We're in the second month of long vacation in Chartres and the whole France of course...Some already came back from their days off while others just start preparing their summer holiday.
So if you were still looking for fantastic things to do in Chartres this month, just keep exploring the major schedules of August Events 2011.
Chartres Light Show - continued from May... magic illumination on 27 historic sites in Chartres city center.
If you haven't seen all the illuminated sites, well no need to worry... you'll have enough time until September.
Chartres Summer Festivals (Soirées Estivales de Chartres) - free entertainments for all age during the summer vacation.
Music of any styles and theater shows at different places in Chartres center include also organ concerts in cathedral.
If you're interested, please check out all the detail events schedule of the festivals.
When: July 6 to August 27 The art works of an artist Konrad Loder, this time theme is Le Marteau et La Fourmi.
When: August 3 at 03.30pm This time film is Tom and Jerry of William Hanna and Joseph Barbera. The event will be for children from 4 years old.
Dancing Salsa on the beach? Yup... dance for everyone! You must be wondering how come there's a beach in Chartres?
It is actually the water fountain at Place des Epars that turn out to be "a beach" during the summer.
Many people, mostly teens and kids, love to fresh up their bodies after the heat of the day, they even wearing swimsuit! ...just like on the real beach.
But tonight... everyone will dance Salsa!!
Please note... it might be important to confirm the date and location of events as these schedule may not reflect changes or cancellation.


text:
June 16, 2013 karmody	1 Comment
This is an update of an article I wrote for the Concrete Cartel a few years ago. It is about materials, and the relationship we have with them. I make concrete, so the material most featured in this post is concrete, but it could be any other material that serves our needs, but needs to be respected in its own right. I believe that it is in the quality of our relationships we find the true spark that illuminates our lives. I have found this to as be true with humans as it is with those materials that touch our lives in any sort of intimate way.
There are many materials that have the required provenance to seduce a passionate and tactile relationship full of complexity. Wood has warmth and strength, but if ill handled, it can splinter and rot. Wool is warm, and stays so even when wet, but it is itchy on the skin. Water is omnipresent, inexorable, and absolutely necessary for life, but it can harbor competing forms of life, and it itself can be an agent of total destruction. Concrete has helped build civilization in the past, and is an important foundational element of our own. It has the strength to help our buildings reach the skies, but if unattended it can cause them to crumble. Concrete can make a mockery of dreams of our ascendancy, our ability to create, and become a source of a nightmare of destruction.
If we work with things that only can be what they are, then we should not be surprised that when we try to make them something they are not, we fail. This is essential in all things human considered to be essential. A doctor cannot pretend her patients are merely biomechanical machines for which only periodic repair and replacement parts are the only necessary prescription. She probably would not apply that estimation to herself, so her ministrations will eventually doom her to failure. And that failure's cost will be suffered by her hapless patients who needed a fully human solution to their ails.
So it is with all materials. Market cycles demand a delivery rotation for commodities used and consumed without thought. The nature of a mass market-based society sets a stage for comparison between artisan-crafted materials, and blindly manufactured extruded doodads. But in the creation of the unique, nothing is a commodity. Doodads can beat a dedicated artisan with mass marketed gloss, manufactured volume, industrialized turnaround time, and prices lowered by economies of mass scale and efficient global delivery. In the world market these do have value, no matter how shrill of material, and how shoddy the doodad might be. These are loud distractions though, and should not be compared to the quiet treasure of an artisan's material choices, or the time honed quality of his skill. But the fear borne of this forced market comparison has lead many an artisan away from a belief in their material, and into the false hands of the coating salesman's shiny and manufactured hope machine. An artisan's misguided weakness attracts the Tin Man's predatory strength, and leads both customer and maker into a morass of mediocrity. Many of us have fallen into this trap; I certainly have. Let me tell you a story.
I found myself in a house of very certain qualities. I was there to make a repair on the membrane shrouding the bespoke concrete island countertop I had placed there. It was a huge piece, laced with bronze, and had been heralded upon its arrival as "the most cherished part of this house's renovation." But now the sealer, having lost interest in acting as such, was in the builder's words, "Pealing like a church bell."
The failure of that membrane had canceled my qualification as an artisan. It was my stature as an artisan that had had me invited into that house in the first place. As I was now responsible for the biggest mistake on the project, I was now there under a very different covenant. My every move was to be watched. My every intention was base and suspect if it rose to any level of sophistication, and certainly dirty if it didn't. Worse, as I had coated concrete with a sealer, the sealer's failure somehow impugned the quality of the concrete and torpedoed the bona fides of its maker.
How had this fall from grace happened? How had I become a dirty concrete worker, toiling in a clean professional's house? How did I become a human stain attending to a caveat venditor disaster?
It's simple really. I had stopped believing in my material. And had I allowed the patent claims of salesmen to become my beliefs. Weak I was in that moment, and weakened, I was lain low.
I had been seduced into thinking concrete was a problem that disinterested chemicals and their coterie of chemical providers could provide a solution for.
I had become the maker of the couch that could not be sat upon without the permission granted by a plastic cover. I had become merely the provider of a prophylactic's mule.
Elegance on a coating
Humans don't live long enough to live life fully, with our senses divorced from our sensibilities, as if we were in a jungle, but experiencing it as a zoo. Life is visceral. And removing the viscera leaves our life experience to be told on the membrane of a disinterested prophylactic, while we rot inside.
How would it be if we were to walk the world as our richest forebears did, draped with a wig, plastered with make-up, and swaddled with fetid layers of fabric, and slathered with powerful perfumes to prevent the scents of the world from invading the corporeal bubble. They did this because they took their worlds, inside and outside to be toxic, and for them presentation at the surface was the acme of existence. But is this inhibited vessel of inhabitation worthy of life's full equation?
Comfortable blimp-like fashion
It may be apocryphal, but the following story has a ring of truth: In the sixties, there was a French cheese exporter who was looking to gain a marketing foothold in the United States. Represented were some of the finest cheeses France had to offer the world. In France, cheese is part of life. So the exporter presented cheese as a living creation, used to feed the life of those who would bring it into their home. Surely Americans with their ascendant culture and expansive attitude would feel the same way about the living treasure that was cheese!
They did not. The marketing campaign fell flat on its face. What was wrong? The cheese was some of the best in the world. And Americans had a thriving and rapidly expanding economy. And the ads were shown everywhere. The problem was simple.
Living cheese is not an ideal American roommate.
Americans had been conditioned to buy perfection. And perfection should be demonstrably sterile, and dead. Life was a murky and suspicious complication in a product that was to be invited into the intimate space of a home. So the exporter changed his message.
Cheese was made safe, morally unambiguous, dead, and behind a curtain of plastic, stored in the fridge.
Sealed in plastic means that it is safe to eat
Sales went through the roof.
America as much of the 'modern' world also has, been transformed from crucibles of invention, and engines of manufacture, to consumers of mass marketed products. As recently as the seventies, in almost every American house that had one, a basement was a monument to American manufacturing prowess. The man-cave of that era had a tangible output; whether it were bird feeders, birch benches, or sailboat hulls. America at that time was still a formidable industrial power, and the hands of its citizens had an intimate and loving relationship with the materials that had made it great. Concrete, steel, wood, glass, plastics, and electronics were not distant alien mysteries to the people of that time.
The agents of change that would turn the US from a manufacturing goliath, to servile service society were no longer lurking in the background. Trading on fear of the old, the corruption it implies, and the gloss of the new, tin men had been wrapping America's architectural heritage in a thin veneer of a shiny new coating for years. Levittowns and their suburban cul-de-sac successors were being sold as an antidote to the mass communicated riot of urban living. The cities were being left to die, suburbia was being helped to grow, and houses in those places were available on credit. The rail bed was experiencing its final death knell as its former riders were individuated into the convenience of personal transportation, that because of easy credit, planned obsolescence, and the social pressure fashion brought to bear, could be replaced with something new every three years. Inside the house, food was being prepared on laminates made from paper saturated with glue, draped over formaldehyde spewing particleboard made from industrial waste wood and glue. Makers would become consumers; credit and malls would replace cash and factories. And man-caves became carpeted spas fit for preening, but not for making.
People lost their connection with the material world having been sold a sales pitch that told of the perfection of prophylactic veneers. And what was once a sales pitch became religion.
'New' now trumped 'real'. Rather than tell a story of that fitted life's passage with grace and accuracy; the stuff of the world was now to be rated, and sold, on its ability to retain the gloss of the new. This was the defining quality of a quality object.
What you want… is only on the label
But gloss tells no story. It traps those seduced by its siren's glare into an interminable present. Every moment is as shiny and new as the next. Obscured is the perspective needed to function in a living world. It makes those who behold it, and welcome it, chum ready for consumption: consumers who pay for their own place upon the dinner plate. There is no story here. Newness is the end of story.
The history of humanity is a story. Concrete, steel, wood, glass, and all those things we work with our hands are part of that story. And stories are more valuable than any disconnected momentary reflection. The material world may be transient, but that should not mean that the surfaces that caress us should be so slick as to leave no memory as we slide by them on the path life has taken us.
Concrete is an honest material. When it is made well, an honest process makes it. It has flaws to be sure. But the flaws are the source of the solutions that work best. And sealers that work with concrete should be considered as part of the material itself. The blind desires of the market led me astray, and I forgot the needs of my material, for the breathless need to surf on the promise of perfection. But I made my bed on a thorny mattress. Concrete does not forgive such transgressions. Concrete wants to be concrete, and live with concrete people.
Glossy new car vs. curing concrete. Advantage concrete.
Who would want copper gutters that lack patina, or cedar shingles that are prevented from taking on the silver sheen of age, or beer without a frothy head? Concrete will age, and if treated well will age with the grace the humans who live with it confer upon it. Its history should be part of theirs.
It occurs to me that an ideal parable would be the story of the emperor's new clothes, but in reverse. As he walked down the street swaddled by nothing but his imagination of splendor, he was at that moment presenting himself in his truest form. The leap that needs to be made is the one that closes the gap between the illusion of costume, and the projection of confidence that is alone, sufficient to clothe and identify whom we are, what we're making, and how we touch the world.
The Emperor, clothed in his skin.
aestheticscementconcreteconcrete cartelconcrete countertopsconcrete historyconcrete sinksdesigner concretedomestic furnishingshuman handsstinky cheese
May 23, 2013 karmody	2 Comments
As I cross the threshold into my fiftieth year, I find the need to take stock of the world I came to live in, and the times that made me. I was born in 1963, nearly eighteen years after cessation of hostilities of the Second World War. It was a time when once former allies who together had defeated Hitler, Mussolini, and Tojo, were themselves at each other's throats. It was their turn now to bring the world to the edge of extinction with even more soaring iconology than the fascists could ever produce, and technologies that could assure the promise of their predictions. The Cold War, as it came to be known, was made even more engaging by the illusion of instant communication, allowing the potential spectacle of instantaneous destruction to be expansively and expensively delivered into the psyche of every member of the evolved societies, whose governments and major institutions were each perpetrating their own dystopian vision of the other, measured against the domestic empire's ideological dream.
This was an exciting time. History has always been a parade, but never before had a stadium been so well created that a totality of audience could be reached. And as theater, the show was anything but dystopian.
Architecture and technology had refined to the point that materials could be made to make a political point all of its own. The concrete used for the Berlin Wall became a star in its own right as a touchstone for geopolitical tension. And using the corpse of Nazi Germany's capital was the perfect place to plant such a material monument to gain the attention of the global audience. Nazi Germany after all, had been no slouch in using concrete in the service of the multifarious ways of statecraft.
East German workers begin the construction of the Berlin Wall
So too was concrete used to harden the missile silos used capture the imagination and awe of anybody who cared to think about them. Hardened concrete was used to protect the vision of how the skies could turn against us. The soaring skies above were now to be billboards too. For the achievements capable by competing ideologies, combined with a none too subtle reminder of how near the end might be, needed to be as close as the air we breathe, and as distant as the sky that shelters us. The nightmare was thus wrapped in a dream.
Hardened concrete at the maw of a Titan 2 missile silo.
Concrete also became the foundation, structure, and face of the renovated skylines, and brand new metropolises on each side of the so-called 'Iron Curtain'. Architecture soared on the back of this very plastic material, just as state security in its turn, used the same concrete as the visceral image of a safety blanket that spoke volumes about how unsafe the world they proposed actually was.
For either, and indeed both visions to become true, whole new technologies and concomitant materials had to be developed. Concrete was only one of these material meditations. Indeed the same technologies that brought us all the vision of the oasis of life our Earth is, also helped us realize the methodology of our own removal. The good Earth's willingness to sustain us would not stand, should we be willing and eager to kill ourselves for political principle. And that was the logic used to inspire us to work towards the correct ideological ends. Anything was possible, unless we killed ourselves; but if we did, it would be total, and in a blaze of glory.
Far from being a time of pessimisms, this was a time of great deeds. The greatest of political powers in the world, having forgone the combined human, emotional, material, and financial costs of actual war, had turned the energies of their respective populations to theatrically demonstrate the material manifestations of their ideological prognostications. They needed their optimism as much as they demanded their obedience. And great progress was made in almost all fields of human endeavor. Mercantile colonialism's yoke had been thrown off in many parts of the world, and the former colonies began to gather themselves together to forge a newly possible national identity and global prowess, even if in so doing they were casting their national experience into Colonialism's ideological successor's notion of 'Spheres of Influence'.
All around the world women were becoming more and more equal participants of the societies they lived in. People were living longer, and there were far more of us. Agricultural systems that only a few generations earlier could barely sustain a billion people were robust enough to handle the nutritional need of more than three times that amount when I was born, and were seemingly well set to handle even more. And this was happening all over the world, regardless of ideological stripe.
I arrived in the United States in 1970. The Vietnam War was in full swing, but the US was still writing its mythology in future tense. Captain Kirk was as real a vision of this country as the mythologized exploits of the Revolutionary forefathers.
Captain Kirk, once a very real part of America's Destiny
Everywhere I looked, things were being invented. Virtually every house that had sufficient extra space had a workshop of often surprising sophistication as part of its compliment of resources, whether it was basement, attic, or garage. People were making things. Back then, the building of a modern and capable society required it.
This state of affairs continued until the late eighties, when the cost of the theatrical performance outstripped the Soviet Union's ability to continue to be a part. The Berlin wall fell, the Soviet Union collapsed. China adopted a free market system, former ideological client states were allowed to founder, and the United States declared itself the 'One Remaining Superpower'. An era of prosperity was supposed to have been launched. But that is not what happened.
In a sense global capitalism had won the day. It had been most efficient in exciting the desires of a worldwide audience, and delivering material manifestations of those desires to those in societies who could afford them. Global communism, for reasons often of national cultural incompatibilities and egos, could not compete, could not be as mercurial as the unfettered movement of capital, which required no real national or cultural alliance. Which is unfortunate, because while the competition continued, certain things were held in check on both sides of the ideological wall; things that global capitalism does not require to the same degree that directly competing internationalist ideological systems do. One of these was the constant attention to the maintenance and upgrade of infrastructure. The other was a keen governmental attention to maintaining the spirit of their peoples. Global capitalism simply requires a system that will enable the infrastructural and social requirement that sales be made.
So what does this have to do with materials like steel, concrete, and wood? It has to do with the hands of the maker, and the senses of the individuals who can appreciate the concrete exigencies of the making. And the need to maintain these abilities in the person of a human being in the face of the inevitability of ever greater mechanical manufacturing capabilities. It has to do with a resistance to making the things that surround us mere commodities. I have at times made my living making concrete countertops. Real materials can function in many ways. Concrete is a real material. That it can also be a countertop; a shelf for all the stuff that keep you alive and comfortable, is immaterial. That a market can compare it to other surfaces, is more about the market than the material. After the sale is complete, the material will remain. The material is what will reflect our touch, and not the sales job that got the sale. It is within our concrete engagement with a material that a relationship is made. We must carefully choose how we make decisions that have the consequence of leading to a relationship. Even if it is only about a countertop.
We are at an important point in our history. We as a society have discovered that we as a society can make just about anything. And we discover this at a time when most individuals in the 'developed' world have ceded their personal ability to make things to the infrastructure of industrial combines who too often farm the making of things to hands in the 'undeveloped' world. Products too expensive for those hands to ever buy, are sold to us at a price that we could never afford to make them for, even if we remembered how things were made, and how our hands were used.
Designed in California, made in China
We were not born to inhabit a market strategy. We were born to a world and made of the stuff of that world. Materials matter. And we need the honesty of the hands that craft material objects to matter too.
Artists and artisans are valuable to the feel of our culture at a macro level regardless of the media combines that brought them to our global attention. Artists and artisans are critical to the places and ways we live on a local level. The nature of a safe and supportive place does not really need the former. But it requires the latter.
Broadly prosperous peoples have always had a wide and open interplay with those that parse their aesthetics, and convert materials to useful objects. Empires are often built on focusing attention away from local values, by co-opting the local need for art and materials into the aesthetics of the controlling establishment. This can be beneficial at times. Think of clean water delivery, communication services, transportation infrastructure, a codified legal and financial system, as well as a language that allow large amounts of people to understand each other.
But it also can often harm the close places we need to build our homes and communities. Small towns' centers shrivel when big box stores park themselves just outside them. When Nike comes to town, a small self-sufficient fishing village in Indonesia loses those things that used to make it alive, in exchange for sweatshop conditions and unattainable dreams. When IKEA becomes their neighbor, what happens to the generational furniture maker?
In our world, things made next-door cost far more money than things made half a world away. But if you think about it, is that so strange? Home is valuable. To have a home, one must have a place. That place must be protected, and cared for, and shared.
To do this each of us need to invest in the whole notion of place itself, its durability and survivability. Just because a lawyer makes more money than the concrete artisan, or the woodworker, or the blacksmith, or the farmer, does not mean a lawyer is more important to the health of the local community. The pay scale of the attorney does reflect their value to the larger society, and how it sees and constructs itself, but those constructs will never be able to complete a home without the local hands and specialized knowledge to build it.
Concrete home by Atelier Zhanglei; designed in China, made in China.
In order to keep ourselves active in building the society we live in, we need our neighbors. Because sharing the warmth of their presence, we confirm that we have a home. We need access to the cultural machinery that only close and voluntary cooperation can provide. We need our hands, because they are similar in size as our face, and most of us have two of them… and they allow the mind behind the face to make things that only that mind could. And it is with the hand-in-hand collaboration of others, where the capability to inspire and make new possibility is built. We need each other. And we should want to need each other too.
I want to know that humanity will survive its journey into the stars. And I want to help get us there. Amongst other things I make concrete. Concrete is a human meditation balanced between the extant possibilities of our mineral environment, our ability to see those possibilities, and our ability to manipulate these elements into a fertile condition, making real something that has never been made before. We will need to be inside this 'concrete' meditation to survive on Mars, and elsewhere in the cosmos. But we will not get there unless more of us invest our interests into that vision here at home, on Earth.
August 2, 2012 karmody	1 Comment
It's a new day, full of concrete, and art, and beer and thoughts. Some things have substance, but lack meaning, Others have meaning, but lack substance. But here we will try to intermingle both, and do so with clarity, focus, and a sense of humility.
Come join us as we explore the special ways concrete, art, beer, and the discussion that goes with these elementals, can be existentially transformative.

redpajama_set_name: RedPajamaCommonCrawl


text:
Early menarche and ischemic stroke risk among postmenopausal women
Yi Chen Hsieh, Lee Ching Hwang, Fang I. Hsieh, Li Ming Lien, Huey Juan Lin, Chaur Jong Hu, Hung Pin Tseng, Chyi Huey Bai, Hung Yi Chiou
The Ph.D. Program for Neural Regenerative Medicine
Ph.D Program in Biotechnology Research and Development
Cochrane Taiwan
Graduate Institute of Clinical Medicine
TMU Neuroscience Research Center - Vascular Dementia
Center for Cell Therapy and Regeneration Medicine
Background: Results from previous studies regarding relationships between age at menarche and cardiovascular disease remain controversial. This study investigated the association between endogenous estrogen exposure and ischemic stroke risk. Methods: A total of 189 ischemic stroke patients and 192 age-matched healthy postmenopausal women were recruited. Age at menarche and menopause and risk factors of ischemic stroke were recorded through structured questionnaires by well-trained research assistants. Lifetime estrogen exposure was calculated as the number of years between age of menarche and menopause. Results: Study subjects with a history of hypertension and diabetes mellitus have a 2.8- and 6.2-fold increased risk for ischemic stroke, respectively. In addition, study subjects with waist circumferences ≥80 cm also have a 2.6-fold increased risk of ischemic stroke. Conversely, subjects who experienced menarche at an early age may have a significantly decreased risk of 0.3-fold for ischemic stroke. Moreover, there was a significant and joint protective effect for study subjects without any risk factors of ischemic stroke, including a history of hypertension and diabetes mellitus, late age at menarche, and shorter lifetime estrogen exposure; these subjects were found to have the lowest risk (0.03-fold) for the development of ischemic stroke. Conclusion: Our study provides strong evidence that a significant joint protective effect was observed for patients who undergo early menarche, have longer estrogen exposure and no history of hypertension or diabetes mellitus on the risk of ischemic stroke.
International Journal of Gerontology
Hsieh, Y. C., Hwang, L. C., Hsieh, F. I., Lien, L. M., Lin, H. J., Hu, C. J., ... Chiou, H. Y. (2010). Early menarche and ischemic stroke risk among postmenopausal women. International Journal of Gerontology, 4(1), 16-22. https://doi.org/10.1016/S1873-9598(10)70017-X
Early menarche and ischemic stroke risk among postmenopausal women. / Hsieh, Yi Chen; Hwang, Lee Ching; Hsieh, Fang I.; Lien, Li Ming; Lin, Huey Juan; Hu, Chaur Jong; Tseng, Hung Pin; Bai, Chyi Huey; Chiou, Hung Yi.
In: International Journal of Gerontology, Vol. 4, No. 1, 03.2010, p. 16-22.
Hsieh, YC, Hwang, LC, Hsieh, FI, Lien, LM, Lin, HJ, Hu, CJ, Tseng, HP, Bai, CH & Chiou, HY 2010, 'Early menarche and ischemic stroke risk among postmenopausal women', International Journal of Gerontology, vol. 4, no. 1, pp. 16-22. https://doi.org/10.1016/S1873-9598(10)70017-X
Hsieh YC, Hwang LC, Hsieh FI, Lien LM, Lin HJ, Hu CJ et al. Early menarche and ischemic stroke risk among postmenopausal women. International Journal of Gerontology. 2010 Mar;4(1):16-22. https://doi.org/10.1016/S1873-9598(10)70017-X
Hsieh, Yi Chen ; Hwang, Lee Ching ; Hsieh, Fang I. ; Lien, Li Ming ; Lin, Huey Juan ; Hu, Chaur Jong ; Tseng, Hung Pin ; Bai, Chyi Huey ; Chiou, Hung Yi. / Early menarche and ischemic stroke risk among postmenopausal women. In: International Journal of Gerontology. 2010 ; Vol. 4, No. 1. pp. 16-22.
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title = "Early menarche and ischemic stroke risk among postmenopausal women",
abstract = "Background: Results from previous studies regarding relationships between age at menarche and cardiovascular disease remain controversial. This study investigated the association between endogenous estrogen exposure and ischemic stroke risk. Methods: A total of 189 ischemic stroke patients and 192 age-matched healthy postmenopausal women were recruited. Age at menarche and menopause and risk factors of ischemic stroke were recorded through structured questionnaires by well-trained research assistants. Lifetime estrogen exposure was calculated as the number of years between age of menarche and menopause. Results: Study subjects with a history of hypertension and diabetes mellitus have a 2.8- and 6.2-fold increased risk for ischemic stroke, respectively. In addition, study subjects with waist circumferences ≥80 cm also have a 2.6-fold increased risk of ischemic stroke. Conversely, subjects who experienced menarche at an early age may have a significantly decreased risk of 0.3-fold for ischemic stroke. Moreover, there was a significant and joint protective effect for study subjects without any risk factors of ischemic stroke, including a history of hypertension and diabetes mellitus, late age at menarche, and shorter lifetime estrogen exposure; these subjects were found to have the lowest risk (0.03-fold) for the development of ischemic stroke. Conclusion: Our study provides strong evidence that a significant joint protective effect was observed for patients who undergo early menarche, have longer estrogen exposure and no history of hypertension or diabetes mellitus on the risk of ischemic stroke.",
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AU - Hsieh, Yi Chen
AU - Hwang, Lee Ching
AU - Hsieh, Fang I.
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AU - Hu, Chaur Jong
AU - Tseng, Hung Pin
AU - Bai, Chyi Huey
AU - Chiou, Hung Yi
N2 - Background: Results from previous studies regarding relationships between age at menarche and cardiovascular disease remain controversial. This study investigated the association between endogenous estrogen exposure and ischemic stroke risk. Methods: A total of 189 ischemic stroke patients and 192 age-matched healthy postmenopausal women were recruited. Age at menarche and menopause and risk factors of ischemic stroke were recorded through structured questionnaires by well-trained research assistants. Lifetime estrogen exposure was calculated as the number of years between age of menarche and menopause. Results: Study subjects with a history of hypertension and diabetes mellitus have a 2.8- and 6.2-fold increased risk for ischemic stroke, respectively. In addition, study subjects with waist circumferences ≥80 cm also have a 2.6-fold increased risk of ischemic stroke. Conversely, subjects who experienced menarche at an early age may have a significantly decreased risk of 0.3-fold for ischemic stroke. Moreover, there was a significant and joint protective effect for study subjects without any risk factors of ischemic stroke, including a history of hypertension and diabetes mellitus, late age at menarche, and shorter lifetime estrogen exposure; these subjects were found to have the lowest risk (0.03-fold) for the development of ischemic stroke. Conclusion: Our study provides strong evidence that a significant joint protective effect was observed for patients who undergo early menarche, have longer estrogen exposure and no history of hypertension or diabetes mellitus on the risk of ischemic stroke.
AB - Background: Results from previous studies regarding relationships between age at menarche and cardiovascular disease remain controversial. This study investigated the association between endogenous estrogen exposure and ischemic stroke risk. Methods: A total of 189 ischemic stroke patients and 192 age-matched healthy postmenopausal women were recruited. Age at menarche and menopause and risk factors of ischemic stroke were recorded through structured questionnaires by well-trained research assistants. Lifetime estrogen exposure was calculated as the number of years between age of menarche and menopause. Results: Study subjects with a history of hypertension and diabetes mellitus have a 2.8- and 6.2-fold increased risk for ischemic stroke, respectively. In addition, study subjects with waist circumferences ≥80 cm also have a 2.6-fold increased risk of ischemic stroke. Conversely, subjects who experienced menarche at an early age may have a significantly decreased risk of 0.3-fold for ischemic stroke. Moreover, there was a significant and joint protective effect for study subjects without any risk factors of ischemic stroke, including a history of hypertension and diabetes mellitus, late age at menarche, and shorter lifetime estrogen exposure; these subjects were found to have the lowest risk (0.03-fold) for the development of ischemic stroke. Conclusion: Our study provides strong evidence that a significant joint protective effect was observed for patients who undergo early menarche, have longer estrogen exposure and no history of hypertension or diabetes mellitus on the risk of ischemic stroke.
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10.1016/S1873-9598(10)70017-X


The Book Garden: The Reading Files - Cozy murders are the best!
Thoughts. Think outdoor antiques show and dead antiques trader in the field nearby. A bit of an unremarkable mystery, yet the fresh and witty narrative captured me right away. Plus I think Lucy St. Elmo might just develop into one of my favorite snooping heroines.
First line. Most treasure hunts are fantasies.
Verdict. A delightful first book of a new series I can't wait to read more of!
Thoughts. Neighbor dies (of old age) leaving his mansion with a dead body in the basement. While the mystery itself was well executed I admittedly couldn't connect to the characters, the heroine herself being particularly insipid. An average book, yet not a series I plan to follow!
Random quote. "Camille informs me that I'm to furnish this room." He surveyed it with distaste. "Basically a box, isn't it? Good olding at the ceiling, but otherwise, it's architectural milk toast."
Verdict. Classic who-dunnit with a decorative twist!
Thoughts. No peaceful Christmas can be expected when people suddenly die in this Christie-esque mystery set in Britain in the early 20th century. I immediately loved the quaint atmosphere, yet it took me quite a bit to familiarize me with the whole cast. Overall a lovely cozy!
Last words spoken. Happy New Year!
Verdict. A charmingly old-fashioned read!
You go through books at such speeds, I am SUPER jealous.


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Single Review: Mark Gardener – Chained
Posted byorla_brady June 10, 2020 June 17, 2020 Posted inSingle/ Album Reviews
By Orla Brady
Since their reunion in 2014, alt-rock band RIDE have experienced a second wave of success by releasing two critically acclaimed albums and playing numerous gigs and festivals.
Prior to the reunion, lead vocalist and guitarist Mark Gardener ventured upon a solo career which led to the release of his 2005 album These Beautiful Ghosts and Universal Road, a collaborative album with Robin Guthrie, released in 2015.
The global COVID-19 crisis, and the subsequent lockdown that occurred as a result, has enforced a touring hiatus upon RIDE for several months, however this has not stopped Gardener from releasing yet another outstanding track.
Gardener has teamed up with Stéphan Haeri, otherwise known as 2SQUARE, of the French electronic duo Télépopmusik for his new single Chained. The track was recorded in Haeri's Parisian apartment and Gardener has hailed it as "up there with my favourite collaborations ever."
The track commences with irregular and ominous fragments of sound, which are joined by Gardener's crystal-clear vocals. Light percussion soon edges in alongside repeating piano chords, which adds depth and rhythm to the song.
2 minutes and 40 seconds into the track, this stream of sound is broken by a striking drum solo, which introduces the next pattern of sound – a jazz-infused reworking of what we heard prior to this solo.
As the track comes to an end, this pattern appears to travel towards a crescendo, however just as it is on the verge, we return to the minimalist sound that was present at the very beginning.
Lyrically, Gardener shares the experience of resisting damaging temptations and distractions. Twice in the track, we hear the lyrics 'And the Devil is…/High, coming round, coming around, coming down', which displays a sense of lingering fear and disturbance.
This is reflected in the music, which travels through different levels of depth, volume and intensity, yet consistently maintains a sense of mystery and unease.
FIND OUT MORE ABOUT MARK BELOW…
Facebook https://www.facebook.com/ox4sound
Twitter @MarkGardener
HAVE A LISTEN TO THE TRACK BELOW…
Bandcamp https://markgardener.bandcamp.com/track/chained
Published by orla_brady
I write things about music for The Music Files Blog and isthismusic? Always open to review new bands/artists wherever you're from and whatever you do. I also write articles for The Glasgow Guardian and The Indiependent and dabble in creative fiction writing.	View more posts
SINGLE REVIEW: Carla J Easton – Get Lost
Socially Distant Spins with Fake Lips


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this month's
Ink Pellet contains
THE BIG INTERVIEW: Beyond the Cart
Having 'retired' from running their hugely successful company, Oily Cart, Susan Elkin caught up with Tim Webb and Dave Bennett to find out what the future now holds in store.
Hamlet at Leeds Playhouse
Susan Elkin chats to Amy Leach, associate director, about the casting of a female lead and ensuring a contemporary production.
Relaxed Ballet
Birmingham Royal Ballet will be offering its second relaxed performances in early 2019 – a specially adapted production of Beauty and the Beast at the Mayflower Theatre, Southampton and Birmingham Hippodrome. Here, dancer Jonathan Payn describes his involvement in the planning of this special production. Please introduce yourself for us: I'm Jonathan Payn, First Soloist […]
Nurturing Young Talent
The Lyric Hammersmith has extended its education outreach work. Susan Elkin went along to find out more.
Proudly Different
Musical Theatre Academy, long since rebranded as TheMTA, is a tiny vocational drama college whose working methods, influence and achievements are out of all proportion to its size. Susan Elkin went to find out how.
EXHIBITION: Razzle Dazzle 'Em
Graham Hooper takes in a couple of shows looking at the art of distortion and its very practical application
Pause for thought… Christian Knowledge
Susan Elkin puts forward the case for Christian knowledge as an intrinsic part of English lessons
TheatreCraft
Susan Elkin visited TheatreCraft 2018, offering great advice to students looking for careers in the creative industries.
Book Review: Being a Playwright – A Career Guide for Writers
By Chris Foxon & George Turvey Published by Nick Hern Books Iwas delighted when this how-to book landed on my desk. I'm a writer (over 100,000 words a year). I go to the theatre to review several times a week. I've long thought I should somehow knit the strands of my life together and write […]
THEATRE REVIEW : Macbeth – National Youth Theatre 2018 Rep Company
The National Youth Theatre Rep Company is a vocational training group of 15 or 16 actors aged 18-25 who present a West End season at the end of their quasi-course. It's the top tier of NYT's work. Most participants go straight on to professional work. Abridged to 90 interval-less minutes by Moira Buffini and pithily […]
This Christmas, Sally Cookson will be adapting The Lion, the Witch and the Wardrobe at the West Yorkshire Playhouse. Mark Glover spoke to the innovative director to discuss nostalgia, story-telling and the pressures of re-working such a classic book.
Few stories have captured the imagination like CS Lewis' The Lion the Witch and the Wardrobe; four war-time children – evacuees sent to the country – find themselves (via a wardrobe) in a snowy, magical world inhabited by mythical beasts, talking lions and evil witches. It's a tale recognised by children and adults alike and continues to resonate some 70 years since it was first published.
Lewis wrote the book in 1950, the first instalment of seven parts that make up the Chronicles of Narnia. The final story, The Last Battle, came out in 1956 and cemented the series as a classic not just of children's literature but literature generally.
As a young boy the Irish-born Lewis was fascinated by nature. He read the Beatrix Potter books enchanted by her world of talking animals. He also absorbed Greek literature and mythology and developed a passion for the Icelandic Sagas; epic, snow-laden tales of the country's earliest settlers, perhaps influencing the frozen landscapes of Narnia.
"I think CS Lewis was a massive fairy tale fan," says Sally Cookson, who is adapting the book for the West Yorkshire Playhouse this Christmas. "He saw the importance of fantasy and fairy tale stories to lift us out of our ordinary lives and see the wonder that can trigger our imagination. To me, this is a massively important part of why this, The Lion the Witch and the Wardrobe is so special."
Like Lewis, Sally has a genuine intrigue and wonder about the possibilities of all things fantastical; magic, mystical worlds and fairy tales; its ability to transport a reader or audience to somewhere completely different. She is the obvious person to take on this rather daunting adaptation and those that know Sally's work will be rubbing their hands together in anticipation of her latest project.
The director, who founded the Bristol Old Vic's youth theatre, has a skill in transforming classic family shows; creating bold, eye-opening adaptations that challenge the audience ever so slightly, while retaining the charm and nostalgia of the original. In 2016, her version of Peter Pan at the National Theatre London had Wendy not Peter as the main protagonist and her 2015 gender-swapping version of Sleeping Beauty had a prince being rescued by a princess.
When I probe her for what surprises she might have in store for this project she's not giving too much away, but assures me that those watching will have an important part to play. "I'm working very hard to make sure that the audience feel part of it. We've got a couple of moments that rely on the audience very heavily." she teases.
Audience immersion will be aided by a significant change to the West Yorkshire Playhouse's famous quarry theatre where it will be transformed into an 'in-the-round' stage – the first time in its 47-year history. "What that immediately does is that it wraps the audience in the space," Sally explains. "It feels as if everybody is holding hands together and holding the story in their arms and are in it and a part of it. To feel the audience included in the story is going to be very, very exciting. Especially, with some of the audience members, this might be their first experience of the theatre."
Sally also drafted in designer Rae Smith for the production, known for her wonderful work on the set of War Horse, another adaptation of a classic children's book. I ask Sally how the collaboration worked between herself and Rae.
"She (Rae) understands how to respond to the story and not impose anything until we all start investigating it together," Sally says. "She's the most brilliant artist. I spent a long time with her during the summer where we just met-up, usually at her house, and we'd drink lots of tea and we would talk about the story and the characters and then we'd gossip about other things, and then as we were chatting, she'd just start sketching; she'd draw these incredible pictures that just came out of the conversation and then out of these sketches, that then inspired me."
This relaxed collaboration between actors, designers and the team is an important part of Sally's creative process. During rehearsals actors are allowed to grow into the role, with gentle guidance, Sally softly encourages them to where they need to be. She cites a recent dress-up day as an example, when the actors begin to discover the characters through their costumes. "Rae brought in a load of costumes for all the characters," she says. "We had some idea of what we were going to put to them (the actors). I was very keen we didn't impose something on them until the actors got into the room. The actors or the characters put on clothes and costumes that they felt was appropriate for their character and it was so full of joy and wonder and everyone was so energised and excited."
Playfulness and excitement is another hallmark of Sally's work. A feeling of nostalgia is carried across in her plays, a safe and comforting place that perhaps our modern-day world does not really allow time for. "It makes me very sad that we still can't play like children as adults," she says. "Sadly, I feel as though we've repressed that part of our nature as we get older. It's society that tells us that being grown-up means we have to behave in a certain way. CS Lewis understood the importance of being a child all the way through your life. I hope that our version is going to tap into that.
Choosing to adapt heavyweight classics such as Peter Pan, Sleeping Beauty and The Lion the Witch and the Wardrobe carries with it a fair weight of responsibility. In the case of the latter, a favourite story of many (including this writer) there is an added pressure of making sure the adaptation does the book justice.
"A story like this, audiences come with certain expectations. For a lot of people, this will be one of their favourite stories," she says. "It's a massive challenge. We're only at the beginning of week three of rehearsals and there are iconic episodes that we have got to try and meet so as not to disappoint the audience."
It's a responsibility Sally is more than willing to bear. She is obviously passionate and cares deeply about the production but given the play's Christmas run, admits she is feeling the pressure a little bit more. "I always do, she says. "Especially at Christmas. It's often people's yearly outing to the theatre. I do feel pressure of course; massive, massive pressure – sleepless nights and all of that."
Before speaking to Sally, I had a look online to conduct some research. I came across another interview with The Guardian ahead of last year's Peter Pan production at The National, in London. In it, Sally offers her definition of the best kind of family theatre: "It has to have lots of different elements. It's got be a fantastic story. You've got to be on the edge of your seat. There's got to be an emotional heart and you've got to care. The best stories remind us what it is to be human." I read the quote back to her at the beginning of our chat and ask her if The Lion, the Witch and the Wardrobe will tick all those boxes? Her one-word answer is resounding: "Absolutely", she affirms.
It's the final sentence in Sally's quote to the newspaper that catches my attention; "The best stories remind us what it is to be human." It's a great statement and amidst talking lions and evil witches and other fantastical beasts this adaptation, I'm sure, will leave the audience – young and old – feeling very much alive.
The Lion the Witch and the Wardrobe runs from 29 November to 21 January at the West Yorkshire Playhouse, Leeds. www.wyp.org.uk
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Film showing the Bayshore Amusement Park in its heyday, preserved by the Maryland Historical Society with NFPF support.
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Production Co.: Edison Mfg. Co. Director: W.K.L. Dickson. Photographer: William Heise. Transfer Note: Copied at 18 frames per second from a 35mm print preserved by the Academy Film Archive, Academy of Motion Picture Arts and Sciences. New Music: Martin Marks. Running Time: 30 seconds.
Production Co.: Edison Mfg. Co. Director: W.K.L. Dickson. Photographer: William Heise. Transfer Note: Copied at 24 frames per second from a 35mm print preserved by the Academy Film Archive, Academy of Motion Picture Arts and Sciences. New Music: Martin Marks. Running Time: 25 seconds.
Machines to project films onto screens were invented almost simultaneously in 1895 in France, Germany, England, and the United States. But during the previous year the new phenomenon of moving images was available exclusively through Edison's "kinetoscope," the individual viewing machine first demonstrated publicly in 1893 with Blacksmithing Scene. On Saturday, April 14, 1894, the first kinetoscope parlor opened in New York City. Twenty-five cents bought a look into five machines, each showing a film that ran less than a minute. For fifty cents, you could view all ten machines. On the first day of business, the parlor took in about $120, without advertising. The movie business had begun.
Thomas Edison had originally hoped to combine kinetoscope machines with phonographs, so that customers could hear recorded music while watching the films. In fact, only a few such synchronized machines were made. But when kinetoscopes gave way to projected motion pictures, most of the early exhibitions took place in vaudeville theaters. In such venues the acts were routinely accompanied by live music in popular styles (songs, dances, marches, etc.), just as were performances in circuses and the like. These traditions formed the basis for what I played here.
Both films came to the Academy Film Archive through the generosity of Ray Phillips, who has built (or rebuilt) kinetoscope machines for museums around the world and is author of Edison's Kinetoscope and Its Films (Greenwood Press, 1997). Caicedo, King of the Slack Wire was copied from a print saved by the Archives du film at Bois d'Arcy, France.
For an overview of the earliest American cinema, see Charles Musser, The Emergence of Cinema: The American Screen to 1907 (University of California Press, 1990).


You will be thrilled with these cycling gloves. The palm is designed to fit around the handlebars to help alleviate numbness and to better absorb road shock.
They are made from high quality goatskin leather in natural color that will not fade color. The palm of the gloves are padded and double layer. The back of the glove is crochet in pure cotton open-back crochet is cool and comfortable. The closure is Velcro.
These gloves become a natural part of your bike rides. The high quality leather can help you wipe obstacles from your tire or pad the palms from small pebbles if you should happen to accidentally touch the pavement at high speed...oops.
Cotton thumb for dabbing beads of sweat away from eyes.
I'm 5'6" 155; ordered Large according to the size chart but gloves way too small. I'm going to return & see if XL fits me better.
4 rating rather than 5 because of only using the gloves once.
This type of cycling glove has always been my favorite, as they are lightweight and allow abundant ventilation to the tops of the hands when riding. The only improvement that could be made to the gloves is a bit more padding under the leather palms. The brand of crochet gloves I used to by had heavily padded palms, but regrettably they are no longer manufactured. It will be interesting to see how this brand of gloves will last before the begin wearing out.
Ordered these not for cycling, but for driving gloves. They have the padding where needed at just the right thickness.
I have a pair of gloves similar to these that I have loved wearing for cycling, but after 25 years they have finally started to fall apart. I looked everywhere for a similar pair and these are the only ones I could find. They look great and fit well, but after less that 3 weeks the mesh at the thumb is already unraveling. Too bad. They're inexpensive, but I'd rather pay a few dollars more for a quality product.
gloves fit perfectly, wanted the retro look and that's exactly what these are. Easy to wash and dry quickly, good amount of padding in the palm. definitely recommend if you are looking for a cool pair of retro gloves for the warmer months.
These gloves are very well padded and solved my hand numbness problem on rides over 25 miles. You need these gloves!
I like the feel of these gloves - the hands feel comfortable (breath through the crochet top). Natural leather makes them even more comfortable. They look a little big on my hands - but i deliberately bought larger size because I have big palms. Good value for the price.
Very good breathability with these, but the leather on the palm is a bit thick/stiff for cyclists. Maybe it will soften with time, but after several uses including 3 hour rides, the palm is not my favorite. I like the light color though.
gloves are super! description was lacking with 'sister pair' of gel gloves with padding....the leather biking glove seems to have the same feel and thickness as its gel sister.
I bought both pairs, and would urge marketing to rate the thickness of each separately and publish it into the catalog description.
The size is not quite true for me as it's a bit big around the thumb and my concern is that I'll get a blister but I've not worn them a great deal just yet. The palm is quite comfortable and that was what I was looking for. I have dupytren's contractures on my left hand making it painful for me to ride my bike and I believe the gloves will work perfectly for that.
My old gloves wore out, but these Aerotech gloves are built to last. The sizing chart worked for me, and the leather palms are comfortable and durable.
Works fine, keeps hands cooler than plastic modern gloves in my opinion.
I had a pair of these gloves many years ago and wore them out. Now that I am riding again I searched and found them. These gloves are the best things for hand comfort while riding. I recommend them especially if your hands get fatigued or sore from your handlebars. Plus, they look good.
Very pleased with the gloves, good quality, and a quick delivery.
These are my first cycling gloves, so I don't have anything to compare to; however, they fit well and feel good. I can definitely tell a difference on long rides. They are great for summer because of the crocheting that allows breathing. They stretch out a little bit, but once they are washed and/or the sweat dries (ugh), they are back to normal.
I ride a velomobile and a recumbent trike so I need gloves primarily to improve grip shifting and steering control when my hands get sweaty riding in hot weather; I do not need a lot of padding. These non-gel gloves are perfect. The leather is very supple with enough padding to be comfortable without binding. Also the leather does not contain a lot of dye like some other gloves I have owned.
I purchased these to replace my old pigskin gloves and couldn't be more pleased. The goatskin is so much softer no need to break them in. I have been wearing them without any problems and will be sorry to put them away once the cold weather arrives.
Use this model for mountain biking to keep grip surface size manageable. It also gives better feedback from the bars as the padding isn't so thick or squirmy like gel. I like to avoid synthetic materials and these have very little synthetics in them just the piping around edges. I would give them 6 stars if possible!
I actually use these as work gloves for working with portable fence on my farm. They fit the bill for comfort and durability, and the padding helps prevent aggravation of my wrist pain when gripping (and afterwards). I could see cycling in them all day, though I haven't tried.
I was exactly between a large and medium size according to the website. Glad I went with the medium, fits perfectly. Also the leather will most likely stretch over time so smaller is better.
Use this model for mountain biking to keep grip surface size manageable. It also gives better feedback from the bars as the padding isn't so thick or squirmy like gel. I like to avoid synthetic materials and these have very little synthetics in them, just the piping around edges. I would give them 6 stars if possible!
I bike twice a week 15 to 25 miles. The gloves work great. I had to return for one size larger. Easy replacement policy. No fuss.
Very well made and light weight!
I bought these for my girlfriend because she wanted a light weight breathable riding glove for recreational use. She looked everywhere but without success until we found these. We just got them so we don't have much experience but she likes them so far.
I bought these for mountain biking and realized they'd be fine for road biking too. I get lots of comments from riders who know what they are and I've already recommended Aero Tech to friends. Thanks for the look!
My husband and I are so pleased to be able to buy these gloves like we wore years ago. These are improved from the first version we bought from Aerotech better cut and better fit. We prefer these gloves for our mild weather road rides and commutes. I'm ordering another set for us and we give them to friends as gifts too!
excellent delivery time, performs as advertised. even at 25degrees, collects A LOT of sweat on the inside with ONE ShortSleeve layer underneath (even unzipped all the way with single short sleeve layer at 25degrees, arms are soaking wet after 10miles). havent tried it at below 25. ONLY "TALL" SIZE WATERPROOF CYCLING JACKET ANYWHERE.


I had lost a friend some time back, but I am glad that I have got the relationship back. I know this sounds strange, but I am talking about meditation. Many seem to associate meditation with religion.
His father, Victor Avilov, was a celebrated mathematician, whose books were an obligatory text in the entire USSR. He could have been one too. But it didn't turn out that way.
A sucker is born every minute," said Barnum, the 19th century showman. I saw enough of that when I lived in India and, on the recommendation of well-meaning friends, met revered gurus who quickly proved purveyors of snake oil.


Home Buzz Entertainment Who Are the Femina Miss India 2018 Northeast Winners?
Who Are the Femina Miss India 2018 Northeast Winners?
It is no secret that Northeast is home to beautiful, strong and motivated women. They have repeatedly proved themselves in various fields including modelling. Every year, women from the Northeast make their mark in beauty pageants held across the country and the globe. Most recently, North East regional auditions of Fbb COLORS TV Femina Miss India 2018 was held in Guwahati.
Seven young women were selected to represent the region in the grand finale.
The Tripura title was left vacant and it has been said that there will be re-auditions to select a beauty queen to represent Tripura.


Baby Boy. Actually you can find out from your physical changes since the beginning of pregnancy, I know this after read from Goodhousekeeping. From now, try consider the notice of change, then test whether infant was a baby girl or boy.... At baby number four, we have yet to find out the gender before birth. Ultrasounds put a too-solid "date" on the calendar, and I like my freedom to go to or past 42 weeks.
When parents hear the good news for the first time, it marks the beginning of an exciting chapter in their life. And with this, a lot of speculations start, mostly revolving around the gender of the baby. Of course, doctors can let the parents know about the baby's gender with the help of an ultrasound.
At baby number four, we have yet to find out the gender before birth. Ultrasounds put a too-solid "date" on the calendar, and I like my freedom to go to or past 42 weeks.


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Mini-Dakota is a swing top pattern for 18" dolls with three sleeve options. Make it sleeveless for the Summer months or with sleeves for the cooler months. Use your favorite designer cottons or knits for a casual look, or dress it up with fancier fabrics. The bonus Mini-Sophie pants or Bermuda shorts complete the set.
Mini Dakota PDF Pattern has been added successfully to your wishlist.
Mini-Dakota is a swing top pattern for 18" dolls with three sleeve options. Make it sleeveless for the Summer months or with sleeves for the cooler months. Use your favorite designer cottons or knits for a casual look, or dress it up with fancier fabrics. The bonus Mini-Sophie pants or Bermuda shorts complete the set. See our matching girl-sized Dakota pattern (sold separately or as a bundle) for a "Just Like Me" look.
SUGGESTED FABRICS: Can be made in woven fabrics (e.g. quilting cotton, shirting, voile, gauze, lawn, linen, or muslin) or with knits (e.g. jersey, interlock, or stretch velvet).
NOTE: If sewing your Mini-Dakota Top from the same fabric, you can fit all pieces, including the lining, in 1/3 yard (or 12").
NOTE: This is a downloadable PDF pattern, NOT A PAPER PATTERN. Your pattern can be opened with Adobe Reader and will print on standard letter-size paper (8.5" x 11"). There are 17 pages total in this document, including full-size, computer-drafted pattern pieces.


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Last weekend, The Macdonald Notebook took a call from Brian Mulroney, who was at his Florida seasonal home in warm Palm Beach.
Brian Mulroney with St. FX students Margaret Elliotte, left, and Emma Lotte.
Photo by Brendan Ahern/ Macdonald Notebook.


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Gawk/Computer-Arithmetic
Next: Math Definitions, Up: Arbitrary Precision Arithmetic [Contents][Index]
16.1 A General Description of Computer Arithmetic
Until now, we have worked with data as either numbers or strings. Ultimately, however, computers represent everything in terms of binary digits, or bits. A decimal digit can take on any of 10 values: zero through nine. A binary digit can take on any of two values, zero or one. Using binary, computers (and computer software) can represent and manipulate numerical and character data. In general, the more bits you can use to represent a particular thing, the greater the range of possible values it can take on.
Modern computers support at least two, and often more, ways to do arithmetic. Each kind of arithmetic uses a different representation (organization of the bits) for the numbers. The kinds of arithmetic that interest us are:
Decimal arithmetic
This is the kind of arithmetic you learned in elementary school, using paper and pencil (and/or a calculator). In theory, numbers can have an arbitrary number of digits on either side (or both sides) of the decimal point, and the results of a computation are always exact.
Some modern systems can do decimal arithmetic in hardware, but usually you need a special software library to provide access to these instructions. There are also libraries that do decimal arithmetic entirely in software.
Despite the fact that some users expect gawk to be performing decimal arithmetic,98 it does not do so.
Integer arithmetic
In school, integer values were referred to as "whole" numbers—that is, numbers without any fractional part, such as 1, 42, or -17. The advantage to integer numbers is that they represent values exactly. The disadvantage is that their range is limited.
In computers, integer values come in two flavors: signed and unsigned. Signed values may be negative or positive, whereas unsigned values are always greater than or equal to zero.
In computer systems, integer arithmetic is exact, but the possible range of values is limited. Integer arithmetic is generally faster than floating-point arithmetic.
Floating-point arithmetic
Floating-point numbers represent what were called in school "real" numbers (i.e., those that have a fractional part, such as 3.1415927). The advantage to floating-point numbers is that they can represent a much larger range of values than can integers. The disadvantage is that there are numbers that they cannot represent exactly.
Modern systems support floating-point arithmetic in hardware, with a limited range of values. There are software libraries that allow the use of arbitrary-precision floating-point calculations.
POSIX awk uses double-precision floating-point numbers, which can hold more digits than single-precision floating-point numbers. gawk has facilities for performing arbitrary-precision floating-point arithmetic, which we describe in more detail shortly.
Computers work with integer and floating-point values of different ranges. Integer values are usually either 32 or 64 bits in size. Single-precision floating-point values occupy 32 bits, whereas double-precision floating-point values occupy 64 bits. (Quadruple-precision floating point values also exist. They occupy 128 bits, but such numbers are not available in awk.) Floating-point values are always signed. The possible ranges of values are shown in Table 16.1 and Table 16.2.
Minimum value
Maximum value
32-bit signed integer -2,147,483,648 2,147,483,647
32-bit unsigned integer 0 4,294,967,295
64-bit signed integer -9,223,372,036,854,775,808 9,223,372,036,854,775,807
64-bit unsigned integer 0 18,446,744,073,709,551,615
Table 16.1: Value ranges for integer representations
Minimum positive nonzero value
Minimum finite value
Maximum finite value
Single-precision floating-point 1.175494*10-38 -3.402823*1038 3.402823*1038
Double-precision floating-point 2.225074*10-308 -1.797693*10308 1.797693*10308
Quadruple-precision floating-point 3.362103*10-4932 -1.189731*104932 1.189731*104932
Table 16.2: Approximate value ranges for floating-point number representations
We don't know why they expect this, but they do.
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Cooking cabbage dishes such as corned beef and cabbage or cabbage with pork and potatoes were recipes learned from my mother. However, after living in Switzerland for a few years and traveling through the Alsace-Lorraine region to visit good friends in Strasbourg, there are new associations for cabbage recipes. Driving past field after field of cabbages was an unexpected part of the journey that required my French friends to help me make the connection to an area renowned for the best sauerkraut and classic cabbage, pork, sausage & potato dishes. I decided to try a cabbage and fennel combination and believe they complement each other, both hot and cold. The juniper berries are an addition to the recipe that I learned (after many years of cooking this recipe)adds a special flavor to the cabbage.


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Ethernet cabling is incredibly good, but one inevitable consequence of physics is that signals sent through copper degrade with distance. Fiber optic cables, which work through light signals, have a much greater reach, on top of being faster. So if you want to convert your IP security camera video feed into a fiber signal, you need a media converter.


Scottsville - Saturday, January 26, 2019 at age 80. Survived by his loving wife of 56 years, Linda; children, Mark (Lori) and June White (Marshall) Storti; grandchildren, Rebekah, Christa, Jared and Olivia; twin brother, Richard White; sisters, Shirley Passaro and Linda Walko; brothers-in-law, William (Kathy) Nash and Robert (Barbara) Nash; several nieces and nephews. Daniel was a Scottsville Village Attorney for 28 years, a past Library Board President and a past Oatka Cemetery President.
Private Service and Interment at the convenience of the family. Donations may be made to the Scottsville Free Library or the Scottsville Fire Department.
One of the nicest guys I've ever met. Rest In Peace Dan.


text:
The story of RRD
Robotics and assistive technology
Movement analysis
Monitoring and coaching
Design, implementation and evaluation
RRD Academy
We are happy to use our expertise to help companies or organisations that struggle with questions such as: I want to implement a new technology in healthcare. How do I go about that? What are the dos and don'ts of developing a new healthcare technology? How do I obtain funding? But we are also available to help healthcare institutions that want to itemise which innovative solutions are available for their clinical needs.
Small start-ups who lack the manpower to be able to investigate this type of questions themselves or companies who lack knowledge in certain subareas can come to us for advice on a consultancy basis.
We are actively involved in relevant networks such as the Business Development Team of Kennispark Twente, Health Valley, Vitaal Twente and Vita Valley. In addition, we work intensively with both research institutes and treatment centres. Through these connections with the field, we can help you by opening doors to financers and accelerators, but also towards universities and healthcare institutions.
We will be happy to explore how we can help you during an individual meeting.
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text:
Union Makes a Difference
Father and son, share a passion for working the land and are currently changing their family's history through their participation in Odebrecht Foundation initiatives in Bahia's Southern Lowlands
Antônio Nascimento Santos and Antônio Nascimento Santos Filho have more than their last name in common. The father and son also share a love for working the land.
"Agriculture is my life; it's my business," said the 19-yearold youth. Residents of the Margarida Alves settlement, located in the municipality of Ituberá, in Bahia, these rural
producers are changing the family's history.
In 2009, Antônio Filho joined the Igrapiúna Rural Family Home (CFR-I) and, after three years, is completing his training. During this period, he had access to topics such as rural administration, soils, perennial crops, soils and the processing of animal and plantbased products, in addition to the basic concepts of cooperativism, environmental education and youth leadership. "The passage through CFR-I gave me a new perspective on life and changed my opinion with relation to agriculture and the opportunities found in the field," said the youth.
That same year, his father joined the Bahia Southern Lowlands Heart of Palm Producers' Cooperative (COOPALM) and since then has developed his own heart of palm plantation. "We plant and harvest and the cooperative sells it," he said. "We see the return from our work; we feel like we own it and we feel stronger, since we aren't alone." Union makes a difference." Like CFR-I, COOPALM is an institution tied to the Bahia Southern Lowlands Environmental Protection Area Mosaic Integrated and Sustainable Development Program (PDIS), supported by the Odebrecht Foundation.
Father and son then began to work together cultivating the heart of palm. Gradually,
the young man introduced the new planting techniques he had learned, helping to boost the family's productivity. "My father raised us on what he learned from my grandfather," he said. "Now, I'm having the opportunity to teach him lots of things. We are great partners," said the youngest of the three Santos boys, who is not the family's only producer. His older brother always worked in the field and currently owns his
own property.
Antônio Filho is following in the footsteps of his brother. With the support of COOPALM, he planted one hectare and a half of heart of palm and now cares for his own cultivation. The new rural entrepreneur also plans to join the cooperative. "I want to increase my property, and I always try to apply the knowledge I acquire at CFR-I," he said. His father also believes in this path: "I am happy to have my sons working the land," he said. "We get everything we need from the country."


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I'm always asking my family if anything sounds good for dinner, and I always get the same response, "whatever you make will be fine". Well if they only knew I get tired of the same old recipes made over and over again so any time I can spruce up a meal by adding a twist to a healthy side dish I'm all for it.
Not only is this an easy side dish it's delicious and just darn pretty! If you're looking for something extremely easy to whip up, healthy, and tastes amazingly like fresh baked apple pie…..This is it! No fancy ingredients just fresh fruits and veggies with a pinch of cinnamon. It even looks festive, like party food. I know this may sound a little strange but it's even good on oatmeal. Just add a spoonful on top and enjoy.
Dice sweet potato and apple. Add to buttered baking pan (1tsp. butter) along with cranberries. Top with 2 pads of butter. Sprinkle with cinnamon and bake at 350 covered for one hour. Sever while warm.
This recipe tastes just like fresh baked apple pie, but it's much healthier.
This sounds delicious Dawn. I'm always on the look out for tasty and healthy recipes.
Wishing you and your family a very happy holiday season.
Ooooo…sounds delicious!! I would like to make this over the upcoming holidays – maybe serve it with roast pork. I've printed it and will try to remember to come back and comment on how well it was liked.
Jen, It sounds like everyone thinks pairing it with pork is the winning combination. I'll have to try that!
Thx for sharing! I think my grandkids would love this. I'm going to try it at Christmas with some pulled pork sandwiches. Merry Christmas!
Michelle that sounds like a yummy combination!
This looks fantastic…I am going to make this as my hubby will love it…me too!!
Shirley I hope you all enjoy it.
Looks yummy, and I can't wait to sink my teeth into some. Yum!
Ivory, thank you it's a good healthy side dish.
This looks good and I have all the ingredients. But I must be missing something. When do you add the melted coconut oil?
Marlene, coat the mixture with it before baking.


The COPD Foundation is committed to serving our community, which is why we want to make sure you get the most out of COPD360social! Click on the following video tutorials to learn how to best utilize all of the features COPD360social has to offer. We will be adding new videos to our tutorial library from time to time, so check back often.


text:
/*
Utility methods for easily listening to events on another object,
and more importantly, easily unlistening from them.
*/
var ListenerMixin = FC.ListenerMixin = (function() {
	var guid = 0;
	var ListenerMixin = {

		listenerId: null,

		/*
		Given an `other` object that has on/off methods, bind the given `callback` to an event by the given name.
		The `callback` will be called with the `this` context of the object that .listenTo is being called on.
		Can be called:
			.listenTo(other, eventName, callback)
		OR
			.listenTo(other, {
				eventName1: callback1,
				eventName2: callback2
			})
		*/
		listenTo: function(other, arg, callback) {
			if (typeof arg === 'object') { // given dictionary of callbacks
				for (var eventName in arg) {
					if (arg.hasOwnProperty(eventName)) {
						this.listenTo(other, eventName, arg[eventName]);
					}
				}
			}
			else if (typeof arg === 'string') {
				other.on(
					arg + '.' + this.getListenerNamespace(), // use event namespacing to identify this object
					$.proxy(callback, this) // always use `this` context
						// the usually-undesired jQuery guid behavior doesn't matter,
						// because we always unbind via namespace
				);
			}
		},

		/*
		Causes the current object to stop listening to events on the `other` object.
		`eventName` is optional. If omitted, will stop listening to ALL events on `other`.
		*/
		stopListeningTo: function(other, eventName) {
			other.off((eventName || '') + '.' + this.getListenerNamespace());
		},

		/*
		Returns a string, unique to this object, to be used for event namespacing
		*/
		getListenerNamespace: function() {
			if (this.listenerId == null) {
				this.listenerId = guid++;
			}
			return '_listener' + this.listenerId;
		}

	};
	return ListenerMixin;
})();

redpajama_set_name: RedPajamaGithub


text:
Kentucky Derby Hope Mastery Gives Baffert Futurity Hat-Trick
December 13, 2016 by Fiona Derek
Mastery proved well-named when staking an early claim for the 2017 Kentucky Derby with an awesome display of dominance in the $300,000 Grade 1 CashCall Futurity. The red hot 1/5 favorite finished clear of toiling rivals by a record-breaking margin of seven and a quarter lengths at Los Alamitos on Saturday (December 10).
The betting market was right about the winner, ridden by Mike Smith (pictured) and trained by Bob Baffert, but it was the 24/1 longshot of the field of five, the Doug O'Neill trainee Irap who finished second under Mario Gutierrez. Almost six lengths further back Irap's unfancied stablemate Dangerfield closed late to take third, ridden by Drayden Van Dyke. The pacesetter Bobby Abu Dhabi was fourth leaving Baffert's disappointing second favorite, Show Me Da Lute, to finish last.
When Smith asked Mastery to quicken after the final turn this colt really impressed him with his response, finding immediate acceleration. He clocked a winning time of 1:41.56, just over half a second slower than the track record of 1:40.82. That sounds unremarkable but the early fractions were steady and Smith said that Mastery decided to take a breather and have a look around as soon as he made the lead. Smith admitted that Mastery needed to be reminded to keep running to the wire, the commentator noticed the frequency of his left-hand action with the whip.
It was a third straight win for Baffert in the Futurity and gave him a record-breaking total of nine victories in the race. For Mastery it was only his third run and continued his unbeaten sequence of easy wins. He had blinkers first time out at Santa Anita Park in October but they were left off for his Grade 3 run at Del Mar in the Bob Hope Stakes.
Baffert knows how to handle juveniles and Smith praised him for deciding to put the blinkers back on as they had made his job easier. Smith thought Mastery had relaxed well in them and not wasted vital energy pulling when he held him just off the pace. He was sure that the blinkers had reduced his tendency to assess his environment and helped him to focus on galloping.
Baffert was concerned how Mastery would handle a second turn for the first time in his life thinking that he might become one-paced, believing that the race was over. He was right to think that Mastery might slow up, Smith confirmed it, but was delighted at how he ended his race, galloping in a straight line under his jockey's drive.
The early part of the race went smoothly for Mastery. Bobby Abu Dhabi broke best from gate two and soon took the lead but Mastery jumped well too and settled in second on his outside with his head alongside Bobby Abu Dhabi's quarters. Irap raced in third with Show Me Da Loot angling across to the fence to save ground in fourth. Dangerfield was very slow to get into his stride, trailing the pack by about six lengths after the first bend.
Bobby Abu Dhabi covered the first quarter in a steady 23.37 with Mastery's blue noseband hovering over his flank and continued to set easy fractions of 45.65 and 1.09.53. With half a mile to run the leading trio were tightly packed and had a gap of six lengths between the remaining pair.
At the top of the stretch Bobby Abu Dhabi relinquished his leading position to Mastery. Irap looked the most likely colt to challenge him as the long-term leader weakened. When Mike Smith went for his whip Mastery responded in the style of a very good horse putting plenty of distance between himself and his closest rival. The record for the winning margin in the Futurity of seven lengths had stood since 1995.
The CashCall Futurity win put Mastery's earnings at $271,200. This Kentucky-bred son of Candy Ride out of the inappropriately named Steady Course (by Old Trieste) has more work to do to repay his purchase price of $425,000 as a yearling at the Keeneland 2015 September sale. Mastery's owners, Cheyenne Stables, will have to be patient but the future looks good for this colt.
Baffert's last two Futurity winners have lined-up in the Kentucky Derby and Mastery's price in the Kentucky Derby betting was reduced to 12/1 after this win. Classic Empire holds his position as the 10/1 favorite.
Mastery is obviously very talent but his unconventional action in front is a potential issue worth mentioning. He dishes noticeably with his right foreleg and his left does not move completely straight either. Do not expect him to have the longevity of a good moving horse like California Chrome but if he can stay sound longer than his sire he should be an interesting prospect for the 2017 Kentucky Derby.
Annals of Time Surprises in Hollywood Derby
Pegasus World Cup: Arrogate vs Chrome, The $12 million Rematch


text:
ASU, Maricopa Integrated Health System enhance partnership
Arizona State University and Maricopa Integrated Health System (MIHS) have developed a strategic partnership that will advance the objectives of their shared academic missions. The initial priorities of the partnership will focus on metabolic disorders, health policy, women's health, family violence, health disparities research and mental health.
"ASU is proud of its strong collaborative partnership with MIHS, and we are excited to expand our alliance with a focus on advancing medical education and research in Arizona," says ASU President Michael Crow. "Through the tactical alignment of leading-edge academic programs, research initiatives and personnel, ASU and MIHS will be empowered to provide critical medical education and innovation to the people of Arizona." Download Full Image
The joint initiative supports interdisciplinary biomedical research and education programs. ASU will establish a process to provide faculty appointments to academic/research physicians and will include both teaching and research responsibilities. Joint research proposals will be coordinated and submitted between ASU and MIHS, and the two will share resources in terms of grant writers, staff support and financial assistance.
In addition, the partnership will include the development of an interdisciplinary graduate program in translational research with graduate faculty from both ASU and MIHS. Courses will provide laboratory and clinical experiences at both institutions.
"Maricopa Integrated Health System is honored to embark on this enhanced partnership with ASU in the areas of medical education and research that will ultimately benefit our community," says Betsey Bayless, chief executive officer of MIHS. "Our shared academic vision will also further enhance cooperative research and education programs."
ASU's alliance with MIHS has steadily grown since its inception in 2006 that began between the WOMEN'S CARE CENTER at MIHS and College of Nursing and Healthcare Innovation at ASU. It now includes the Southwest Interdisciplinary Research Center (SIRC), Center for Health Information and Research, Department of Biomedical Informatics, Center for Metabolic Biology and Department of Psychology at ASU.
Today, educational programs include a Master of Health Sector Management offered through ASU's School of Health Management, the only accredited program in health administration in Arizona. A collaboration between Counseling and Consultation, ASU and MIHS offer training to advanced psychiatric residents in the MIHS Psychiatric Residency Program.
Joint faculty development has already been initiated, and Crista Johnson, MD, MSc, a Robert Wood Johnson Clinical Scholar at the University of Michigan Medical School is both on the clinical faculty at MIHS and Faculty Research Affiliate at SIRC .
A generous grant from the J. W. Kieckhefer Foundation established the Clinical Partners Fellowship at ASU and currently supports two Ph.D. students, Lubayna Fawcett and Eman Yarrow, who are working on a study of immigrant women.
Research endeavors to date include the National Center on Minority Health and Health Disparities, which explores complex factors influencing minority health and contributing to initiatives for improving minority health and reducing health disparities among the racial and ethnic minorities of the U.S.-Mexico borderlands. An outgrowth of a pilot project Familias Sanas, a study of Latino mothers' utilization of interconception care through culturally grounded education.
A research grant from the National Institute of Nursing Research supports ASU researchers in the College of Nursing and Health Innovation in a program that reduces cardiovascular risk among Hispanic women through physical activity.
Another team of researchers at ASU are focused on the decision-making process of primary care physicians in low-income communities to diagnose mental disorders and deliver psychiatric care. The research will provide a foundation for education and training programs for primary care physicians on how to effectively diagnose and manage mental disorders such as depression and post-traumatic stress disorder.
About MIHS: Maricopa Integrated Health System is headquartered in the heart of Phoenix. The cornerstone of the system is Maricopa Medical Center (MMC), a major teaching hospital with a history dating back more than 100 years. Best known for its critical care services, the hospital offers Level One trauma and intensive care for adults, babies and children. Two in-patient psychiatric care centers with nearly 200 beds provide services in behavioral medicine. MIHS is also home to the nation's second largest burn treatment facility, the Arizona Burn Center and the Arizona Children's Center at Maricopa Medical Center and 11 family health care centers throughout the Valley and an attendant care program.
Michael Murphy
Maricopa Integrated Health System
Judy Keane
Manager of Public Relations/Public Affairs
Sheilah Britton
Office of the Vice President for Research at ASU
Learn about stimulus funding for construction projects
The Alliance for Construction Excellence, an industry outreach group in ASU's Ira A Fulton School of Engineering, is offering companies courses on obtaining and implementing stimulus funding for construction projects.
Compounds found in plants offer new hope in the fight against prostate cancer
Tempe campus , Biodesign Institute , Biodesign Center for Applied Structural Discovery , School of Molecular Sciences
No. 12 Baylor Knocks off Men's Tennis
Sun Devil Athletics
ASU business student pens inspiring story dedicated to Syrian refugees
Tempe campus , Business , International , Humanities
A training program designed to help government and private enterprises secure and implement federal stimulus funding for construction and building projects is available through Arizona">http://construction.asu.edu/ace">Arizona State University's Alliance for Construction Excellence (ACE).
The American Recovery and Reinvestment Act (ARRA) passed by Congress in early 2009 is intended to provide a solution to the economic downturn and stimulate the economy through job creation.Among the many provisions of the ARRA is a designation of $150 billion to be invested in new infrastructure and improvements of existing roads, bridges and transportation-related structures. Funding has been made available to states for a limited time to distribute at their discretion, but new projects have been slowed by the Act's stringent reporting, financial tracking and oversight requirements. Download Full Image
"While the ARRA provides a massive amount of funding to boost our nation's economy and has created unprecedented opportunities for public and private organizations in the construction industry, the federally-mandated reporting and financial requirements have fostered an atmosphere of hesitation and slowed the progress of getting the funds to work," ACE director Gary Aller says.
"Our goal in creating the online ARRA Training Series is to empower contractors, sub-contractors, and government agencies, as well as the legal and community groups, to understand – and comply with – the ARRA's specific requirements, so that they can successfully secure and implement the stimulus funding before the window of opportunity closes."
All courses in the training series correlate to the financial, reporting and legal requirements specified by the ARRA, and are taught by experts in the legal and public works fields. Participants can enroll for one or more of the following sessions: Reporting">http://www.garyaller.com/course/new-reporting-accountability-and-transpa..., Accountability & Transparency Buy">http://www.garyaller.com/course/buy-american-act-american-recovery-reinv... American">http://www.garyaller.com/course/civil-rights-compliance-american-reinves... Civil Rights Compliance">http://www.garyaller.com/course/davis-bacon-act-and-related-acts-worker-... Davis Bacon Act & Related Acts ACE will also maintain records on all who complete the training sessions, allowing for easy notification of updates and providing information regarding audits.
"By making it easy for relevant parties in the design and construction industry to verify they have completed this training, ACE hopes to help facilitate the disbursement and implementation of the stimulus funding, thereby playing a direct role in rebuilding our nation's economy," Aller says.
The ARRA Training Series consists of a set of low-cost, on-demand web-based courses powered by iLinc">http://www.ilinc.com/">iLinc Communications, a leading web conferencing company. Because the courses are delivered via a state-of-the-art, environmentally friendly virtual">http://www.ilinc.com/demo">virtual training platform, participants are able to receive this critical information from any Internet-enabled computer at any time of day. The training series is available at the ACE Web site: http://construction.asu.edu/ace">http://construction.asu.edu/ace">http://construction.asu.edu/ace.
Ira A. Fulton Schools of Engineering Engineering
Joe Kullman
Science writer, Ira A. Fulton Schools of Engineering
480-965-8122 Joseph.Kullman@asu.edu


text:
Science, technology and innovation studies at a crossroad: SPRU as case study
Soete, L. (2019). Science, technology and innovation studies at a crossroad: SPRU as case study. Research Policy 48(4) 849-857. https://doi.org/10.1016/j.respol.2018.10.029
The setting up of the Science Policy Research Unit (SPRU) at Sussex University 50 years ago represented a "transformative change" in the research on science policy and the understanding of the nature and origin of technological change and innovation studies. It influenced policymakers across the world in both the mature Organisation for Economic Co-operation and Development countries and the developing world. It made the topic of science, technology and innovation (STI) familiar to business studies scholars. Today though, the analysis of STI appears to be somewhat in crisis. On the one hand, there is growing evidence that the growth and welfare gains of new technologies and innovation are no longer forthcoming in an automatic "trickle-down" fashion. The knowledge and technology diffusion "machine" appears broken. On the other hand, there are growing environmental concerns about the negative externalities of unsustainable fossil-fuel-based growth as industrialization spreads across the globe. STI policy appears somehow stuck in an industrial efficiency and consumerism mode that is unable to address in a satisfactory way the impact of such negative externalities. Can the broader historical approach as popularized within the so-called Science and Technology Studies (STS) tradition provide additional, complementary insights? Yes, if STI and STS scholars are prepared to leave their respective conceptual comfort zones and address in complementary fashion some of the major societal policy challenges confronting science, technology and innovation policy today.
Luc SoeteDean


Motorists can expect to encounter lane closures on the following bridges while crews perform routine bridge maintenance the week of Aug. 13, according to the Wisconsin Department of Transportation.
Highway 51: Highway 51 northbound bridges over Center Road, Little Pine Creek and Wisconsin River near Tomahawk will have single lane closures on Wednesday, Aug. 15, and Thursday, Aug. 16, from 6 a.m. to 7 p.m.
Highway 29 in Wausau: The Highway 29 eastbound bridge over 48th Street will have single lane closures on Tuesday, Aug, 14, and Wednesday, Aug, 15 from 7 a.m. to 3 p.m.
Interstate-39 / Highway 51 in Plover: The I-39 / Highway 51 northbound and southbound bridges over Highway B and adjacent railroad will have single lane closures on Monday, Aug. 13, and Tuesday, Aug. 14, from 9 a.m. to 3 p.m.
Highway 29 in Shawano: Highway 29 eastbound and westbound bridges over the Wolf River will have single lane closures on Thursday, Aug. 16, from 7 a.m. to 5 p.m.
Highway 10: Highway 10 eastbound and westbound bridges over the Waupaca River, Highway 22, Highway F, Highway 49 and Marten Road will have single lane closures on Monday, Aug. 13, and Tuesday, Aug. 14, from 6 a.m. to 5 p.m.
The schedule is subject to change based on weather conditions.