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Prophets look to the next 100 years
By Cate Terwilliger
Denver Post Staff Writer
Jan. 2 -Prophecy is a dicey business.
"God made the world round," wrote Isak Dinesen, "so we would never be able to see too far down the road."
The 2000 Old Farmer's Almanac offers would-be seers a half-dozen tips: predict the past; avoid specifics; predict the obvious; leave home; leave yourself an out; and predict interesting stuff. But near-legendary Hollywood film producer Sam Goldwyn spouted the best advice of all: ""Never make predictions," he said, "especially about the future."
Still, millennial hype wouldn't be complete without at least a cursory peek into the old crystal ball. Accordingly, The Post asked a few experts to take a far-sighted - and generally light-hearted - look into the now nascent 21st century.
TV guru Bob Thompson went above and beyond the call to prophecy with his far-reaching affirmation of television:
"Somewhere in the 29th century, on the 29thcentury equivalent of a couch, there will be someone watching a stupid sitcom and enjoying themselves," says Thompson, founding director of the Syracuse (N.Y.) Center for the Study of Popular Television.
"Oh, sure, the next hundred years will bring plenty of interactive razzle-dazzle: television merged with the Internet, video games.
"That said, the greatest appeal television had when it started and has today ... is that it's easy to watch," Thompson says. "- "Interactive television' is like saying "low-fat whipped cream. The whole reason you watch television is because you don't have to interact with it. ...
"In a culture as complex as ours has become, the need for an anesthetic art form becomes greater, not lesser." Television - with tiny screens and enormous cabinets - was introduced at the 1939 World's Fair to an American public already drop-jawed at moving pictures and radio, Thompson says. The New York City fair, sandwiched between the Depression and one of the worst wars the nation would ever know, envisioned a gleaming, progressive future.
"The 20th century was all about getting to the future," Thompson notes.
Many of the technological miracles foreseen at the '39 fair became commonplace during an era in which America "completely hit its stride technologically, knocking down every possibility" from electricity and refrigeration to computers and space travel.
But the new millennium marks a less dizzying, more mature era.
"Up until now, Americans have always been kind of forward-looking toward these utopias," Thompson says. "This is the first time where we've got a major threshold ... where in fact we are not looking at what the future will bring, but at what's going to happen as everything we've made in the past collapses. ...
"Y2K shows that the constant euphoria and optimism of youth is getting a little long in the tooth." The next hundred years will be less about technological innovation and more about perfecting existing concepts - "fiddling with the quality and the format," Thompson says.
"In the 1950s, if you had closed your eyes and dreamed up an image of the future, you might imagine flying cars. Do that now, and there's really nothing but refinement. Like with the cordless phone, maybe they can put it in the sides of our heads so we don't have the inconvenience of holding it." French philosopher Simone Weil put it this way: "The future," she said, "is made of the same stuff as the present." One qualifier: There'll be more of us making the stuff.
Affordable technology, expanded distribution through cable and the success of the sort of guerrilla television that features home video has made TV more democratic, Thompson says.
"There are great possibilities. And the business done by "The Blair Witch Project' is a real indication that there is a desperate desire out there to see a story told in a slightly different way."
The same is true of filmmaking, says Michael Williams, a spokesman for Landmark Theatres, which in Denver owns the Mayan, Esquire and Chez Artiste.
"You can go out and buy a digital video camera today at your local store," Williams says. "Anyone can make a movie, and I think there's lots of opportunities. I know several filmmakers here in the Los Angeles area who are making short films digitally, and I've read a few scripts that are quite good." The new technology, showcased in "Star Wars" and "Toy Story" movies, eliminates the need for expensive film stock and equipment, Williams says. "It's going to make filmmaking more accessible to the general public. People are going to say, "You know what? I've got a story to tell, and I can make a movie now." Disney's digital projection of "Toy Story 2" brings the process full circle and signals the eventual extinction of 20th century-style film screening, Williams says.
"There's no film at all, and with something like that, you're not losing anything. ... Probably 20 years from now, there will not be projection equipment as we know it." Williams foresees less dramatic changes in content, though he has his druthers.
"I'm hoping things go like they went this past year, steering a little away from the action genre and more toward the character-driven side of things," says Williams, who credits the success of 1996's "The English Patient" with helping to restore an emphasis on storytelling that characterized mainstream movies before "Jaws." He also hopes foreign-language films find a larger audience ... a process that may be helped along by the Internet.
"When 'Life Is Beautiful' garnered all that attention last year, I was thrilled," he says. "There's so much going on in the world outside of Hollywood and outside of this country that needs to be discovered."
International - as in global - will be a buzzword of 21st century politics as well, says Pat Schroeder, who represented Colorado in the U.S. House of Representatives for 24 years before leaving politics in 1997.
"The things we've learned in the last 200 years about how to petition your government and how to engage civilly ... are going to have to be seriously remodeled to figure out how we're going to do that globally," says Schroeder, now president of the Association of American Publishers in Washington, D.C.
The recent World Trade Organization summit and associated protests in Seattle "scratched the surface on that," she says. "People are going to have to look at the way they can interface with those global institutions. Who do they answer to? Who appoints WTO judges, and what is the body of law the refer to? Where do they get their marching orders?
"These are all very, very serious issues." It's also time for the domestic political scene to become more inclusive, Schroeder says. "Any presidential candidate who doesn't think about putting a woman on the ticket this time is apt to be in big trouble," she predicts. "I think women (voters) feel they're out of excuses." But Schroeder, who considered a 1988 presidential bid, stopped short of predicting a female president in the coming century. The White House, she says, "is still the ultimate tree house with the 'No girls allowed' sign on it."
"A lot of us remember in 1984, when (Geraldine) Ferraro was on the ticket, all the people who said, "OK, this is going to be the norm.... Well, 16 years have gone by, and we've gone back to the same old, same old.
"The issue's going to be, who's man enough to put a woman on the ticket?"
University of Denver anthropologist Peter Van Arsdale is fascinated by a different 21st century scenario: men - and women - on Mars.
"I believe there will be a small colony on Mars," says Van Arsdale, who does ethnography - qualitative, descriptive studies of social life and behavior. "I think they'll be there in the next century, and I think ethnographers will offer studies of their life." On terra firma, Van Arsdale predicts a continuing, but temporary, deterioration in relations between whites and African-Americans. "Racial and ethnic tensions will get a tad worse before they get a tad better," he says.
Changing demographics, including the ascendance of Hispanics into an eventual majority, will change the face of America in the century to come, retiring the "melting pot" model for good.
"The 'melting pot' has not applied much in this century, particularly in the United States," says Van Arsdale, who borrows a more apt analogy from sociology.
"A better metaphor is a salad bowl, with different bits and pieces of interesting things which are put in a single bowl but retain their separateness.
"The salad bowl is going to apply even more in the 21st century."
Gerry Thomas isn't much for metaphor, but the guy knows his food well enough to have cooked up a 20th century icon rivaled only by the golden arches: the TV dinner.
In 1953, his company, Swanson's, needed to unload a half-million pounds of frozen turkeys - and it wasn't Thanksgiving.
"TV was in about 10 percent of the homes then and the most exciting thing going," says Thomas, now 78 and living in Paradise Valley, Ariz. "Associate yourself with that, and you might be successful." That was a modest assessment; 10 million of the tin-trayed dinners sold in the first year, and Swanson now sells 160 million of the meals annually.
Although Thomas isn't interested in developing it himself, the TV dinner's 21st century counterpart is ripe for the picking.
"You need kind of both hands as you sit at a computer," he says. "So you need something you can eat off and on while doing things. ... That would be kind of like a tube that you could push the food up in as you ate." As Thomas envisions it, "Computer Cuisine" might be sold with an attachment that would secure to the side of the computer, allowing the user to lean forward occasionally, squeeze and snack.
"Somebody will do it, I'm sure," he says. "If I were younger, I sure would. You could have different things - an entree and a salad, and you could have a dessert. ...
"People eat crazy things. If somebody doesn't try it, no one will ever know."
An idea like that would be enough to get an employee fired in Dilbert's world. And what better workplace prophet than cartoonist Scott Adams, whose popular comic strip has so aptly parodied life in the late 20th century office?
"I'm expecting everything that's been trending to keep trending," says Adams, of Danville, Calif. "Cubicles are getting smaller and smaller. I have predicted that cubicles will be about the size of your body, and you'll wear them instead of clothing." Adams also foresees "a bit of Darwinian natural selection" among office workers. The boldest and brightest will take advantage of numerous opportunities for freelance or independent work, leaving the office to "small, meek people who don't want to go out and start their own business," Adams says. "So the worker of the future will be about a foot tall and extremely submissive." The evolution of bosses will continue in the direction indicated by the Dilbert principle, which dictates that only the least competent people get promoted to management "because you need your competent people to do the actual work," Adams says.
"Bosses will get dumber and dumber until we get a whole generation of bosses who can't find their way to work, at which point you'll have a boss-free environment."
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This material may not be published, broadcast, rewritten or redistributed.
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University Square is a redevelopment of approximately 3.4 acres of land that was the former home of a single level, 60,000 square foot retail center called University Square, a surface parking lot, and vacant land.
The 12 story, 1.1 million square foot University Square development includes retail space, apartments, university offices, parking and the largest roof garden ever constructed in Madison. It is the largest mixed use development to ever be constructed in Madison. The synergy created from these components makes University Square a truly unique addition to downtown Madison and undoubtedly centralizes numerous aspects of downtown living.
Located just blocks away from the state's government, Kohl Center, University of Wisconsin, State Street, cultural and education centers, University Square has an extremely dense and diverse consumer market. In this pedestrian friendly city, University Square developed by Executive Management, Inc is adjacent to the East Campus Mall and is within walking distance for downtown workers, residents, area visitors, faculty and students.
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More than 1,200 hotel rooms are close to the project, including the Fluno Center for executive development right next door.
The nearby Overture Center hosts nearly 80 shows annually and hundreds of performing arts shows, fine art exhibitions and other special events 363 days a year.
The University of Wisconsin-Madison has more than 42,000 students and more than 18,000 faculty and staff.
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Learn more about Executive Management, Inc.
University Square is the new destination for shopping in downtown Madison. With improved streetscapes, the newly constructed East Campus Mall, and full glass store fronts University Square provides an unbeatable pedestrian shopping experience. Exceptional local and national tenants will fill the retail space located on the first and second floors of University Square.
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Andrea Cornwall
Honorary Associates (Institute of Development Studies)
E: A.Cornwall@sussex.ac.uk
Brazil, democratisation, Empowerment, gender and development, Gender and Sexuality, Nigeria, participation, public engagement, Public health
Current research interests include:
the politics of the body, with a particular interest in mobilization on sexual and reproductive rights;
new democratic institutions and the potential and practice of radical democracy in non-western settings;
states of citizenship - understanding everyday practices of citizenship in different kinds of states;
rethinking 'gender' in development, including in relation to work with/on men and masculinities;
development's colonial continuities.
I am involved in a number of international collaborative research programmes. I direct a DFID-funded Research Programme Consortium Pathways of Women's Empowerment, which carries out collaborative research and communications on issues of body, voice and work in Afghanistan, Bangladesh, Brazil, Egypt, Ghana, Nigeria, Pakistan, Palestine and Sierra Leone. I am also a member of the Citizenship Development Research Centre and the IDS Sexuality and Development Programme.
In my work on development, I've published articles on development buzzwords, deliberative democracy, participation, citizen involvement in health policy, men and masculinities, gender and development, gender and participatory development, and sexuality and development.
Articles drawing on my anthropological research include 'Taking Chances, Making Choices: The Tactical Dimensions of "Reproductive Strategies" in Southwestern Nigeria' (Medical Anthropology, 2007), 'Of choice, chance and contingency: Career strategies and tactics for survival among Yoruba women traders' (Social Anthropology, 2007), 'Spending Power: Love, Money and the Reconfiguration of Gender Relations in Ado-Odo, SW Nigeria' (American Ethnologist, 2002).
I've also written articles for various online news sites and blogs on a range of issues including democracy, empowerment and participatory governance.
Recent books include Negotiating Empowerment (co-edited with Jenny Edwards, IDS Bulletin, 2010), Democratizing Engagement: What the UK Can Learn from International Experience (Demos, 2009), Development with a Body: Sexuality, Human Rights and Development (co-edited with Sonia Correa and Susie Jolly, Zed Books, 2008), The Politics of Rights: Dilemmas for Feminist Praxis (co-edited with Maxine Molyneux, Routledge, 2008), Gender Myths and Feminist Fables: Struggles for Interpretive Power in Gender and Development (co-edited with Elizabeth Harrison and Ann Whitehead, Blackwell, 2008).
I'm also co-author of a truer-than-fiction account of life inside an aid bureaucracy The Beast of Bureaucracy: Tales from Valhalla.


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Q: pg_dump does not write "CREATE EXTENSION postgis;" We have dumped a database that uses the postgis extension using pg_dump. After manually creating the database on a different machine an attempt to load the dump into it using psql failed. It turned out the dump did not contain the necessary statement
CREATE EXTENSION postgis;

The postgis extension was installed in the target instance of Postgres but only after manual execution of the CREATE EXTENSION loading of the dump succeeded. This doesn't seem like a big deal, but the question is: is it possible to force pg_dump to write all required CREATE EXTENSION foo; statements into the dump so I don't have to do it manually? I don't see any option for that in pg_dump online documentation.

A: You can use this to dump schema and extensions (tested on 11.2):
pg_dump -U postgres -d mydb -s > dump.sql

A: Several possibilities:

*

*This database has been upgraded from an old version where CREATE EXTENSION did not yet exist.

*Somebody mistakenly installed PostGIS by executing the SQL script rather than running CREATE EXTENSION.

*You don't dump the whole database, but restrict the dump to a schema using the -n option.

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WINTER PARK, Fla.–(EON: Enhanced Online News)–Ascendx Spine™ (www.ascendxspine.com), which recently received ISO 13485 Certification and CE marking approval for its Ascendx VCF Repair System and its Acu-Cut Vertebral Augmentation Systemto treat vertebral compression fractures (VCF), today announced the appointment of Maria Pilar Debelius-Kinsey as Sales and Marketing Manager, Europe, effective immediately.
Ms. Debelius-Kinsey, an American national based in Europe, previously served as General Manager of Sofamor Danek Iberica Medtronic, and Sales Operations Director for SpineVision.
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Based in Winter Park, Florida, Ascendx Spine™ is a medical device company focused on the development and commercialization of innovative orthopedic devices for the spine and trauma markets. Its initial focus is the Ascendx VCF Repair System for the treatment of a vertebral compression fracture (VCF). A VCF forces a vertebra to collapse and the spinal column above it to assume an abnormal forward curve, resulting in considerable back pain and a hunchbacked appearance.
CAUTION: Neither product—Ascendx VCF Repair System or Acu-Cut Vertebral Augmentation System—is available for sale in the United States.


Superdry women's joggers from the Orange Label range. These joggers are a must have in every woman's wardrobe, whether you are chilling around the house or running errands, these joggers are so super soft, you will not want to take them off! These cuffed joggers feature a drawstring waistband to provide a personalised fit and ultimate comfort and have been finished with the iconic Superdry logo on the leg, two front pockets and one back pocket that includes a Superdry tab.


Wind power continues to be a growing source of energy across the planet. Five Star Filter is proud to serve the wind turbine power industry by offering a selection of high quality wind turbine filters. Regular maintenance intervals must be adhered to in order to achieve maximum up time of the wind turbine units.
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Call to find out how you can help: 519-254-5577 Ext. 58557#
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Volunteer Board Members
Stephen Roberts joined the McTague Law Firm as a Partner in January of 2010. He attended the University of Windsor where he received his LL.B. Stephen is one of only eleven professionals in Ontario certified as a Specialist in Workplace Safety and Insurance Law by the Law Society of Upper Canada.
Sean White
Vice Chair / Treasurer
Sean White is a director of wealth management and the branch manager of the ScotiaMcLeod Windsor Office. A graduate of the University of Windsor, Sean has been a financial advisor with ScotiaMcLeod since 1999. For almost a decade, Sean served in various roles on the board of the Art Gallery of Windsor and the Windsor Regional Hospital Foundation finance committee.
Sandra Bohn
Sandra Bohn is a graduate from the University of Windsor with a Bachelor of Arts in Communication Studies and a minor in English Literature and a Post Graduate Certificate in Public Relations from Humber College. She is the Director of Marketing Operations with Caesar's Windsor.
Theresa King
Theresa King is a Financial Advisor with Edward Jones. She has had her practice in the Belle River since 2006. Prior to Edward Jones, Theresa worked for Union Gas in the finance department.
Mike Naccarato
Mike Naccarato started with Canada Trust in 1992 as a part-time teller while attending University of Windsor. He took over as District Manager, Business Banking until 2004. Since 2007, Mike has been with RBC focusing on Health Care Practitioners.
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Chris Houser is the Dean of Science at the University of Windsor, and Professor in the Department of Earth and Environmental Sciences. Chris graduated from the University of Guelph with a BSc in Environmental Science (1997) and MSc in Geography (1999) before moving to the University of Toronto for a PhD in Geography (2003).
Jim Scott
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Monica Staley Liang began her career as a registered nurse until her consulting work with Pediatric Advanced Life Support and her interest in law lead to becoming a Medical Legal Consultant and Lawyer Associate. In 2010, she became the Director of Patient Relations/Legal Affairs at WRH, until her appointment in April 2015 as Regional Vice President, Cancer Services, WRH and ESCRCP.
Dr. Hakam Abu-Zahra
Dr. Abu-Zahra graduated from Cairo University, Egypt and did postgraduate training in Hematology/Internal Medicine at Dundee and Edinburgh Universities in Scotland. In 1969 he arrived in Canada where he accepted a position as Research Fellow at Queen's University in Kingston and then Research Associate at Princess Margaret Hospital, University of Toronto. In Windsor he was Head of the Systemic Therapy Program, then Chief Executive Officer ,Windsor Regional Cancer Centre and Vice President, Cancer Care Ontario. He was Chief of the Oncology Department, Windsor Regional Hospital and Founding Member of the Windsor Cancer Centre Foundation.
Dr. Sindu Kanjeekal
Dr Sindu Kanjeekal is a medical oncologist and hematologist and has been practicing at the Windsor Regional Hospital Cancer Program since 2004. She earned her medical degree from the University of Western Ontario. She is the Chief, Department of Oncology for Windsor Regional Hospital and is an Adjunct Professor with the Schulich School of Medicine and University of Windsor. Her areas of clinical practice and research include hematological, gastrointestinal and genitourinary malignancies.
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In this activity, students study five primary sources related to the 1952 U.S. Supreme Court case, Youngstown Sheet and Tube Co. v. Sawyer. The landmark decision articulated limits to presidential power and outlined standards for analyzing presidential executive orders that are still in use by courts today.
On December 18, 1951, collective bargaining between steel companies in the United States and their employees broke down and led to an announcement that the employees would strike on December 31, 1951. In an attempt to reach an agreement between the parties, the Federal Mediation and Conciliation Service intervened. Its efforts were unsuccessful and on April 4, 1952 the steel mill employees' union gave notice of its intent to strike on April 9, 1952.
President Truman believed that a strike of any length would interfere with defense contractors and the domestic economy while the country was involved in the Korean War. Unable to mediate the differences between the union and the industry, President Truman issued an executive order on April 8, 1952 authorizing the U.S. Secretary of Commerce Charles Sawyer to take possession of and operate most of the nation's privately owned steel mills. President Truman immediately informed Congress of his action and stated his intention to abide by the legislative will. However, Congress took no action.
The Steelworkers praised President Truman and postponed their strike while steel companies and most newspaper editorials opposed the steel mill seizures. The steel companies brought suit in federal court. A U.S. district court issued an injunction barring the government from continuing to hold the steel plants it had seized, which the U.S. court of Appeals stayed. Both the government and the steel companies petitioned the U.S. Supreme Court for certiorari. The Court heard the case and issued a decision on June 2, 1952.
1. Ask students to watch the first 2: 03 minutes of the Youngstown Sheet and Tube v. Sawyer Quimbee video and read the background handout.
What are the main points in your document?
How does your document relate to specific powers of branches of government, especially in relation to Truman's executive order?
What is the main reason President Truman provides for why the government is taking control of the steel mills?
According to President Truman, where does his authority to seize the steel mills come from?
What is the tone of President Truman in this message to Congress?
What is the goal of Truman's message to Congress?What action does he want Congress to take?
What is being depicted in this political cartoon?
What do you think the cartoonist is trying to say about President Truman's seizure of the steel mills?
According to the opinion of the Court delivered by Justice Black, where must the President's power to issue this executive order come from?
According to the opinion of the Court, how has President Truman overstepped in his use of executive power?
How does the Court describe the role of Congress in comparison to the role of the president?
What action is President Truman asking Congress to take?
What other avenues has President Truman pursued to reach his goals in settling the issue with the steel mills?
3. After groups have had time to review their respective primary sources, ask them to share their source with the rest of the class. Through this share out students should begin to see the back and forth that President Truman goes through as he attempts to exert his presidential power and it is checked by Congress, the Supreme Court, and Congress again.
4. After the discussion it might be useful to ask the class to view the rest of the Youngstown Sheet and Tube v. Sawyer Quimbee video, which covers an analysis of the Court's ruling and Justice Jackson's concurring opinion. The concurrence outlined a framework for how the Court determines the limits of presidential powers.


When I rejoined the single world again, my first thought was, "but I'm 31 and a vegan! Who's going to want to date me!?" Considering the last time that I went on dates I was 26 and mostly carnivore, I was pretty sure this was going to be a whole new adventure and I didn't know what to expect.
Those romcoms sure make it seem challenging. First you have to find the guy, then you hate him for a long time (even though you're secretly attracted to him), and finally something happens and suddenly you like him, kiss to dramatic music and be happily ever after. Credits, insert peppy fun music and possibly some snapshots of your future life.
Who has time for all of that? AmIright?
So here's the thing, I was so sure that me saying I was vegan would turn away a good 75% of dates. The reality? Not-a-one.
In these past months, not a single dude has really seemed to care. Sometimes there were the protein questions, or the "I could never be vegan" statements, and one particularly charming fellow mimed pulling a sausage out of his pocket, eating it audibly, and asked if it would be weird if he was doing that for real. I'm going to go ahead and say anyone pulling a sausage out of their pocket to eat is weird.. even if it was a vegan sausage. Don't do that gentlemen. (Did I mention I like goofy guys?) But not one guy seemed even really phased by my veganess. Way to go forward thinking dudes! So the result: Single at 31 and vegan has actually been pretty ridiculously fun!
Side note: when you tell your date you cook delicious food: they are totally . Delicious food here we come.
It's officially the season where roasting anything is a great idea. Roasted vegetables = good idea. Roasting cauliflower = surprisingly ridiculously good and healthy finger food idea!
I would be lying if I said I didn't polish off this entire sheet of deliciousness all by my self not so long after photographing it. It's kind of impossible not to.
Ok let's get real, I guess technically this is a side dish kinda food, or you could sprinkle the cauliflower on top of salad, but my most favourite way to eat roasted cauliflower is hot off the pan, dipped into my Creamy Cashew Caesar Salad Dressing, Maple Mustard Dressing, a marinara sauce, or just as is. Yespleasethankyouverymuch.
Only 6 ingredients, 30 minutes to make (most of it spent staring in the oven window and drooling), and badda bing, badda boom. Little cauliflower flavour bombs in your mouth.
Here we go! Chop the cauliflower into little florets. Add them to a bowl along with all of the seasonings, and use your hands to toss well to combine.
Spread the cauliflower evenly on a baking sheet, and bake for 20 to 25 minutes, flipping once, until everything is browned and tender.
Only 6 ingredients, 30 minutes to make (most of it spent staring in the oven window and drooling), and badda bing, badda boom. Little cauliflower flavour bombs in your mouth. So delicious and easy!
Add the cauliflower with all of the seasonings to a large bowl and toss well to combine and to evenly coat the cauliflower.
Spread the cauliflower evenly on a baking sheet and bake 25 minutes, flipping once half way through. The cauliflower is done when it is browned and tender. Sever as a side, on top of salad, or eat straight as it is as a snack. Great hot or cold!
Hahaha. Has Adam read this post. Very interesting story.
I had some cauliflower I needed to use up and decided to try this while my husband and daughters were out of the house. I planned to have them try it when they got home to see if they liked it… I ate it ALL. haha. Maybe they can try it next time.
Stick with it, Sam – you're amazing!
This is amazing! I have eaten my fair share of roasted cauliflower but this is the best! I halved the oil and roasted it a little longer and it was still phenomenal! Thank you!!
Thanks for the tip about halving the oil and cooking longer – we're trying to cut out as much oil as possible.
Aww that's awesome!! So happy you loved it so much Liz!
My husband and I ate roasted cauliflower for awhile at Happy Hour to stave of our Trader Joe's chip addiction. We should get back to this delicious snack! Thank you!
Aww you're welcome Kathy! Definitely a healthier option than chips, but I so so good.
Super yum Sam! I said this on Instagram too (wait, that feels very stalkerish…I'm obsessed with you but only in an "I'm so impressed with your recipes and posts and can't wait for more" sort of way ). Anyway, I never think about having cauliflower. I have no idea why. It's a neglected vegetable at my house. Not anymore!
Aww thanks Heather. Yeah, it's kind of a forgotten about vegetable, but it can be so scrumptious!! I hope you enjoy the recipe!
A tip for lazy vegans: we could throw all the ingredients into a plastic bag and give it a good shake to coat the cauliflower evenly, leave it in the fridge to "marinate" a while, then tip the contents onto the baking sheet to cook. Now, if only I could find a lazy way to flip them.
In terms of the marriage thing – there's no one right answer. I bet there are all sorts of variations on this theme in married couples out there. For me, I was non-dairy vegetarian when I met my husband. He was not veg but had stopped eating red meat for health reasons. I never asked him to change but made it clear that I could not cook meat so if he wanted it, he would have to cook it. Over time, he discovered I am a much better cook than he and he came to his own conclusions after reading and having discussions and decided to go veg, is non-dairy for the most part (if we are out he might have some whereas I cannot as I have a bad reaction in addition to knowing it is not good for me) because I am and don't buy it and then he decided to give up eggs most of the time. So all in all, I ended up with a veggie husband who chose it of his own accord so he wouldn't feel bullied into it and thus is that much happier. We now have a 3 year old vegetarian, non-dairy son who is very healthy and a 2nd baby on the way. My big message is both of you have to decide what's a deal-breaker for you and what you can live with – and then know that these things might change over time. Sometimes compromises are good for everyone and leave you with the best person overall and other times some things can't be compromised on. You have to fill in the details.
EVERYONE (vegan or not) loves roasted cauliflower! How could they not?!
Just curious, how do you feel about possibly marrying a non-vegan? My boyfriend and I have been talking about it a lot; obviously it's not something we would break up over, but I'm just not sure how to handle that. Would he just cook meat at home and I'll cook everything else and he can add to his meal if he wants? What about kids? Ugh, I guess I'm still pretty young to be thinking about that lol just wondering your thoughts!
I know right? Roasted cauliflower for the win.
Are you proposing to me? Hahaha. Jokes.
Umm… marrying a meat eater… You know I don't think I can make a statement one way or the other. Obviously it would be amazing if future husband was vegan, but I think each relationship and the circumstances that surround it would be unique. I'm not for or against it, it's more about the individual for me. That said, I can be pretty bossy sometimes, I can't imagine having meat in my fridge, so maybe it would be if he wanted to eat it meat, he could go to a restaurant kinda thing. Not in the house. I know that's how it was in my last relationship, and that seemed to work just fine.


Season to taste – those three little words at the end of many recipes that can be the cause of so much angst. In theory, it's a pretty simple concept. Season your food with salt and pepper, then taste it. But how do you know when you've got it just right? Add more? Wish you'd added less?
I've shared a few tips to help you get the gist of seasoning to taste before, trade salt shakers for ramekins filled with salt and pepper so you can feel exactly how much salt and pepper you're adding. Add salt a little at a time and taste as you go so you don't over do it. In order to season to taste properly, you have to get comfortable tasting your food while you're cooking it and you have make friends with salt and pepper.
Salt's role is not to make food taste salty. Its goal is to enhance the flavor of food. One reason why chefs and recipe developers don't always list specific amounts of salt and pepper is because – and I promise this is not a cop out – it depends. It depends on the food, and more importantly it depends on your taste.
Same rules apply at home. I encourage my students to add a pinch of salt and pepper every time you add a new ingredient to your pan. Not a handful, but a pinch. (It's easier to add more. Impossible to take it out if you overdo it.) Taste when it makes sense and add additional salt and pepper, as needed. Your food should be bright and flavorful, not dull and flat. It should also not be salty, which is why tasting is so important.
I had no problem at all tasting the sautéed veggies in my Veggie-Stuffed Portobellos. I like the flavor and texture that comes from grilling the mushrooms but you could just as easily brush them with olive oil, hit them with a little salt and pepper, and broil them until they're brown and juicy, about 2 minutes per side depending on the strength of your broiler. The sautéed veggies are delish on their own and you'll likely have more than you need to fill the mushroom caps, so score!
Do me a favor. If you make this recipe, let me know how you like it and if you share it on social media, post it with the tag #cookingclarified so I can see it and share it.
Make sure the grill pan or grill is nice and hot before adding the portobellos. If your grill's not hot enough your mushrooms will cook up soggy and chewy instead of meaty and juicy.
Add the veggies to the saute pan according to what cooks the longest. Start with the garlic and veggies and add the corn and zucchini last.
Clean mushrooms and remove gills. Heat grill pan over medium high heat.
Brush mushrooms with 1 tablespoon olive oil. Season mushrooms with salt and pepper.
Place mushrooms on grill, gill side down, using a spatula to gently flatten the mushroom cap. Grill, without moving, until mushroom softens and begins to brown, 2-3 minutes. Flip mushrooms and continue grilling until mushroom is fork tender, another 2-3 minutes. Remove from grill and set aside.
Heat remaining tablespoon olive oil in a large saute pan over medium high heat. Add garlic and bell pepper and saute, stirring occasionally, until pepper begins to soften, 1-2 minutes. Stir in zucchini and cook another 2-3 minutes. Add corn and saute until corn is heated through, another 1-2 minutes.
Place grilled mushroom caps on serving platter or plate, smooth side down. Spoon sauteed veggies into mushroom caps and serve.


The Reindeer in South – Greenland are a mixture of the original Greenland Caribou and Reindeer that were imported from Norway around 1900. By SCI they are categorised as "Reindeer introduced" for North-America.
We offer summer and fall hunting only in South – Greenland. All travel goes via Iceland and staying overnight in Iceland is often necessary. We offer 6-7 days trips with 2-5 hunting days, depending on the number of hunters. Our area is the only one in Greenland, producing SCI gold medal trophies.
We operate both from our lodge in Ivituut and Narsaq, when doing Reindeer hunts. You may also stay a night at Hotel Narsarsuaq. We offer the most comfortable lodging and dining in the world, in the middle of a Reindeer hunting area. Our lodge has electricity and hot and cold running water. Upstairs there are 4 rooms for our guests and downstairs large dining and living room and fully furnished kitchen. Our lodge offers almost all comforts you can think of, as in your own home. No tent camps, no outdoor toilets. We offer 3 meals per day, snacks, soft drinks. We try to fulfill our clients wishes if they want to taste Reindeer. When staying at Hotel Narsaq or/and Hotel Narsarsuaq, the accommodation and meals are at the cost of the hunter/non hunter.


ISMEA (Institute for Agricultural Market Food Services) chose MaxPatrol to provide a single platform that could provide both vulnerability and compliance management for its existing IT infrastructure which ranged from Windows Servers, Red Hat, CentOS, DBMS, Exchange and File Servers to network devices and Firewall systems. The organization was attracted by the flexible reporting capabilities and modular architecture of the MaxPatrol solution.
ISMEA is a state-run organization which supports the Italian agricultural industry. Three hundred global markets rely on ISMEA to monitor and set food prices, with economic trends tracked on a monthly and annual basis. The body also commissions research studies on key topics including climate change and quality control. ISMEA works closely with leading financial institutions to support agricultural investment programs, promote agricultural education and enterprise, and protects the supply of farm land.


text:
Searching For A Path To Greater Grains
Credit: Ware Lab/Cold Spring Harbor Laboratory
The grain sorghum might not seem familiar to many in the U.S.—but it's the fifth most important cereal grown in the world. It's a common human food ingredient in Africa and parts of Asia, and is often used in the U.S. for animal feed or for ethanol production. Millions of acres of the grain are planted in the U.S. each year.
[Meet the father of modern skyscrapers.]
Now, writing in the journal Nature Communications, researchers report that they've identified the pathway in one mutant strain of the grain that allows that variety to produce three times as many seeds per plant as regular sorghum. One gene appears to control the amount of jasmonic acid, a plant hormone, which in turn regulates the fertility of some of the grasses' flowers. By reducing the amount of jasmonic acid in the sorghum, more of the plant's flowers become fertile and produce seeds.
Doreen Ware, one of the authors of the report, joins Ira to talk about engineering grains for greater growth, and what the research tells us about how plants grow and reproduce.
Doreen Ware
Doreen Ware is a plant molecular biologist with the USDA Agricultural Research Service, and an adjunct associate professor at Cold Spring Harbor Laboratory in Cold Spring Harbor, New York.
IRA FLATOW: For the rest of the hour, delving into a grain you might not know much about, talking about sorghum, unless you're a farmer. It's the fifth most important cereal crop in the world. It's a common human food ingredient in Africa, parts of Asia.
In the US, it's mainly used for animal feed or for ethanol production with millions of acres of the grain planted in the US every year. But now writing in the journal Nature Communications, researchers report that they've identified the pathway in one mutant strain of the grain that allows that variety to produce three times as many seeds per plant as regular sorghum.
Doreen Ware, one of the authors of the report, is a plant molecular biologist with the USDA's Agricultural Research Service and an adjunct associate professor at Cold Spring Harbor Laboratory. That's out there in Cold Spring Harbor, Long Island. She joins me by Skype. Welcome to Science Friday.
DOREEN WARE: Thank you, Ira. I'm really excited to be here today.
IRA FLATOW: Yeah. We're happy to have you. Let's talk about– this is fascinating. This just jumped out at me, because I'm a plant person, you know? And your study worked on the flowers and seeds of the sorghum plant. It's kind of a grass, for those listeners who haven't looked up close at some sorghum lately. But tell us what does it look like.
DOREEN WARE: So it basically looks a lot like corn, if you've seen a corn field, but if you look at the top of the plant, that's where the flowers are in sorghum. and the top part of the plant has many different flowers on it. Hundreds of flowers will be on the top of this panicle. But normally, in nature, when you look at that panicle, only half of the flowers, or less than half of the flowers, are normally fertile and make seed.
But what we were able to find out about was that one of our colleagues in Texas, a USDA breeder, was introducing novel genetic variation into sorghum using traditional approaches that readers have been using for many, many years. And what he found in his field were a few of these plants now where the flowers– almost all of them were fertile in that top panicle.
And this was really, really unusual. We never ever see about all the flowers being fertile. And by increasing the fertility of that plant, we were able to actually increase the number of grains that that would have. And this is really, really critical, because as we're thinking about needing to grow more food with the same amount of land and less resources to feed 10 billion people by 2050, it's going to be really important for us to think how we might approach this. And increasing the number of seeds on a single plant might be one of those approaches.
IRA FLATOW: You say might be because you haven't actually grown all those seeds to see if they might makes plants and produce food.
DOREEN WARE: Well, actually, we've been able to grow the plants, but it turns out that in order to grow different varieties of sorghum in local environments, you might have to introduce the variation that we've identified and test it out. So what we can do is we can make all those flowers fertile, but we might have to do some additional modifications, for instance to make the seeds a little larger or to have them have more of the nutrients and things in those individual seeds.
I was really excited to hear that the background that you provided on sorghum, because I think most people aren't familiar with it. And if you think about it, sorghum is a major crop in Africa. And it grew up in Africa. And one of the really wonderful things about sorghum is over its lifetime it's learned these secrets of how to grow well in hot climates and in really poor soils.
And that's going to be really, really important for us here in the US, you know, and sorghum– it's also emerging as one of those super foods. I don't know if you know this, or if your listeners know this, but it's gluten free. You can use it to make flour or beer. You can cook it like quinoa or barley. And it has different colors. And the darker black and burgundy varieties have beneficial anti-oxidants very similar to what you get when you eat grapes and cranberries.
IRA FLATOW: Can you bake? Can you make flour out of it, make bread out of it?
DOREEN WARE: Yes, you can. In fact, it's actually used to make bread and it's also used actually for frying as well. It actually turns out that the coating you get when you use sorghum flours really gives you more– you retain more of the moisture inside of the meat or the other products than when you, for instance, would use some other flour types.
Also turns out that it's a really versatile crop, because not only do we eat the grain portion, either us or as an animal feed, but it turns out that the main body of that plant, that, you know, when you see like the cornstalks in the field, all of that actually can be used for renewable energy to make biofuel.
IRA FLATOW: Wow. This is Science Friday from PRI, Public Radio International. Everything you've ever wanted to know about sorghum. I mean we don't talk much about that. Doreen Ware, plant molecular biologist, is my guest. So the mutation in these plants affects a sort of plant reproductive hormone. Is it in other plants too? I mean can we spread the love out here to other plants?
DOREEN WARE: Yeah. No. Actually that's one of the things that we're really interested in understanding. So it turns out that the change that we saw was actually in a gene that regulates other genes that make this plant hormone. And you can kind of think about this gene as like a manager. It tells the other genes when to turn on or when to turn off.
And it turns out that plants, like animals, have hormones and, in this case, when we decrease the amount of hormone that's around, it turns out it makes those flowers fertile now. And when we increase the amount of hormone around, it actually decreases the number of flowers.
And we were able to actually test that hypothesis by taking that new variety and we added external hormone to that plant. And we were able to get it now to make less seeds than what it– less grains on the plant or less fertile flowers than what it was making before. So we understand now this mechanism.
And it turns out that when you look at plants, especially closely related species like the grasses we're talking about, like wheat, like rice, barley, and corn, that a lot of times those genes are– they're using the same set of genes. But what they might be doing is changing it up a little bit. Maybe they'll leave one out, when and where they might turn them on and off might change, and that's what gives us those different flower architectures. It's that slight shifting [? and ?] nuances that are happening.
So what we now understand is this underlying mechanism of how the plant may be changing its fertility. And we can see if that also holds true in some of these other grasses. And the approach that we would use is to look to see if those genes exist, and then to see if they're turned on and off at similar times in the plants. And so those are things that we're moving forward with right now.
IRA FLATOW: So why would a plant devolve to waste energy on making flowers that don't produce fruit or conversely, you know?
DOREEN WARE: That's a really interesting question. And I think if we go back to where did sorghum originate– so sorghum originated in Africa. And it turns out that it basically grew up in very harsh conditions. And as I mentioned earlier, plants will use the same sort of, you would call them gene modules, over and over to make a flower structure.
But it turns out that in sub-sahara Africa, maybe an adaptive response was not to make as many into the seeds, because by making less seeds, you would be able to put, for instance, more resources into the seeds that you have, and perhaps those seeds may be more competitive in that very harsh environment.
That's just a hypothesis. That's not that's not something we know, but you can see how, that for instance what we would call fitness, that maybe sorghum initially did make, or what the ancestor that may have made all the fertile flowers, but it turns out that when it made less, those seeds had a higher fitness level and perhaps the plants overall were more productive that way in the longer term.
So there are different strategies depending upon the adaptive responses. But we're really interested in understanding of some of the other secrets that sorghum have learned along the way of how to do well under very– with low water usage and very efficient energy conversion.
Whether this has to do with the wax [? depth ?] deposition on the leaves or how it does photosynthesis, these are some of the things that it's learned to adapt in that climate, and if we can learn more on how it's done that, then we could maybe apply it to some of these other grasses that we think of more often like rice and wheat, and see if we can actually train them or have them learn a new trick of how to grow better using less water.
IRA FLATOW: Dr. Ware. Thank you. We've run out of– this is fascinating. Thank you for sharing your expertise with us on that. Dr. Dareen Ware, the molecular biologist at the USDA's agricultural research service. And she's out there in Cold Spring Harbor, Long Island.
Charles Bergquist
About Charles Bergquist
@cbquist
As Science Friday's director, Charles Bergquist channels the chaos of a live production studio into something sounding like a radio program. Favorite topics include planetary sciences, chemistry, materials, and shiny things with blinking lights.
The Sands Of Earth, And Beyond
Gary Greenberg uses 3D microscopes to inspect the diversity of sand grains.
The Small But Mighty Seed
Biologist Thor Hanson describes the dizzying diversity of seeds. A new documentary, "Seeds of Time," portrays the fight to save them.


text:
John McCarthy (informaticus), een Amerikaans informaticus;
John McCarthy (Australisch ambassadeur);
John McCarthy (politicus), een politicus uit Nebraska;
John McCarthy (taalkundige), een Amerikaans taalkundige;
John McCarthy (American football), professioneel American Footballspeler;
John McCarthy (voetballer), Amerikaans voetballer;
John McCarthy (ijshockey), ijshockeyer.

redpajama_set_name: RedPajamaWikipedia


text:
import React from 'react';
import PropTypes from 'prop-types';
import {default as Component} from '../Common/plugs/index.js';
import '../Common/css/Icon.css';

export default class Icon extends Component {
  render() {
    return <i style={this.style()} className={this.className(`ishow-icon-${this.props.name}`)}></i>;
  }
}

Icon.propTypes = {
  name: PropTypes.string
}


text:
Energy / Integrated oil Companies
China Petroleum & Chemical Corporation
China National Petroleum Corporation is a Chinese state-owned oil and gas corporation and the largest integrated energy company in China. Its headquarters are in Dongcheng District, Beijing. CNPC was ranked the third in 2016 Fortune Global 500.
CNPC is the parent of PetroChina.
Quick facts about China Petroleum & Chemical Corporation
State-owned Assets Supervision and Administration Commission
Petroleum, natural gas, and other petrochemicals
Wang Yilin (Chairman) Vacant (President)
Dongcheng District, Beijing, China
CN¥4.034098 trillion (2015)
Net Promoter Score for Top Brands compared with China Petroleum & Chemical Corporation
Is China Petroleum & Chemical Corporation's estimated NPS of 12 considered to be good?
The industry average for Energy / Integrated oil Companies is 0.
Consider an example: If China Petroleum & Chemical Corporation sends out NPS surveys immediately after purchase, they are tracking their customers' initial excitement and the checkout experience.
Therefore, comparing the NPS score of China Petroleum & Chemical Corporation with your own without any further context is not that useful.
Other companies with Net Promoter Score similar to China Petroleum & Chemical Corporation
DirecTV Telecommunications / Cable/TV service 12
MTV Consumer Brands / Entertainment 12
AXA Financial Services / Banking 12
Showtime Consumer Brands / Entertainment 11
KPN Telecommunications / Wireless Carrier 11
Blockbuster on Demand Consumer Brands / Entertainment 11
Google Consumer Brands / Internet 11
Netflix Consumer Brands / Entertainment 13
TD Bank Financial Services / Banking 10
We have estimated the Net Promoter Score of China Petroleum & Chemical Corporation based on the publicly available information


An anniversary is a special or notable event occurred on that date usually in the past 12 months.
Anniversaries are unique, they remind you of the year gone by and celebrate it with your families and friends.
Is your anniversary coming up? Are you want to invite your friends, families, relatives, neighbors in your anniversary party? Is so, you'll need a printable flyer template to make it easier.
In the today's post, we are going to show you a free anniversary celebration & invitations flyer PSD templates.
They come with elegant design and tailored to fit to any types of anniversary and events such as; wedding and birthday party invitation. To be able use this template, all you need is few design skills for using image editing software like Photoshop. Enjoy and download them all!
This unique flyer template is designed based on the gold theme. With high quality graphics, it looks more luxury and contemporary. It is super easy to edit all the elements in this flyer.
Free excess mondays flyer template perfect for luxury, high end and upscale event promotions, excess mondays flyer template is simply screaming class.
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This print ready premium flyer template are editable and customizable. You can edit the main text via text tool, the model image you can replace via smart object, right click edit smart object in your layer menu.
This print ready premium flyer template includes a 300 dpi print ready cmyk file. All main elements are editable and customizable.
Do you need luxury and special psd flyer for your events, parties or occasions? You are welcome to choose this one. Absolutely free psd flyer template was created exactly for promoting parties, music events, special celebrations, night club events or festivals.
Champagne Party Flyer are avaiable in 1275px x 1875px resolution size, cmyk color, 300dpi.
Free elegant flyer template super easy to edit, well organized in folders with names, you can easily change texts, colors, add/remove elements to this layered psd.
Free grand opening party flyer template. This flyer template was designed to promote grand opening party events.
Enjoy downloading the gentleman party free psd flyer template by elegantflyer.
A free deluxe glam night free psd flyer template was designed to promote your next party and club event. You can edit the main text via text tool, the model image you can replace via smart object and organized to keep customization very simple.


text:
Q: How to get Data from an activity from other activity ..in android..? I am very new to android development and I am facing problem while writing code for a contact book. My question is :
I have Two activity class (main_activity and addcontact_activity) ,In main_activity ----one button,listview and One EditText, if I click on button then it redirects to second activity and In second activity ---three editText(for name,phone number and email) and two buttons(save and clear)
In first activity everything fine but when I clicked on save button from second activity then it links to Main_activity but the data sent from second activity to first activity it doesn't show in main_activity so please help!
Code of Main_activity:
EditText t;
Button b;
ListView lv;
ArrayList <String> al;
ArrayAdapter<String> ad;
@Override
protected void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.activity_main);

    t=(EditText)findViewById(R.id.editText1);
    b=(Button)findViewById(R.id.button1);
    lv=(ListView)findViewById(R.id.listView1);
    b.setOnClickListener(this);

    al=new ArrayList<String>();
    ad=new ArrayAdapter<String>(this,android.R.layout.simple_list_item_1,al);
    lv.setAdapter(ad);

}

@Override
public boolean onCreateOptionsMenu(Menu menu) {
    // Inflate the menu; this adds items to the action bar if it is present.
    getMenuInflater().inflate(R.menu.main, menu);
    return true;
}

@Override
public void onClick(View v) {
    // TODO Auto-generated method stub

    if(v.getId()==R.id.button1){
        Intent link = new Intent(getApplicationContext(),addcontact.class);
        startActivity(link);
    }
}

@Override
protected void onPause() {
    // TODO Auto-generated method stub
    super.onPause();

    Intent Info = getIntent();
    al.add(Info.getStringExtra("name").toString());
    ad.notifyDataSetChanged();

}

}
code for addContact_activity:
TextView name,phone,email;
Button save, reset;
EditText n,p,e;
@Override
protected void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.addcon);

    name=(TextView)findViewById(R.id.textView1);
    phone=(TextView)findViewById(R.id.textView2);
    email=(TextView)findViewById(R.id.textView3);

    save=(Button)findViewById(R.id.save);
    save.setOnClickListener(this);
    reset=(Button)findViewById(R.id.button2);

    n=(EditText)findViewById(R.id.editText1);
    p=(EditText)findViewById(R.id.editText2);
    e=(EditText)findViewById(R.id.editText3);

}

@Override
public void onClick(View v) {
    // TODO Auto-generated method stub
        if(v.getId()==R.id.save){
        Intent send = new Intent(getApplicationContext(),MainActivity.class);
        send.putExtra("name", n.getText().toString());
        startActivity(send);

    }
}

}

A: Try this..
Do below codes inside OnCreate()
Intent Info = getIntent();
al.add(Info.getStringExtra("name").toString());
ad.notifyDataSetChanged();

Code
@Override
protected void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.activity_main);

    t=(EditText)findViewById(R.id.editText1);
    b=(Button)findViewById(R.id.button1);
    lv=(ListView)findViewById(R.id.listView1);
    b.setOnClickListener(this);

    al=new ArrayList<String>();
    ad=new ArrayAdapter<String>(this,android.R.layout.simple_list_item_1,al);
    lv.setAdapter(ad);
    Intent Info = getIntent();
    if(Info.hasExtra("name")){
      al.add(Info.getStringExtra("name").toString());
      ad.notifyDataSetChanged();
    }
}

A: use getInent().getExtras() to get the bundle.
or getIntent().getExtra();

A: add this code on onResume() instead of on pause
Intent Info = getIntent();
    al.add(Info.getStringExtra("name").toString());
    ad.notifyDataSetChanged();

A: In your case, you are sending the data to another activity using Intent, and correctly so by:
 Intent send = new Intent(getApplicationContext(),MainActivity.class);
            send.putExtra("name", n.getText().toString());
            startActivity(send);

Now, in order to retrieve the data, you need to get it from Intent in MainActivity, by:
getIntent().getStringExtra("name");

put that in onCreate() of MainActivity.
Insert a null check before reading your data...for the Intent so it doesn't throw a NPE.
Something like:
if(getIntent()!=null || getIntent().getExtras()!=null)

Read more for Intents on:
http://developer.android.com/reference/android/content/Intent.html
What is an Intent in Android?


text:
More than 100 'Earth-like' planets discovered in past few weeks
Posted by jose v on July 24, 2010 at 12:33am
More than 100 planets that are a similar size to Earth have been discovered in just the past few weeks, it has been announced.
The discovery was made by the space telescope Kepler which has been scanning the skies for planets that are orbiting stars since it was launched in January last year.
The breakthrough raises the tantalising prospect that we may not be alone in the Universe.
Scientists now believe that there are likely to be around 100 million planets in the Milky Way that harbour exactly the right conditions for life.
And they expect to be able to identify around 60 of these habitable Earth-like planets within the next two years.
Read more: http://www.dailymail.co.uk/sciencetech/article-1296841/More-100-Ear...
He said: 'Life (as we know it) is a chemical system that really needs a smaller planet, water and rocks and lots of complex chemistry to originate emerge and survive.
Sasselov said: 'There is a lot more work we need to do with this but the statistical result is loud and clear and it is that planets like our own Earth are out there.
'Our own Milky Way galaxy is rich in three kinds of planets.'
For the next stage of the mission the team will study all of the candidate planets and try and discern which of them have the right conditions for life.
'This is great news because with our own little telescope, just in the next two years we'll be able to identify 60 of them,' he said.
Sasselov said that over the past 15 years almost 500 planets have been found around other stars in the galaxy but, until now, few of these had been considered Earth-like.
'Science is in the process of redefining life as we know it,' he said.


Mostly sunny skies. High 71F. Winds WSW at 10 to 20 mph..
What is the greatest stumbling block to the Kingdom of God? Is it lying or pride?
Dear S.B.: Sin gathers up all that violates a Holy God and keeps souls from entering God's wonderful eternal home. But pride is pivotal — it stirs up everything that is against the Lord, including lying. The book of wisdom says with pride comes shame (Proverbs 11:2). Proverbs is a marvelous little book to read daily. There are thirty-one chapters — one for each day of the month.
It teaches man how to get along with others and overflows with wisdom.
A longtime friend calls each day of the month by its corresponding proverb. It is never the first of the month, but Proverbs 1 Day. The 22nd of the month is Proverbs 22 Day. What an uplifting thought; to begin each day with wise nuggets of truth from God's Word.
When He sees us walking by His truth, He is blessed. The opposite of pride is humility. We are commanded to seek the Lord and His righteousness and humility (Zephaniah 2:3). This is difficult especially in our world today. The culture shouts, "Me, Myself, and I!" This is dangerous. Police your own heart. Ask God to convict you when you have your eyes turned inward.
Pride comes from looking only at ourselves; meekness comes through looking at God.
The Bible teaches that we should think more highly of others than we think of ourselves (Philippians 2:3). This is made very difficult today by self-help books and seminars, advertisements and entertainment that fill our minds with bolstering our self-confidence. Pride flees when we compare ourselves to God instead of to other people. Humility causes us to look outward to others, and most of all upward to God.


Two weeks ago, a young Tennessee woman named Holly Bobo was abducted by a man wearing camouflage. The case has garnered a great deal of publicity, and as always in these situations, the members of the public have begun to provide information to the police.
As always, these include people who think they're psychic.
"The man who abducted Bobo is white with dark brown or salt and pepper hair, a full and shaggy mustache, and dark brown eyes. He is in his early 30's and around 5 ft 11 in weighing 210. He has nasty rash on his elbow. He is older than Bobo, a Scorpio, and the relative of Bobo's boyfriend, or the father of an ex-boyfriend. Bobo was abducted in a red truck with bales of hay in the back, and is being held and raped at his victimizer's home about 20 miles outside of Nashville, in a log cabin about 26-30 miles north of where she was abducted. Bobo's abductor makes lots of mistakes and will be captured within 5 days."
"Places or people with name initials B or J might be useful... There may be a building over the other side of the water? It seems to me that there is a lack of faith or energy in finding Holly... as though some people are actually not wanting to help find her, like there is no real effort here. The 10 of Wands [presumably the Tarot card] suggests that she could be found under 10 weeks ... 10 of wands is South but reversed it could be North. I see her inside or just outside the town near some buildings.The five of cups is upright so it shows a union with someone possibly either at a place with an M or W or name of person initials or something of that nature..."
So, let's do a police-style composite sketch, okay? We have: "a scrawny 210-pounder, with both blond and dark brown hair, who abducted her in a green-and-red-striped truck. He has a rash on his arm and a bite mark on his hand. He speaks fluent Mandarin. His name is Bob J. Mango, and he is holding her in the northwestern part of southeast Tennessee, somewhere near water. Be careful, he has a gun."
I have heard that there are occasions when police actively solicit the help of psychics in solving crime. In those cases, the police deserve to be misled, although one has to feel sorry for the crime victims they are trying to help. However, in cases where the psychics are freely giving their "information" to police, my opinion is that they should be arrested and charged with obstruction of justice, just as anyone else would be who had provided false information. The police are obliged to follow up every lead they're given; so what these charlatans are doing is wasting the time of the investigators, which should itself be considered a criminal act, especially in cases like the abduction of Holly Bobo where the victim may well still be alive and every minute counts. These psychics are also wasting the taxpayer dollars that go to paying police for the wasted hours reading, processing, and following up on the "information" they're providing.
It's one thing when psychics bilk the public out of their money for card reading, chiromancy, crystal ball divination, and other such nonsense. The victims of these scams walked into the psychics' waiting rooms of their own accord, and share in the guilt for being foolish enough to fall for the psychics' claims in the first place. But when psychics start to use their dubious skills to "aid police investigations," they have crossed the line into outright fraud, and ought to be prosecuted accordingly.
Dear friends of this great magazine and news site: The psychologic state of many people in this country and in the whole world is worthy of compassion and pitty. Most of the economic, political, criminal sociological problems of societies need to be solved with the most scientific smartest solution, by people uniting together to find the most rational solution.
But you know there is just too much emotional thinking in America, people who rely on their hearts instead on their brains to solve most of our problems.
There is also an excess of individualism, ultra-individualism which is an impediment for any strong change. Because it's impossible to solve human problems alone.


text:
using System;
using System.Collections.Generic;
using System.Collections.ObjectModel;
using UnityEngine;

namespace KspCraftOrganizer {

	public class OrganizerControllerFilter {

		private SortedList<string, OrganizerTagEntity> _availableTags;
		private SortedList<string, OrganizerTagEntity> _usedTags = new SortedList<string, OrganizerTagEntity>();
		public FilterTagsGrouper usedTagsGrouper { get; private set; }
		private OrganizerController parent;
		bool availableTagsCreated = false;

		public OrganizerControllerFilter(OrganizerController parent) {
			this.parent = parent;
			this.usedTagsGrouper = new FilterTagsGrouper(parent);

			_availableTags = new SortedList<string, OrganizerTagEntity>();

			craftNameFilter = parent.stateManager.getCraftNameFilter();
		}

		public void recreateAvailableTags() {
			_availableTags.Clear();
			foreach (string tagName in parent.stateManager.availableTagsForCurrentSave) {
				addAvailableTag(tagName);
			}

			foreach (OrganizerCraftEntity craft in parent.availableCrafts) {
				foreach (string tag in craft.tags) {
					addAvailableTag(tag);
				}
			}
			parent.refreshDefaultTagsToAdd();
			availableTagsCreated = true;
		}

		public void init() {
			//
		}

		public bool restTagsCollapsed { get { return usedTagsGrouper.restGroupCollapsed; } set { usedTagsGrouper.restGroupCollapsed = value; } }

		public ICollection<string> groupsWithSelectedNoneOption {
			get {
				return usedTagsGrouper.groupsWithSelectedNoneOption;
			}
		}

		public bool filterChanged { get; private set; }

		public ICollection<OrganizerTagEntity> availableTags {
			get {
				return new ReadOnlyCollection<OrganizerTagEntity>(new List<OrganizerTagEntity>(_availableTags.Values));
			}
		}

		public ICollection<string> availableTagsNames {
			get {
				return _availableTags.Keys;
			}
		}

		public string craftNameFilter {
			get {
				return parent.stateManager.getCraftNameFilter();
			}
			set {
				if (parent.stateManager.getCraftNameFilter() != value) {
					parent.stateManager.setCraftNameFilter(value);
					markFilterAsChanged();
				}
			}
		}

		public void markFilterAsChanged() {
			filterChanged = true;
		}

		public void markFilterAsUpToDate() {
			filterChanged = false;
		}

		public OrganizerControllerCraftList.CraftFilterPredicate createCraftFilterPredicate() {
			string upperFilter = craftNameFilter.ToUpper();
			return delegate (OrganizerCraftEntity craft, out bool shouldBeVisibleByDefault) {
				return doesCraftPassFilter(upperFilter, craft, out shouldBeVisibleByDefault);
			};
		}

		private bool doesCraftPassFilter(string upperFilter, OrganizerCraftEntity craft, out bool shouldBeVisibleByDefault) {
			shouldBeVisibleByDefault = true;
			bool pass = true;
			pass = pass && (craft.nameToDisplay.ToUpper().Contains(upperFilter) || craftNameFilter == "");
			pass = usedTagsGrouper.doesCraftPassFilter(craft, out shouldBeVisibleByDefault) && pass;
			return pass;
		}

		public void clearFilters() {
			craftNameFilter = "";
			usedTagsGrouper.clearFilters();
			foreach (OrganizerTagEntity tag in availableTags) {
				tag.selectedForFiltering = false;
				if (YesNoTag.isByDefaultNegativeTag(tag.name)) {
					usedTagsGrouper.setGroupHasSelectedNoneFilter(tag.name, true);
				}
				if (YesNoTag.isByDefaultPositiveTag(tag.name)) {
					tag.selectedForFiltering = true;
				}
			}
		}

		public void setGroupHasSelectedNoneFilter(string groupName, bool selectedNoneFilter) {
			usedTagsGrouper.setGroupHasSelectedNoneFilter(groupName, selectedNoneFilter);
		}

		public void update() {
			if (!availableTagsCreated) {
				recreateAvailableTags();
			}
			foreach (OrganizerTagEntity tag in _availableTags.Values) {
				tag.countOfSelectedCraftsWithThisTag = 0;
			}
			foreach (OrganizerCraftEntity craft in parent.filteredCrafts) {
				if (craft.isSelected) {
					foreach (string tag in craft.tags) {
						++_availableTags[tag].countOfSelectedCraftsWithThisTag;
					}
				}
			}
			foreach (OrganizerTagEntity tag in _availableTags.Values) {
				tag.updateTagState();
			}
			updateUsedTags();
			usedTagsGrouper.update(usedTags);
		}

		public ICollection<OrganizerTagEntity> usedTags {
			get {
				return new ReadOnlyCollection<OrganizerTagEntity>(_usedTags.Values);
			}
		}

		public void updateUsedTags() {
			_usedTags.Clear();
			foreach (OrganizerCraftEntity craft in parent.availableCrafts) {
				foreach (string tag in craft.tags) {
					if (!_usedTags.ContainsKey(tag)) {
						_usedTags.Add(tag, _availableTags[tag]);
					}
				}
			}

			foreach (OrganizerTagEntity tag in availableTags) {
				if (!_usedTags.ContainsKey(tag.name)) {
					tag.selectedForFiltering = false;
				}
			}
		}

		public OrganizerTagEntity getTag(string tag) {
			return _availableTags[tag];
		}

		public bool doesTagExist(string tag) {
			return _availableTags.ContainsKey(tag);
		}

		public OrganizerTagEntity addAvailableTag(string newTag) {
			if (!_availableTags.ContainsKey(newTag)) {
				_availableTags.Add(newTag, new OrganizerTagEntity(parent, newTag));
				parent.stateManager.addAvailableTag(newTag);
			}
			return _availableTags[newTag];
		}

		public void removeTag(string tag) {
			if (_availableTags.ContainsKey(tag)) {
				foreach (OrganizerCraftEntity craft in parent.getCraftsOfType(CraftType.SPH)) {
					craft.removeTag(tag);
				}
				foreach (OrganizerCraftEntity craft in parent.getCraftsOfType(CraftType.VAB)) {
					craft.removeTag(tag);
				}
				_availableTags.Remove(tag);
				parent.stateManager.removeTag(tag);
			}
		}

		public void renameTag(string oldName, string newName) {
			foreach (OrganizerCraftEntity craft in parent.getCraftsOfType(CraftType.SPH)) {
				if (craft.containsTag(oldName)) {
					craft.addTag(newName);
					craft.removeTag(oldName);
				}
			}
			foreach (OrganizerCraftEntity craft in parent.getCraftsOfType(CraftType.VAB)) {
				if (craft.containsTag(oldName)) {
					craft.addTag(newName);
					craft.removeTag(oldName);
				}
			}
			bool selectForFilterAfterInsertion = false;
			if (_availableTags.ContainsKey(oldName)) {
				selectForFilterAfterInsertion = _availableTags[oldName].selectedForFiltering;
				_availableTags.Remove(oldName);
			}
			if (!_availableTags.ContainsKey(newName)) {
				OrganizerTagEntity newTag = new OrganizerTagEntity(parent, newName);
				newTag.selectedForFiltering = selectForFilterAfterInsertion;
				_availableTags.Add(newName, newTag);
			}
			parent.stateManager.renameTag(oldName, newName);
		}

	}
}


text:
Research – Andrei Tarkovsky
May 30, 2017 ~ Jane Murray	~ Leave a comment
BALL ROOM 001 First shoot
May 30, 2017 May 30, 2017 ~ Jane Murray	~ Leave a comment
BALL ROOM 002 Second shoot
TEST SHOOT 002. Northleach
15th Feb. 2017
I am planning a day like shoot indoors. Most likely I will use the kitchen at the apartment in Northleach. The kitchen has a clean minimal interior with a large north facing window. The interior is mainly brown (wood cupboards). I will position the machine in the centre of the room with space for me to move around with the camera. I am looking to use a very narrow depth of field to blow out the background interior decor but to keep the subtle brown and white hues, which I hope will complement the black and gold and metallic elements of the sewing machine.
For this initial test shoot I will attempt to hand hold the camera and pull the focus at the same time. The object of the test will be to see the random movement of this technique and to see how the colours of the background interior and the hue of the daylight work with the images.
I am planning a shoot for mid morning and will only use available light from the window.
This shoot served a purpose on one level – as an experiment of technique. I found there was considerable difficulty managing the focus at the same time as framing is shot and moving it around the machine. The clips were too short without sufficient leading and tailing off for editing purposes. The jerky random movement of the camera did not serve the viewer well to appreciate the machines' beauty, design and engineering detail. However, the experiment with such a narrow depth of field did cement my opinion that this would be a good method to create clips of the machine which enable the viewer to experience seeing machine in the particular sense – abstract (dreamy) way. Such close-ups take the machine and it's mechanisms out of the context of sewing, the elements of the machines mechanisms could be cogs in an large Edwardian, industrial mechanical mechanism in any number of processes. The details of the engineering and design of the machine, its make-up is pronounced.
The general feedback concerning the final edited clip from this shoot was that it was to jerky and I'm settling. Nobody I showed the clip to commented on the colour or the use of angle as the filming technique was too distracting. The technique lends itself to more of a documentary investigative approach to filming. It is used in TV as a way of connecting the camera as the viewer. The subject identifies with the camera as if it were their own personal point of view. The result of the filming is inadequate and this is why as a viewer it becomes unsettling and difficult to relate to and to read any of the any intended meaning. Whilst it was a good initial try out, this experiment definitely leads me to believe that the filming of the machine will need to be in a more controlled environment with more sophisticated camera techniques. I haven't intended to use sound on this experiment, but what I have experienced firms my thoughts that the sound of the machine will be a crucial element to incorporate.
Research – FORMAT 2017 Derby
FILMING LOCATION – Ball room
RECCI SHOTS
Recordings TV/Sylv Singing – Last night of the proms/songs of praise. Memorabilia 70's
Songs of praise and the last nigh of the proms were Sunday programs form the TV that stick in my memory of my Mother sewing and singing along from the kitching were she has her machine set up on the kitchen table.
RECORDING SYLV SINGING AT HOME
AUDIT of A.N. OTHERS Photography Practice
INITIAL IDEAS FOR DEVELOPING PRACTICE
Investigate the use of various filming techniques and equipment to interpret theme. Possibley look at the use of Gopro, iPhone, super 8, BHS and other equipment which is not usual.
Experiment with this DSLR 5D Mark III /sound – USE Zoom Mic and Road Mic (ON AND OFF CAMERA) and use filming accessories, tripod dolly, table slider, monitor and tracking devices.
Look more closely at camera technique for filming: hand-held, angles, feeds, transitions , cutaways, establishing shots and focus pulling. Also consider location, daylight studio, use home, select location- considering lighting look at colour balance and LED light panels.
REAR WINDOW (Alfred HITCHCOCK). A wheelchair-bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder.
'One of the lovely things about the movie is its use of location. The entire movie is set in the apartment. This would seem claustrophobic but Hitchcock never inhibits us like this – he lets us escape through Jeffries binoculars and camera lenses, and his roving camera swoops down to let us see what the characters see (but never anything more than that, creating suspense). Every thing you need to know about the characters and scenario is given to you in the opening – establishing shot.'
ROBERT RODRIGUEZ. The one-man film crew, gorilla film makers, look at – 'From Dust Till Dawn'.
PETER JACKSON. Interview extracts 'Make something you love. And then let the market decide if they want it. Never create for others. Always create for yourself. You don't need a fancy lens or camera. If you have a smartphone, tell your story. When you create in a fictitious world, you need a lot of ideas. Let the ideas flow through you. Even when they are not the right idea fit for your project, they lead to more ideas. Culture is the one thing that makes us the same as each other. We react to the same things, and it is probably why sports has been around for thousands of years. You share and participate together. We are on a planet floating in space and we are all the same. The more you expose yourself to culture, the more you realize we all want to laugh, together. Every decision will drive you crazy if you don't follow your instinct. Just make decisions, trust your instinct, and hope that's enough. If you want to be a filmmaker, take your phone out and film something.' https://www.forbes.com/sites/brianrashid/2016/09/20/an-afternoon-with-peter-jackson-director-of-lord-of-the-rings/#6a085aaa1b88
Breaking continuity to serve a "higher purpose."
Hitchcock, the master of the designed sequence, said you should never cut back to the same shot twice.
Cuts are precious because the audience's attention is so tenuous. Once you lose them, they're gone. And every time you add an unnecessary cut, or shot, or gesture you diminish the focus of the film.
The "puzzle piece" approach where each shot fits in a place to make the whole.
Day Light – Stanley Kubrick, 'Eyes wide shut' In order to give the movie a dream-like quality, the filmmakers used an old-school method of shooting—and a treadmill. "In some of the scenes, the backgrounds were rear-projection plates,' "Generally, when Tom's facing the camera, the backgrounds are rear-projected; anything that shows him from a side view was done on the streets of London. We had the plates shot in New York by a second unit [that included cinematographers Patrick Turley, Malik Sayeed and Arthur Jafa]. Once the plates were sent to us, we had them force-developed and balanced to the necessary levels. We'd then go onto our street sets and shoot Tom walking on a treadmill. After setting the treadmill to a certain speed, we'd put some lighting effects on him to simulate the glow from the various storefronts that were passing by in the plates. We spent a few weeks on those shots."
Artificial light (Neon) – Nicolas Winding Refn 'Only God Forgives'
Muted Colours – NBC 'Hannibal' Series. The production team has done a great job with the set, and of course the color. Every shot is stunning, and in trying to figure out why, it is apparent that over and above the fact that it's shot with fantastic shallow depth of field, nearly every shot has complimentary colors in it.
In this case, teal and blood-red seem to be the main complimentary's used throughout, and with those colors, different levels of vibrancy (darker or lighter shades of the same color) are used. Those colors also makes a lot of sense, given that Hannibal has a lot of blood in it, but there are also scenes that incorporate an orangey-yellow with greens and blues – also beautiful to look at.
Look at how this can be achieved with DLSR? 'DSLR h.264 is useless when it comes to achieving such beautiful cinematography.', 'You need that raw 444 footage to really crank out the colours in the shadows like they do. It works with Alexa footage but not with anything in the h264 category (at least not nearly as creamy)'
Wide shots – ' Vanishing Point '(1971). The extreme wide shot is a shot taken from a long distance. This shot is often also used as an establishing shot. It typically features landscapes or massive building exteriors. An extreme wide shot showcases the surroundings of a character. Like the wide shot, it prominently features scale, distance, and location. If the character is visible in the shot, they are often minuscule in size. They are not the focus of the shot, yet they are there to complement it.
Camera movement and angles – 'Breaking Bad'
'With unique camera work, a very different kind of pacing and bold use of light and color, Breaking Bad has created a look unlike anything else on TV. Credit for this aesthetic is due largely to Michael Slovis, who's been the show's director of photography since the beginning of season 2. A veteran DOP with other shows such as CSI under his belt, Slovis says he's thankful he's had the freedom to experiment and credits both Gilligan and AMC for creating a show that pushes boundaries in every direction.'
In some ways he compares the cinematography to an impressionist painting.
"This isn't just about looking like reality; this is about eliciting an emotion," he says.
One of the most obvious ways that Slovis has set Breaking Bad apart is through his use of color. Flying in from the East Coast, where he lives, Slovis says he was immediately struck by the brown and yellow hues that dominate the landscape in New Mexico where the show is filmed. "In the northeast we just don't have that; we have a very different color palette," he says.
Instead of fighting it, Slovis decided to embrace the new landscape. Every time the show shoots out in the desert — something they've come to be known for — Slovis says he uses a filter on his camera that enhances the earth tones, making the scene look even more desolate and Mars-like.
To add contrast to the Southwest's famous blue sky and white clouds Slovis uses a polarizing filters and when the show filmed scenes that were supposed to be in Mexico — as opposed to New Mexico — Slovis used yet another filter, letting the new color alert viewers to the shift in geography.
When shooting inside, under artificial light, the use of contrast and color is similar. Slovis isn't afraid to shoot darkly lit scenes — they've also become a signature of the show — and he says he's come to rely on that fluorescent green color that you get when you shoot photos inside without a flash. It's become a signature hue for inside the various warehouses that fill the series.
"My job is not just to merely record the time; my job is to interpret the scripts," he says. "That said, I never want to overwhelm them, and I never want it to be about the photography so I'm lucky that the performers are so strong and the writing is so strong. It allows me to take more chances." "I don't have to explain that color; people get it," he says.
You might call Breaking Bad more "cinematic" and Slovis says that's a conscious decision. He says that AMC purposely wanted the show to appear more movie-like and part of the way they've achieved that is by shooting on film. "It's a choice made by AMC that I don't argue with. I actually love it," he says.
Slovis says shooting on film is also an advantage becuase it's expensive and it motivates people to get it right. "Everyone has to be careful with film," he says. "It lends an air of intentionality to it."
When it comes to pacing, Breaking Bad is often slower than a lot of other shows. There's no rush so Slovis has the ability to let the plot gather tension by itself without trying to fill it in with fancy camera movements.
One clear example, he says, is the scene in episode 501 (the first episode of the new season) where Walt and Mike are arguing about about how to get a laptop out of a police evidence room. The scene drags on as they go back and forth while Jesse, who is out of focus in the background, makes his own suggestion: Magnets. It goes unheard until the camera finally focuses in on Jesse as he raises his voice and gets Walt's and Mike's attention. "It's not a shot that you would normally see in network television," he says. "Most of the time the pacing is a lot faster but we have the luxury of letting the actors set the pace."
The most famous pieces of Breaking Bad cinematography are probably the wide shots. Playing off the enormously long horizons in New Mexico (where there aren't a lot of trees), Slovis and Gillagan like to shoot scenes where the characters — or oftentimes cars — in the scene are just little blips on the screen. Like the filters Slovis uses, the wide open shots help to reinforce the desolation of the desert. "The wide shots come from Vince's love of [Italian Director] Sergio Leone," Slovis says. "One of the first things he told me was to look at the The Good, the Bad, and the Ugly."
As fans know, the plot in Breaking Bad has become increasingly dark over the course of the show. Season 5 is the final one and everyone is wondering just how much further Gilligan will take things — especially after the ending of season 4. But Slovis says there is still room for the story to develop and as things get more an more intense, so will the lighting. "What I can I can tell you is that even more than in the past the lighting will follow the trajectory of the characters," he says. "[The show] goes to even more disturbing and darker places and some of the lighting gets extremely expressive at times. It's almost like Breaking Bad on steriods. It gets really fun." ' https://www.wired.com/2012/08/the-look-the-feel-of-breaking-bad/
This overhead shot from season 4 demonstrates the contrast-y light Slovis occasionally uses inside.
Slovis lets the camera sit on Walt and Mike as they argue during the first episode of season 5. The scene is an example of the cinematic pacing in Breaking Bad.
A composed detail shot that uses low depth of field to highlight the rims of Gus Fring's glasses.
Research: One day Symposium Photography's relationship with Illness, Mental Health and Wellbeing. Feeling Images
7th April 2017, WaterShed Bristol.
Patrick Graham, 'The Things You Left Behind'
Patrick's photographic practice draws upon a lifelong interest in the physical environment and our interaction with it. Having worked in land based management his work is broadly informed by a multitude of disciplines that also include humanitarian perspectives drawn from psychology, religious and spiritual ideologies, folklore and mythology as well as contemporary art. Through the medium of photography he seeks to reveal the underlying threads of commonality that connect us all, in a way that engages the heart and mind.
"The things you left behind" is a concertina photobook exploring themes of the absent father:-
Heather Agyepong, 'Too Many Blackamoors : The burden of the strong black female narrative'
"The work was inspired by a 19th century Carte-de-visite of Lady Sarah Forbes Bonetta. Sarah was the West African adopted goddaughter of Queen Victoria who came to live in England at a young age. The images are based on my own personal experiences as a young black woman, dealing with the macro and micro traumas of racism encountered while travelling around European countries. The format was based around Rosy Martin and Jo Spence's 'Re-enactment Phototherapy'. Too Many Blackamoors aims to challenge the 'strong, independent, black female' narrative that can burden and often entrap black women. With Sarah as my template, the project attempts to illustrate the effects of such perceptual limitations whilst exploring my own internal conflicts of falling short from such mainstream ideals."
FILMING TECHNICAL


Launched in 2004, Gorjana is a cult Californian label from husband/wife duo Gorjana Reidel and Jason Griffin Reidel. It is known for its eclectic, delicate collections of fashion jewellery, updating classic jewellery designs with quirky twists, sculptural forms and a cool, contemporary flair. Gorjana bracelets are ideal for stacking high or wearing alone for a minimalist feel. You'll find multi-chain hand harnesses, delicate charm bracelets or stackable bangles in soft rose gold finishes, while tiny coins and pendants lend a perfectly feminine accent.