, and health-care teams. Lack of autonomy, overburden, family malfunctioning and coping, and health-care dehumanization are consequences of the conspiracy of silence in palliative care.
The present study had found that scales to measure this concept as well as interventions that consider important factors in the communication process in palliative care identified in this analysis are needed.


Located opposite Harringtons Motor Lodge in the Victoria Esplanade Gardens, alongside the Manawatu River Walkways.
From October to April the The Dugald MacKenzie Rose Garden brims with colour and fragrance with over 5,000 plants and 100 rose varieties. Recognised as one of the world's top five rose gardens in 2003 by the World Federation of Rose Societies and is home to New Zealand's National Rose Trial Gardens and the Plant Variety Rights Trial Beds. The purpose of these grounds are to test new roses and to determine their suitability for the New Zealand climate.
The formally designed garden consists of 96 rose beds, bordered by camellias and a variety of mature trees. During the summer months the array of colours is a spectacular sight, and a popular spot for picnics, sightseers and as a venue for weddings and photographs.


text:
wp.customize.controlConstructor['kirki-spacing'] = wp.customize.Control.extend({

	ready: function() {

		'use strict';

		var control = this,
		    value = {};

		_.each( ['top', 'bottom', 'left', 'right'], function( dimension, index ) {

			// Get initial values and pre-populate the object.
			if ( control.container.has( '.' + dimension ).size() ) {

				value[ dimension ] = control.setting._value[ dimension ];

				// Validate the value and show a warning if it's invalid.
				jQuery( control.selector + ' .' + dimension + '.input-wrapper' ).removeClass( 'invalid' );
				if ( false === kirkiValidateCSSValue( control.setting._value[ dimension ] ) ) {
					jQuery( control.selector + ' .' + dimension + '.input-wrapper' ).addClass( 'invalid' );
				}

				control.container.on( 'change keyup paste', '.' + dimension + ' input', function() {

					var subValue = jQuery( this ).val();

					// Validate the value and show a warning if it's invalid.
					if ( false === kirkiValidateCSSValue( subValue ) ) {

						jQuery( control.selector + ' .' + dimension + '.input-wrapper' ).addClass( 'invalid' );

					} else {

						jQuery( control.selector + ' .' + dimension + '.input-wrapper' ).removeClass( 'invalid' );

						// Only proceed if value is valid.
						value[ dimension ] = subValue;
						control.setting.set( value );

						// Refresh the preview.
						// The `postMessage` implementation is still incomplete for this field.
						wp.customize.previewer.refresh();

					}

				});

			}

		});

	}

});

redpajama_set_name: RedPajamaGithub


The sail away from Hong Kong last night was lovely. They really do like to light up the buildings along the harbor. We are lucky that we came to see this now because they are building a new cruise ship terminal where the old airport was, further down the harbor. Passengers will still be able to see the buildings sailing in and out, but they won't have a view of the laser light show like we did.
We have another sea day today, on our way to Taiwan. For a sea day, it was pretty busy. We got our tour tickets and a revised itinerary last night and there were quite a few changes. We were supposed to be in most ports 2 days but the captain received info that, due to the way the currents are predicted to be, we need to leave Osaka at 4 AM on the second day instead of in the afternoon. That means any tours scheduled for day 2 were re-booked for day 1. People who had tours scheduled on both days had to decide which one they want and turn in the other tickets.
The other change was to the difficulty level for several tours. We had tickets for 2 tours that were listed as level 1 (easy) but have been corrected to level 3 (difficult). These are for tomorrow and the next day in Taiwan. We decided to try the one for tomorrow, but exchanged the second tour for something easier.
There were 2 great lectures today. Sandra Bowern gave a talk on "Imperial China" at 10 am. We were exchanging tickets and doing laundry this morning, so we watched this on on TV later in the day. She gave an excellent overview of the history of the Chinese dynasties through the last emperor, who abdicated in the early 1900's.
The second talk was given by a new lecturer, Dr. Mark Elovitz. It was part of a "World Affairs Hot Spot Series" he will be giving over the next few weeks. Today's was titled "Whose Lunch Is China Eating As It Rises Peacefully?" The main point was that China's current plan is to stay out of everyone else's politics and religious issues while gobbling up all the resources it needs to grow. It is making deals with countries all over the world to import oil, natural gas, minerals, etc. to grow it's production of all kinds of things, both for internal consumption and export. China is pursuing a path of increasing it's world power through economic policies instead of war.
Tonight was formal night, so we got all dressed up for dinner. We went upstairs to the Italian restaurant instead of the main dining room. The main dining room is always very busy on the first night out of a new cruise segment - all the newbies want to go there. After dinner we actually made it to the show. Our cruise director is a very talented man and he was the show tonight. He has a wonderful singing voice, does ventriloquism with a bunch of cute puppets, and tells jokes in between. We really enjoyed the show.
Although I will continue to write these blogs daily, you may not see them posted daily between now and March 14th. We have been told that satellite internet signals may be restricted in Japan, and that there may be interference in Shanghai. I will still write my thoughts for each day and post them when I can.


Discussion in 'Lizardmen & Saurian Ancients Army Lists' started by Peryuri, Mar 15, 2019.
Full lore of fire Slann and skins priets just there in order to provide line of sight and 2 magic dice.
any ideas? whit this list (or with 3 different ones) i want to face skavens, wood elves and ogres. I know that these are 3 completely different armies, but i wanna know how to change depending of which enemy i'm facing.
I also need to learn which unit can cover which role.
I think we are probably safe when it comes to 6th edition. GW isn't defending that particular intellectual property especially fiercely but I appreciate you being carefully.
As for feedback. From what I remember from 6th edition this looks pretty competitive.
6th edition rules for skirmishers was very generous so you have a lot of options for unusual formations with your 40 Skinks.
You got all your bases covered, Terradons and Skinks to go after warmachines, Saurus Cavalry for combined attacks, solid infantry, Salamanders for ranged attacks.
Your list doesn't have a lot of fat to cu t.I might say that you want more Temple Guard (if your Slann dies the game is probably lost), but I'm not sure where you would get the points from. Your list doesn't have a lot of fat to cut. The Standard of Chotec becomes more valuable in large units than in small units and 16 is pretty small. It might be better to drop the standard and take a few more Temple Guard bodies, but I'm not sure where to trim points to boost your Temple Guard.
Well maybe i could drop some skinks to put more temple guards and the Cupped hands of the old ones magic items.for the slann, that 5+ save for the Temple guards seems useful.
Anyone else has some ideas?
Total noob here (just 1 game of 6th under my belt) but maybe drop the Krox if you're looking for extra points? That said, in the game I've had, at 1500 points, the krox did sterling work against wood elves (although I might have been lucky).
Maybe drop a couple of cold one cav?


text:
World's largest marker pen is unveiled by Japanese stationary brand, Zebra
By Rachel Swatman
Staff from the Japanese stationery manufacturer, Zebra, have built a record-breaking 1.684 metre long (5 ft 6.3 in) marker pen to celebrate their 120th anniversary.
It is a to-scale replica of the company's popular 'Hi-Mckee' oil-based pen and was confirmed to be the world's Largest marker pen by Guinness World Records adjudicator Kaoru Ishikawa, following its grand unveiling in Setagaya, Tokyo, Japan.
The pen had to be at least ten times larger than its original in order to set the new record, but Zebra decided to go even further and make it 12 times bigger.
It took a total of three months to construct the supersize pen, with a full hour was spent simply filling it with 3.14 kg (1 lb 14.76 oz) of ink.
Talking about the attempt, project leader Ms. Mayumi Yamaguchi explained: "Hi-MCKEE has a nib on both sides, thick and narrow, and that is a unique feature of this pen. It was all handmade, so we cut and shaved the nibs to make them a different size on each end."
The final product weighed a whopping 17.48 kg (38 lb 8.64 oz) – but Zebra staff were still able to lift it just enough to prove they could write with it.
Could your company use a Guinness World Records attempt to raise brand awareness? Fill out this form to find out.
Huge LED projection in Utah desert lands WestJet Airlines two world records
New Zealand sweets brand makes world's largest liquorice allsort
Boeing celebrates its 10,000th 737 aircraft with a new record
Western Union celebrates anniversary by creating huge coin mosaic
US restaurant proves it is the big cheese with enormous cheddar sculpture
German travel agency Schauinsland-Reisen builds world's tallest sandcastle