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Home » Magazine » In-Depth Articles » K-12 Case Study: "A" Is For Agriculture
K-12 Case Study: "A" Is For Agriculture
By Anne Cosgrove
Traditional classroom/lab spaces are housed in the Locust Trace academic building. Chemistry and biology, with an agricultural slant, are taught there. (Photo: Fayette County Public Schools, KY)
Joe Norman, Principal of Locust Trace and Eastside Technical Center, recalls, "When we added the animal science courses, it was a one teacher program. But student interest was high, and we were not able to serve them in the center's urban setting. Meanwhile, a local veterinarian had approached us about coming in to have students work on a veterinary medicine program. This also increased student interest, but we didn't have the facilities to accommodate those activities."
In response to these developments, Norman and his team discussed with the district superintendent the possibility of expanding the Eastside Technical Center facility. They also revisited students' individual learning plans (ILPs) and found there was substantial interest in agriculture in general, as well as the animal sciences and veterinary medicine.
The plant and land lab affords students the space to work with large horticultural displays and related equipment. (Photo: Fayette County Public Schools, KY)
Building a new facility for a growing agriculture curriculum required the space and the funds. While evaluating how these requirements might be met, district officials learned of a federal land grant that was available nearby. They submitted an application for the 82 acre site in early 2009, and early in 2010, the district was approved to receive the land at no cost.
From there, the FCPS district eventually approved funding for the building, and the team began the planning and design process. The groundbreaking occurred in September 2010, and the facility opened for classes in August 2011 as planned. Minor construction work and building systems commissioning continued until November of that year.
The Locust Trace campus consists of two large buildings—an academic facility and an equine barn and arena. The 43,000 square foot academic building contains classrooms and adjoining labs, a veterinary clinic, and administrative offices. The 20,000 square foot barn and arena provide space for the students to work inside with the animals. In addition, there is a 3,750 square foot greenhouse for horticulture as well as an aquaculture area where students raise native fish.
A Chat With Lars Finneseth
Project Coordinator,
Lars Finneseth, Project Coordinator, Fayette County Public Schools
What are your responsibilities for Fayette County Public Schools (FCPS) district? I am a project coordinator for the Facility Design and Construction department. I am the owner's representative for our new building projects and building renovation projects.
How long have your worked for the district? I have worked at FCPS since 1994. I have been at my current position since 2001.
What notable changes have occurred in buildings/construction industry during your tenure in the profession? Most notably I have seen the use of building controls expand to a more complex tool used to monitor consumption, control the environment, and display information back to building users and the public. There has also been steady progress toward improvement of the building envelope—specifically thermal properties.
Currently, there are 188 students attending Locust Trace, but the school can accommodate up to 250 students—a mark the district expects to hit in a few years. Says Principal Norman, "We didn't push hard to fill completely this year, because we were going to be pushing, construction wise, to get into the building in time. We're doing well with the number of students we have without being overcrowded for this year."
Instruction at Locust Trace is divided into morning and afternoon tracks, and each day two groups of students travel there from the district's five high schools. Students choose one of the five programs offered: Intro to Agriculture; Environmental and Wildlife Science; Agriculture Power Mechanics; Equine and Vet Science; and Small and Large Animal Science. The facilities at the school are far and above what the students had access to at the previous site, and the expanded course offerings demonstrate that. Meanwhile, core academic classes on site include English, Math, and Science with an agricultural focus.
Green Expectations
As might be expected at a school focused on agricultural education, the natural environment was an important consideration for those planning the new facility. It was decided early on that the school would be built with the intent of maintaining as much open land as possible. In addition, the buildings were designed to operate in an environmentally friendly fashion.
Says Finneseth, "Fairly early on the district decided we would include many sustainable aspects. With input from community leaders in agriculture, we started thinking about the trends in agriculture moving towards sustainable practices, and the district decided this would be a good opportunity to expand its sustainable construction and operations practices."
The Locust Trace AgriScience Farm in Lexington, KY was built on an 82-acre site the district received as a federal land grant. (Photo: Fayette County Public Schools, KY)
As a result, Locust Trace is currently pursuing net-zero energy status (producing as much energy as it consumes), in part through the use of solar photovoltaics and geothermal systems. Further, passive and efficient systems aimed at minimizing energy used for space heating and cooling were specified. The large lab spaces, for instance, are equipped with heating, but cooling depends on natural ventilation and a series of overhead fans. For heating, finned tube radiators are affixed to the walls, and high volume, low speed fans work to push the heat from the radiators down to occupant level. For cooling, large doors in the labs can be opened, and the fans help to circulate air.
A solar thermal array on the Locust Trace roof provides a majority of the energy used to heat the school's classroom and lab building. (Photo: Fayette County Public Schools, KY)
To conserve water, the facility uses barrels to collect rainwater which is used for crop irrigation and livestock watering. An on-site well was built to serve as a back up system to the rainwater collection system in case there is not a sufficient amount of supply from rain.
When the Locust Trace school was being planned, the FCPS district was already including sustainable aspects in its buildings, but the Locust Trace school represented a leap of sorts for the district. Says Finneseth, "It was a rather large departure from what we'd been doing. We have used geothermal energy and had been incorporating some sustainable features in our schools, but this project gave us the opportunity to move to another level. It wasn't a total leap, but it was definitely a bigger step than we had previously taken."
He continues, "This was definitely driven by program curriculum. The project presented a good opportunity for us to try some of the more sustainable features while providing academic value."
Stephanie Febles, LEED®AP, mechanical designer at CMTA Consulting Engineers in Prospect, KY, worked with Finneseth and the rest of the team in determining the systems used at Locust Trace. She says, "A really interesting part of this project was the integrated design process approach. We involved faculty members, facility managers, architects, engineers, and even students. One of the great things Fayette County did was allow every option on the table until we identified why it didn't make sense. For instance, we looked at a living plant system, and it would have required hiring a new person, because the system requires about 40 hours of maintenance per week. So that was taken off the list."
Finneseth adds, "Along those lines, when considering building elements we did take into account the potential benefit to the curriculum. We probably made a few choices that, if you went on the raw numbers alone, might not have made the grade. But they were justified based on the impact on curriculum."
Says Febles, "For me, this project is about impact. Future leaders in agriculture are being trained here, and it's great to see how some of things we designed are affecting the students and their learning. Getting to educate the future generation on important things like energy has been a great opportunity."
In addition to the energy systems in place, a visible teaching tool is the "green screen," an interactive kiosk that tracks usage in real time and provides live data related to that. Located inside the school's main entrance, the system enables students, faculty, and visitors to see what's going on in terms of energy use.
Commenting on this, Finneseth says, "The screen system is more of a behavioral tool, rather than what we use to operate the building. We have a building controls system in our facilities offices, but the green screens are interactive items that provide value for students." [To read more about energy tracking strategies, read "What Energy Where?," also from the March 2012 issue.]
Class Is In
In August 2011, students, faculty, district officials, and other community members gathered to mark the start of the inaugural year at Locust Trace AgriScience Farm. Principal Norman says, "For me, the new educational opportunities is my favorite aspect of the project. Opening day was huge, and each and every day we watch the students learn things they didn't have the opportunity to be exposed to before. Some say this gives them a reason to come to school."
Reflecting on the integration of sustainable aspects and the impact on the project schedule, Finneseth says, "The construction process was pretty typical. Still, there were times that we needed to discuss how to integrate certain systems into the schedule. For instance, at one point, we were talking about the sequence of roof construction, and we had to make sure we had portions of it done in time for the photovoltaics and the solar thermal equipment to be installed. And we needed to protect the finished roof during that process."
In a few months, the Locust Trace AgriScience Farm will have completed its first academic year. This new resource for the students in Lexington, KY promises to advance agricultural opportunities in the coming years.
This article was based on an interview with Febles, Finneseth, and Norman. For more about FCPS projects, visit the district's website.
Name of Facility: Locust Trace AgriScience Farm. Type of Facility: New. Function of Facility: Education. Location: Lexington, KY. Square Footage: 66,750. Budget: $15,629,500. (construction). Construction Timetable: Fall 2010 to Fall 2011. Cost Per Square Foot: $234. Facility Owner: Fayette County Public Schools. In-House Facility Manager: Joe Norman, Principal. In-House Project Manager: Lars Finneseth, project coordinator. Architect/Interior Designer: Tate Hill Jacobs Architects Inc. General Contractor/Construction Manager: Messer Construction Company. Electrical/Mechanical Engineer and Lighting Designer: CMTA Consulting Engineers. Structural Engineer: POAGE Engineers & Associates. Landscape Architect: CARMAN.
Furnishings: TMI Systems (casework); Virco (other furnishings). Flooring: L&M (polished concrete); nora systems (resilient floor tile). Carpet: Shaw Contract. Ceilings: USG. Paint: Sherwin-Williams. Acoustics/Sound Masking: International Cellulose. Building Management System/Services: Siemens. Security System Components: Sonitrol. Fire System Components: Notifier. Lighting Products: Alkco; Axis; Bruck; Cooper Lighting Controls; Holophane; Lithonia; Luminaire; Peerless; Philips; Progress; SPI. HVAC Equipment: Apricus-30 (solar thermal panels); Bell & Gossett (pumps); Big Ass Fans (high volume, low speed fans); Krueger (grilles, diffusers); Mammoth Water (water heat pumps); McQuay (water source heat pumps, energy recovery unit); Raywall (heaters); Ruskin (louvers, dampers); Sterling (finned tube heaters). Plumbing Equipment: Bradley (wash fountains, eyewashes); Elkay (stainless steel sinks); Halsey Taylor (water fountains); Kohler (water closets, urinals, lavatories); Sloan (flush valves); Zurn (floor drains, trim). Power Supply Equipment: Cummins (emergency generator); Cutler-Hammer (main distribution gear); Satcon (inverters); Sunpower 305 (photovoltaic panels). IT Infrastructure: Corning (fiber optic cable); Panduit (general cable). Roofing: Fabral (metal); Siplast (modified bitumen and vegetated roof). Exit Signs: Lithonia. Windows/Curtainwalls/Skylights: Kawneer; Manko (windows); Solatube (skylights).
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Staggering Storeys
Nitsche Arquitetos – João Moura Building © leonardo finotti
One could be led to think that a strong concept of form embodied in a compelling physical presence might push aside other elements of architectural design, such as a building's function or its relationship to the surroundings. Although this is sometimes the case in contemporary architecture, it is not so with the office building at Rua João Moura 1144 in São Paulo, designed by brother and sister Pedro and Lua Nitsche of Nitsche Arquitetos.
Located between the Pinheiros and Vila Madalena neighbourhoods, the building is a creative solution by architects who successfully tackled the restrictions posed by local regulations and the peculiarities of the site, while remaining committed to function and rational design. Project developer Idea Zarvos, a company that believes architectural quality adds real value to a building, participated actively in the decision-making processes.
The site, a long strip between Rua João Moura and Rua Cristiano Viana, presented the Nitsches with a 16-m slope, the lowest point of which coincides with the bottom of a valley (and the groundwater table). Consequently, they used the first three storeys of the building for parking garages, avoiding excessive excavation.
This decision led to establishing the ground floor at the highest point of the site. It is a collective space with a dining area, breakout areas, terraces and a separate pavilion with a café. From there, the building rises 25 m, the maximum height permitted by the municipal building code.
On the entrance side, a 10-m setback softens the contrast between the large office building and the street, while also providing passers-by with a full view of the project. The terraced northeast façade, which offers the most salient image, responds to the need for sunlight to reach a villa at the centre of the block.
Concrete beams, each 12 m long, create continuous and fluid spaces, with only one fixed element, along the southeast façade, accommodating circulation and services, and freeing the northwest façade for an intervention that the architects call a 'display for the city'. Consisting of coloured panels and reinforcing the setback, it is the work of artist João Nitsche (Lua and Pedro's brother), with whom the architects occasionally collaborate. His decorative pattern of panels and windows corresponds to a building-code fire regulation, which states that windows should not be aligned vertically.
As seen from the Sumaré Avenue viaduct, the new office building – highlighted by its shape, size and colour – stands out as a striking addition to the neighbourhood and a stark contrast to the poorly designed contemporary architecture surrounding it. The restrictions on this building propelled its design.
author: gustavo hiriart
originally published in Mark #45, Amsterdam, The Netherlands
This entry was posted in english, mark magazine, the netherlands and tagged architecture, arquitectura, magazine, mark, Nitsche Arquitetos, revista on August 1, 2013 by Gustavo Hiriart.
← Jewel Box "Pelada" – exposición de fotografía por Leonardo Finotti →

redpajama_set_name: RedPajamaCommonCrawl


NEW DELHI - India's government said it will sell stocks worth millions of dollars seized from people who moved to Pakistan following partition in 1947 and the wars since, as a way to make up for a shortfall in revenues.
The stocks worth at least 30 billion rupees ($412.26 million) are part of what India calls "enemy properties" that once belonged to people who went to Pakistan and China, with which India also fought a war.
Once these Indian nationals became citizens of these two countries, they were treated as "enemies" and their assets in India including land and houses as well as shares were seized and held by the Custodian of Enemy Property of India.
Prime Minister Narendra Modi's government has been tightening the provisions of the Enemy Property Act 1968 to include even lawful heirs who stayed behind and were Indian citizens.
Modi's cabinet on Thursday approved a plan to sell stocks in 996 companies held by 20,323 shareholders, deemed as "enemy shares" the government said in a statement. The government said 588 were active firms including 139 listed on the stock exchange.
"The decision will lead to monetization of enemy shares that had been lying dormant for decades since coming into force (of) the Enemy Property Act in 1968," it said.
The government's move comes as it is casting around for funds to support welfare programmes in the final months before a national election in the summer of 2019.
"The government will gain from the sales of enemy shares and the proceeds will be used for development and social welfare of our people," said Law Minister Ravi Shankar Prasad.
The number of properties with the Custodian of Enemy Property had risen to about 16,000 by last year from 2,100 a few years ago - nearly all taken from Muslim families - and are estimated at more than 1 trillion rupees ($13.76 billion), media reported.


Right after posting "Time and Malware" I was looking at my blog site on Google's Webmaster Tools and decided to check out a site that was linking to mine. BLAM! That web site tried to install the Adclicker Trojan on my computer. Microsoft Security Essentials caught it, so my machine is fine. And I reported the site to both Google and Microsoft.
This entry was posted in Computer and Internet and tagged Adclicker, Microsoft Security Essentials. Bookmark the permalink.


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Trail Profile: Te Miro MTB Park
The Te Miro Mountain Bike Park situated between Cambridge and Matamata in the Waikato Region were one of the first recipients of funding from Trail Fund NZ. Aidan Forrest from Trail Fund NZ put together a few questions for Andy McLean, one of the key folks involved in Te Miro, to find out a bit more about the project and what they're hoping to do.
Tell us a bit about the area the trail project is situated in.
The area is a Matamata Piako Council reserve (about 138 ha) which is situated around the Morrinsville town water supply. It's covered in native bush, pines, redwood forest and some scrub. The main car park looks out over a large, grassy reserve before the lake and large hill behind covered in native bush. It really is beautiful. The council has replanted the pine areas with redwoods and the area has been designated an adventure park. There will be no more logging.
How did this trail project come about? What's got you guys so keen to put time into this?
The project has been on everyone's minds for a while. It was a discussion on Facebook that got us together initially and that was where it was decided we would get a club started. The tracks got started in the mid 90s and since then there's been 'ad hoc' development with interruptions due to logging.
Since the logging there's been a bit more serious development. Firstly by a local bike shop owner and then by an extremely hard working individual who added a heap more single track (>10km and growing). These tracks mainly link existing tracks in the network and as a result, usage has dramatically increased over the last couple of years. Currently we have about 21km of tracks in our system.
Describe the rider experience you envisage at Te Miro.
The tracks at the moment are more orientated towards the experienced rider with plenty of tight single track on steeper terrain with a few easier tracks more suitable for families. One of the aims of our club is to develop more tracks that will suit beginner and intermediate riders and to put in a pump track where basic skills can be developed.
What are the main challenges you've had in getting this project off of the ground?
One of the main challenges we've faced has been dealing with all the different information that we receive whilst getting on with all the other things that go with balancing busy work and family lives. At our AGM that we just held in April we recruited another 3, possibly 4 new committee members so now we can start delegating different projects amongst ourselves which should help us manage better.
Another challenge we've faced recently is differences in opinions about trail design which we're currently working through. We're viewing this as an opportunity to up-skill our trail builders and develop strategies to ensure our trails are well designed and sustainable.
Our website is also starting to take shape which will help bring our communications to a central point where they can be viewed and shared more easily amongst new and existing members, and other interested people.
What future plans are in the pipeline for the Te Miro trails?
We have a few plans up our sleeves for the future but we need to get a list together and prioritise our projects and then knock them off one at a time. Some things for our wishlist include sealing the road on the Cambridge side of the park, larger parking facilities and a toilet, family tracks, a pump track and shuttle access for the DH. What was suggested at last night's AGM was getting everyone's ideas down and starting to look for commonalities so we can begin to prioritise.


By now you may have heard about the trendy pegan diet that's attempting to replace keto as the new-new in the nutrition world. Even if you know relatively nothing about this diet, you may recognize that its name sounds oddly familiar. There's a reason for that. In fact, the diet, which was coined by Dr. Mark Hyman from the Cleveland Clinic, blends elements of the also-trending paleo diet with the vegan diet. "The paleo diet, which proponents believe mimics the diet of early humans, focuses on non-starchy vegetables, meat, eggs, and fish with limited amounts of fruit, nuts, seeds, and oils," explains Christen Cupples Cooper, Ed.D., R.D.N., assistant professor and founding director of the Nutrition and Dietetics Program at the College of Health Professions at Pace University.
Unlike a vegan diet, which focuses solely on plant-based foods and avoiding all meats and animal byproducts, Cooper explains that the pegan diet takes the whole-food, plant-food emphasis of both diets. It encourages people to incorporate vegetables in two-thirds to three-quarters of their meals. "To compensate for protein, the pegan diet allows for smaller portions of meat, fish, and egg," Cooper says.
Who is the pegan diet meant for?
Of course, eating a diet that eliminates all processed foods and replaces them with ingredients that are considered best for health is ideal for almost everyone. However, Elizabeth Ward, M.S., R.D., author of Expect the Best: Your Guide to Healthy Eating Before, During, and After Pregnancy, points out that this eating plan may be difficult for athletes who require a higher protein intake. She also does not recommend the pegan diet for pregnant or breastfeeding women. It may be difficult for them to retrieve enough calories, protein, and other nutrients. "Those who really don't like a lot of plant foods won't do well with the pegan plan. And those who love whole grains, dairy foods, or both may miss them," she adds.
If you're considering giving the pegan diet a try, here's a complete guide on how to pull it off efficiently.
Choose mostly seasonal vegetables and fruits.
Plant foods should account for 75 percent of your food intake.
The other 25 percent of your food intake should come from high-quality animal protein, according to Ward. These include eggs, grass-fed beef, and healthy fats, including olive oil. "Plant foods such as nuts, seeds, and beans provide protein and fiber as well as a slew of vitamins, minerals, and phytonutrients," she adds.
Gluten is off the table.
The pegan diet doesn't allow any gluten-containing grains. These include whole-wheat bread, cereal, and pasta. In addition, Ward points out that you can have gluten-free grains such as brown rice, quinoa, and oatmeal. However, you can only eat half a cup or less at meals.
"Any eating plan that incorporates such healthful foods can help you lose weight, especially if you eat fewer calories than you burn," Ward says. "It might be easier to shed pounds on the pegan plan if you typically overeat refined grains and added sugars, which are not allowed on the diet." She also mentions that some people find that their cravings for these foods diminish as they eat less of them.
The pegan diet, while trendy, is certainly one of the healthier, more easily sustained diets out there now. It's not too restrictive in nature. If you can stick it out without processed foods, you'll likely experience some seriously positive physical benefits.
From warding off infection to building muscle, here's your need-to-know on protein.


Posted by vpastrikakis on May 30, 2016, 11:18 p.m.
Protean is a versatile flying wing configuration that is able to take-off vertically, pitch down and fly horizontally. It consists of three sections that can be easily manufactured, assembled and inspected in case of failure. A flying wing configuration was chosen for its simplicity and good L/D characteristics, enabling it to easily meet the mission range requirements for the different payload options. This shape, together with swept wings and reflexed camber profiles increase its stability and controllability. The span of the wing is 4.9 m. The counter-rotating pairs of propellers at each side will give Protean the desirable redundancy, which will allow the configuration to fly and complete the mission after the failure of one of the propulsion systems. The initial thought was to place the propellers at the tips of the wing, but having placed them inboard made the design structurally stronger and more stable as the centre of gravity was moved further towards the leading edge. In order to enhance the control power of the four frontal motors, their axis is rotated 10 degrees with respect to the horizontal plane. This will allow an even more agile vertical flight dynamics without noticeably sacrificing the horizontal flight efficiency. The low pitching moment of inertia of the configuration made it possible to complete a 90 degree turn in less than 6 seconds after reaching the required cruise altitude of 300ft. The vertical speed of the configuration at that point will be around 25 m/s, which is enough to safely complete the flight mode change. The structural sizing was done using a load factor of approximately 5.6, as a gust of 10 m/s was considered. The safety factor was 1.5. The total mass of the configuration is estimated to be around 24 kg including the 5kg of payload. The inboard wing consists of two spars in order to provide enough safety at the point where the propellers are mounted, as well as stability in torsion. The rest of the wing accommodates one spar. A less conservative design, regarding the flight envelope, would possibly lead to less power requirement and consequently to smaller batteries. This along with the decrease of structural mass would drop the final weight of the aircraft by 2-3 kg. The payload will be easily slid out of its bay from the upper side of the wing. It will be located at approximately 1 m from the ground. All the electronics and other auxiliary devices can be accessed from another window, which is independent from the payload one. This guarantees the waterproofness and tamperproofness of delicate devices such as the inertial measurement system and the recovery system.


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Home US/World News Military plane crashes in Tennessee likely killing 2
Military plane crashes in Tennessee likely killing 2
A T-45C Goshawk training aircraft, similar to the one pictured, could be the military aircraft that crashed in Monroe County, Tenn., on Sunday. The training aircraft was due to return to base in Meridian, Miss., but had not. The Navy was investigating. File Photo by Nathan Parde/U.S. Navy
Oct. 2 (UPI) — A military aircraft crashed Sunday in southeast Tennessee, likely killing two occupants on board, the Monroe County officials said.
Monroe County Emergency Management Agency said the plane crashed in Tellico Plains in the Cherokee National Forest around 4 p.m.
The U.S. Navy said it was investigating reports of a jet crash in the area, but did not confirm it was one of its planes.
A news release from the military said a T-45C Goshawk had been training in the vicinity of Tellico Plains at the time and it had not returned to the air station. An instructor and student were aboard the aircraft, which was based out of Meridian, Miss.
The Tennessee National Guard and the National Guard Public Affairs office in Virginia told WATE-TV in Knoxville, Tenn., it wasn't one of their planes.
Authorities halted recovery efforts Sunday night and said they would resume Monday morning, WVLT-TV in Knoxville, reported.
military plane
T-45C Goshawk
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They claim to be New York's top ten agencies. The reason I'm writing this is because this agency is scamming people every day by pretending that they are "VNY Model Management, LLC".
"VNY" was formerly called "V Models," but had to change their name because of the confusion of the other "V-Models."
"VNY" had to change their website as well as their company name to be distinguished. I'm writing to see if you have any leads or information in regards to this situation.
If not could you please advise me on what to do in order to end this immorality of "V-Models" that is ran by this woman Vee A. Muka (Vee Muka). I know that many victims called "VNY" crying saying that they were [...-ed].


Thank you for your interest in writing for the Minnesota Women's Press. We are always pleased to hear from readers who want to write for us.
The Minnesota Women's Press content is a mix of the work of professional writers/reporters and talented readers. Some of the most articulate and poignant writing comes from women who don't consider themselves writers but have a deep personal story they want to share. We want stories from a range of intersectional and intergenerational women.
Essays: If you feel strongly about your job, an issue, or a life experience, please tell us about it. We do not pay for reader-submitted essays, but we do offer a great platform for online and print sharing of your viewpoints.
Assignments: We do pay a small fee to our reporters and assignment writers, and are building new revenue streams for our free publication so that we can increase our storyteller fund.
We are in the process of deciding our themes in 2019, but they focus on spotlighting the vision of women leaders, and reframing narratives around topics such as trauma, end-of-life, Native culture, restorative justice, and more.
All story ideas can be sent to editor@womenspress.com.
We finish deciding on the story mix for an issue two months prior to the issue (roughly by the 1st), with stories due no later than 6 weeks prior (so we can do photo shoots, copyediting, factchecking, design).
These usually follow the theme of the month.
This invites readers to respond to a question of the month. See each issue or this website for the upcoming questions. Email your responses of up to 150 words, or a visual by the 10th of the previous month.
Our readers love to read, and they like to know what other women are reading, too. For the BookShelf feature we want to hear about a book or genre that you're passionate about and why. Include a list of five related book titles by women authors with your 600-word essay.
Your insights about how to make change happen in the community. Up to 600 words.
The divisions of racism, sexism, LGBTQ-plus discrimination, ageism and more that plague community, and how you are bridging the gaps. Up to 600 words.
How you are living in awareness of the world beyond self, including experiences with nature and meditative practices. Up to 600 words.
Offer your essay of up to 600 words about environmental action you are taking.
Your viewpoints about how we are educating girls in our communities. Up to 600 words.
Do you love or hate something we published? Whether you're giving kudos or reading us the riot act, please share your views on anything we've published recently by writing a letter to the editor. Limit your letters to 150 words, and include your first and last name, city of residence, and a daytime phone number where you can be reached; email to editor@womenspress.com. These are made available only online.
The following guidelines were created to help you prepare your essay or letter for publication.
Essays are always written in the first person and are based on the writer's personal experience or feelings about an issue or topic.
Submissions are for use in both the print and online versions of our magazine.
Your chances of submitting something that works well for our audience is to read the magazine.
Our content tends to be original.
All of our writers live in Minnesota or have a strong Minnesota connection.
We do not quote men or use them as experts. While we recognize the need to build community and tackle issues together, the genesis for this publication is that men have tended to get plenty of voice in other media and conversations, and this is the space for women's voices.
All essays should be submitted in written form; email is the preferred method of submission. Please, no phone calls.
We receive more submissions than we can publish, and we cannot always respond quickly.
Sometimes we plan to publish your submission, but space considerations may force us to hold it for a later issue.


3dcart offers a great platform for building a store and selling your products. ShippingEasy supports an API that communicates with your 3dcart store.
NOTE: ShippingEasy supports two different 3dcart integrations. This article applies to the newer REST-based integration. Learn more.
ShippingEasy automatically sends queries to read the orders from your 3dcart account and then loads them into your ShippingEasy account. You will see the orders from your 3dcart store on the ORDERS page in your ShippingEasy app as soon as you login. Once shipped, shipment data will be sent back to 3dcart.
How do I integrate 3dcart with ShippingEasy?
Learn how to integrate your 3dcart store with our step by step guide.
Are all orders sent from my 3dcart account to ShippingEasy?
Learn how to select which statuses sync from your 3dcart store.
What happens if I click the Sync link on the ShippingEasy ORDERS page?
The Sync link prompts ShippingEasy to pull through orders, in an approved status.
If your store is set up for automatic hourly order downloads, Sync will bring your orders in sooner than the time of the usual hourly sync.
If you have disabled the automatic order download, you must use Sync to download your orders.
It can take 15-20 minutes for orders to populate after selecting Sync.
Are manual orders brought into ShippingEasy from 3dCart?
Yes. As long as the manual orders are in an approved syncing status when the API queries your store, they will be brought into ShippingEasy.
If I cancel an order in 3dcart, will it automatically clear from ShippingEasy?
Yes. If the order is still on the ORDERS page in ShippingEasy and has not been edited in ShippingEasy, then if the order is canceled in 3dcart it will be removed automatically the next time ShippingEasy syncs 3dcart orders.
If I update an orders address in 3dcart, will it automatically update in ShippingEasy?
Yes, address updates will sync to ShippingEasy during each automatic sync that occurs once per hour, or if you choose to manually sync, using the Sync button in the ORDERS page. Learn more about manually syncing.
Why are my orders not downloading from 3dCart?
The most common reason that 3dcart orders do not download into ShippingEasy is that the orders are not in a status that syncs when ShippingEasy queries your 3dcart store.
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text:
CDC confirms Enterovirus 68 claimed life of four year old kid in New Jersey
Following the widening spread of the enterovirus 68 disease among many American kids, the death has been reported of a 4 year old boy, Eli Waller, whom the Centers for Disease Control and Prevention (CDC) confirmed died of enterovirus 68 complications.
Eli Waller was a preschooler at the Yardville Elementary School in Hamilton, and following his death cleaning crews had had to disinfect his classroom to prevent the chances of the disease's spread. Several affected children displayed symptoms like that of polio, although the CDC is currently researching links between the disease and temporary paralysis that has been reported among some other children.
According to Dr. Larry Wolk, the executive director for Colorado Department of Health, "some of these children are as young as 1 year of age, so it's difficult to tell whether or not it's just a weakness or a paralysis. We don't know yet from the doctors at Children's whether or not this would be reversible or whether or not this is permanent."
The Hamilton Township Health Officer, Jeff Plunkett, added that "the symptoms that they need to look out for would be the normal flu-like symptoms – coughing, sneezing, running nose, and fever. If there's additional asthma or underlying conditions, certainly that would add to it."
Several cases of the enterovirus 68 outbreak has been reported in about 45 states of the US, and there is currently no definite treatment procedures for treating the children's respiratory disease, but health experts advise that all parents and young kids or teens wash their hands often with antiseptic soaps; avoid touching their nose and mouth with dirty hands; avoid kissing or sharing utensils with sick persons; and frequently disinfect open spaces in the home and easily-touched surfaces like tables, toys, and door-knobs among others in order to prevent the spread of the enterovirus 68 among children and households.
CDCEnterovirus 68Hamilton Township Health OfficerHealthVirus
SIO maps the least explored deepest ocean seafloors to reveal mountains and earthquake formation
ESA allows to 3D print Comet 67P dimensions using Rosetta mission files data
Evidence suggests that the human species may have already reached lifespan ceiling
Lethal Mosquito Virus Reported in Eastern Massachusetts


A book written by a senior fellow in the Association of the U.S. Army's Institute of Land Warfare has been added to the 2017 professional reading list of Army Chief of Staff Gen. Mark A. Milley.
Retired Lt. Gen. James W. Dubik, who in addition to being an AUSA senior fellow is also a frequent writer for ARMYmagazine, is the author of Just War Reconsidered: Strategy, Ethics, and Theory, a 2016 book that looks at the moral and political responsibilities of the planning and execution of war. It was published in hardback by the University Press of Kentucky, and will come out in paperback in March.
Dubik's book is part of a Battles and Campaigns series in which AUSA focuses on military land power and land warfare history, combat, strategy and tactics, and general defense issues as they relate to important battles and campaigns throughout history.
Milley's reading list, found online at www.history.army.mil/html/books/105/105-1-1/index.html, is part of the Army's push to enhance individual professional development. "Even as we train our units and physically condition our bodies, we must improve our minds through reading and critical thinking," he said.
Dubik is a visiting professor and director of external education and outreach at Georgetown University's Center for Security Studies. He also is a member of the U.S. Army Ranger Hall of Fame, a senior fellow at the Institute for the Study of War and a member of the Council on Foreign Relations, the National Security Advisory Council and the U.S. Global Leadership Coalition.


This shirt Tunisian collar style looks great with shorts or jeans. Made in the finest pure cotton with side slits.
This mens summer shirt has an oriental feel with a mao collar and 3 coconut wood buttons.
This lightweight straight cut shirt with kurta collar will keep him cool all summer. 100% cotton and available in long and short sleeves.
This classic collar shirt with three coconut buttons and chest pocket is proving very popular.
A beautiful white shirt with a mandarin collar and five buttons in coconut wood. Light and floaty, it looks good on the beach during the day or out for that evening after dinner stroll.


text:
package org.ovirt.engine.ui.webadmin.section.main.view.tab;

import org.ovirt.engine.core.common.businessentities.Erratum;
import org.ovirt.engine.ui.common.idhandler.ElementIdHandler;
import org.ovirt.engine.ui.common.uicommon.model.MainModelProvider;
import org.ovirt.engine.ui.common.widget.panel.AlertPanel;
import org.ovirt.engine.ui.common.widget.panel.AlertPanel.Type;
import org.ovirt.engine.ui.uicommonweb.models.EngineErrataListModel;
import org.ovirt.engine.ui.webadmin.section.main.presenter.tab.MainTabEngineErrataPresenter;
import org.ovirt.engine.ui.webadmin.section.main.view.AbstractMainTabTableView;
import org.ovirt.engine.ui.webadmin.section.main.view.popup.ErrataTableView;
import org.ovirt.engine.ui.webadmin.section.main.view.tab.MainTabVirtualMachineView.ViewIdHandler;
import org.ovirt.engine.ui.webadmin.widget.errata.ErrataFilterPanel;

import com.google.gwt.core.client.GWT;
import com.google.gwt.resources.client.CssResource;
import com.google.gwt.safehtml.shared.SafeHtml;
import com.google.gwt.uibinder.client.UiBinder;
import com.google.gwt.uibinder.client.UiField;
import com.google.gwt.user.client.ui.FlowPanel;
import com.google.gwt.user.client.ui.Widget;
import com.google.inject.Inject;

/**
 * View for the main tab that contains errata (singular: Erratum) for the engine itself.
 * <p>
 * It is a little different from a typical main tab view -- it supports an AlertPanel for setting
 * a message upon failing to retrieve the errata. (Errata query results rely on integration with a
 * Katello provider, and if the provider has an issue, we want to notify the user right in the tab body.
 */
public class MainTabEngineErrataView extends AbstractMainTabTableView<Erratum,
    EngineErrataListModel> implements MainTabEngineErrataPresenter.ViewDef {

    interface ViewIdHandler extends ElementIdHandler<MainTabEngineErrataView> {
        ViewIdHandler idHandler = GWT.create(ViewIdHandler.class);
    }

    interface MainTabEngineErrataViewUiBinder extends UiBinder<Widget, MainTabEngineErrataView> {
    }

    interface Style extends CssResource {
        String filterPanel();
    }

    @UiField
    public FlowPanel tablePanel;

    @UiField
    AlertPanel errorMessagePanel;

    @UiField
    Style style;

    protected ErrataFilterPanel errataFilterPanel;

    private static MainTabEngineErrataViewUiBinder uiBinder = GWT.create(MainTabEngineErrataViewUiBinder.class);

    @Inject
    public MainTabEngineErrataView(MainModelProvider<Erratum, EngineErrataListModel> modelProvider) {
        super(modelProvider);

        ViewIdHandler.idHandler.generateAndSetIds(this);

        // configure the table columns -- share config with ErrataTableView
        ErrataTableView.initErrataGrid(getTable());

        initWidget(uiBinder.createAndBindUi(this));
        errorMessagePanel.setVisible(false);
        errorMessagePanel.setType(Type.WARNING);

        initFilterPanel();
        getTable().setTableOverhead(errataFilterPanel);
        getTable().enableColumnResizing();

        tablePanel.add(getTable());
        ViewIdHandler.idHandler.generateAndSetIds(this);
    }

    private void initFilterPanel() {
        errataFilterPanel = new ErrataFilterPanel();
        errataFilterPanel.init(true, true, true);
        errataFilterPanel.addStyleName(style.filterPanel());
    }

    public void clearErrorMessage() {
        errorMessagePanel.clearMessages();
        errorMessagePanel.setVisible(false);
        tablePanel.setVisible(true);
    }

    @Override
    public void showErrorMessage(SafeHtml message) {
        tablePanel.setVisible(false);

        errorMessagePanel.clearMessages();
        errorMessagePanel.setVisible(true);
        errorMessagePanel.addMessage(message);
    }

    public ErrataFilterPanel getErrataFilterPanel() {
        return errataFilterPanel;
    }
}

redpajama_set_name: RedPajamaGithub


text:
SEASON OPENER WITH MTT
Saturday, October 20 at 7:30 PM
Sunday, October 21 at 2:00 PM
Michael Tilson Thomas, conductor
Gabriela Montero, piano
Britten : The Young Person's Guide to the Orchestra
Mozart : Piano Concerto No. 14
Brahms : Symphony No. 4
Join MTT in kicking off the New World Symphony's extraordinary 31st academic year with Latin Grammy Award-winning Venezuelan pianist Gabriela Montero. Wolfgang Amadeus Mozart ushered in a new phase of ingenuity with his Piano Concerto No. 14, perfectly captured by Montero's dazzling genius. Roll call! All Fellows get a chance to shine in a performance of Benjamin Britten's famous Young Person's Guide to the Orchestra. Johannes Brahms, a true Romantic, has always been able to make hearts yearn with his rich harmonic language and beautiful melodies. Experience the ultimate longing when NWS performs his magnum opus, the Fourth Symphony.
COMPOSE YOUR OWN SUBSCRIPTION PACKAGE!
Choose this plus two more concerts to customize your own subscription. It's the ultimate flexibility with all the subscriber benefits, including free exchanges when plans change! Click here or call the NWS Box Office at 305.673.3331 to create your own series today.
The Young Person's Guide to the Orchestra (1945)
Concerto No. 14 in E-flat major for Piano and Orchestra, K. 449 (1784)
Allegro vivace
Allegro ma non troppo
Ms. Montero
Symphony No. 4 in E minor, Op. 98 (1884-85)
Allego non troppo
Andante moderato
Allegro giocoso
Allegro energico e passionato
Benjamin Britten had a precocious start in music, studying piano and viola and composing hundreds of works by the time he was a teenager. After graduating from the Royal Conservatory of Music in 1932, he began to make professional inroads in England, and a long visit the United States during World War II helped him clarify his musical and personal outlook. His traveling companion, the tenor Peter Pears, became his lifelong romantic partner and also a peerless interpreter; with Pears singing the title role of Peter Grimes in 1945, Britten's debut opera placed the 31-year-old composer at the forefront of British music.
After the success of Peter Grimes, the British Ministry of Education commissioned Britten to write an orchestral work to be used in an educational video. It was fitting that he borrowed source material from Henry Purcell (1659-1695), the most significant composer of English theater music before Britten. Extracting a theme from the incidental music for the play Abdelazer, composed exactly 250 years earlier, Britten developed a set of variations to feature subsets of the orchestra, culminating in a final fugue. The resulting work, The Young Person's Guide to the Orchestra, has earned a rightful reputation as one of the most beloved gateways into classical music, in a rare class with Prokofiev's Peter and the Wolf and Saint-Saëns' Carnival of the Animals.
Purcell's theme first appears in a regal setting for full orchestra.
To demonstrate the main divisions of the orchestra, the theme repeats in settings for the woodwind, string and brass sections, and even in a novel rendition by the percussion group, before one last orchestral statement.
The first variation features flutes and piccolo, accompanied by gossamer violin tremolos and bright glints of harp and triangle.
The variations proceed through the woodwind section, adjusting the pace and mood in line with each instrument's essential character: For the oboes it's a heartbreaking Lento, for the clarinets a jaunty game of slurs, and for the bassoons a sarcastic march.
Introducing the strings from high to low, the violins first strut over brass accompaniment in the style of a polacca, a festive folk dance in the Polish style; the violas counter with a more relaxed variant marked "sweet and comfortable."
The cellos play a rhapsodic and alluring melody, and then comes a turn for the basses, described in the optional narration as "the grandfathers of the string family, with heavy, grumbling voices."
The harp rounds out the string family with a demonstration of its fanciful chords, arpeggios and long glissandi that sweep across the strings.
A mysterious interlude featuring horns gives the first taste of the brass, followed by a spry march for trumpets and a noble variation showcasing the trombones and tuba.
The percussion variation makes a point of separating out the individual instruments, even the sharp snap of the whip (actually two long boards clapped together).
The finale weaves all these instruments back into the fabric of the orchestra through a dizzying fugue that ends with a climactic, multilayered restatement of Purcell's theme.
Fed up with his hometown of Salzburg and unable to find a suitable long-term job, the 25-year-old Mozart moved to Vienna in 1781. He was soon married with a growing family to feed, and he kept up a breakneck schedule of freelance gigs that included teaching keyboard lessons, pursuing opera commissions, selling scores for publication, cultivating private patrons and producing subscription concerts where he debuted his new piano concertos and other works that exploited his talents as a performer.
He may have started the Piano Concerto in E-flat major (K. 449) as early as 1782 with the intention of playing it on one of his self-produced concerts, but he set it aside and only finished the score in February of 1784. In his log of compositions, he noted that it was intended for Barbara Ployer, a teenaged piano student for whom he wrote two (or maybe three) of his concertos. She lived in Vienna with her uncle, an agent for the Salzburg court, and he funded this private commission and staged the debut concert in his own house the month after the score was finished.
Surprises abound in this Concerto, beginning in the orchestral tutti, which veers to a turbulent C-minor passage after some 20 seconds, making for a dramatic approach to the pastoral sweetness of the second theme.
The most slippery music comes in the development section, which elaborates on the trilling gesture introduced in the Concerto's first phrase. After a series of bold declarations from the piano, answered each time by stark orchestral octaves, the soloist makes a cunning ascent through wandering harmonies to arrive suddenly back at the home key for the all-important recapitulation.
On its surface, the central Andantino movement seems to deliver a succession of docile and uncomplicated tunes, but once again the harmonic ground shifts stealthily beneath the listener's feet. When the strings bring back the main theme, for instance, they have migrated to the foreign territory of A-flat major, setting up an elegant return journey to the proper key of B-flat that unfolds over the next minute-and-a-half.
Not long after Mozart had arrived in Vienna, a supportive older patron drew him deep into the neglected art of fugue as practiced earlier in the century by Bach and Handel. The crisp counterpoint of this Concerto finale is an enduring sign of Mozart's respect for that learned tradition, starting with a passage that gives the second violins a prominent counter-line against the bouncy melody played by the first violins.
The same quality fuels an approach to the piano part that often gives equal weight to the right and left hands, rather than splitting them into a hierarchy of melody and accompaniment.
Brahms, already a very successful composer in his late 30s, lamented to a friend, "I shall never write a symphony! You can't have any idea what it's like always to hear such a giant marching behind you!" The giant in question was Beethoven, and his legacy haunted Brahms, especially in the signature genres of symphonies and string quartets. Brahms was 40 by the time he released a quartet, and 43 before his Symphony No. 1 reached the public, after 14 years of effort. Having cleared that hurdle, orchestral music finally began to flow freely, with three more symphonies, three concertos and two overtures coming in the decade that followed.
Brahms began his fourth and final symphony in 1884, and he conducted its premiere the next year with the court orchestra in Meiningen, a group directed by his close friend and champion Hans von Bülow. The Fourth Symphony, in particular its first movement, demonstrates just how well Brahms integrated the Classical style of Beethoven, Mozart and Haydn. The main theme is a marvel of balance and efficiency, saying so much with simple pairs of notes, first falling and then rising.
The mystical air of the slow movement comes in part from Brahms' use of an even older musical idea, the Phrygian mode developed in pre-tonal church music. The movement is technically situated in the key of E major, but the archaic harmonies and the use of chords borrowed from the minor mode maintain the pathos and tension of the Symphony's overall trajectory in E minor.
The rousing third movement in C major provides welcome relief from the heavy emotions of the two earlier movements, with piccolo and triangle brought in to add extra sparkle in the treble register.
For the finale, Brahms introduced another historical detail by adopting the Baroque-era form of short, continuous variations known as a passacaglia. The theme that serves as the basis for the passacaglia comes from a cantata by Bach, underscoring Brahms' reverence for his forebears.
-- Copyright © 2018 Aaron Grad
Aaron Grad is a composer, guitarist and writer based in Seattle. Besides providing program notes for the New World Symphony, he has been the Orpheus Chamber Orchestra's program annotator since 2005 and also contributes notes to the Saint Paul Chamber Orchestra and Seattle Symphony.
Michael Tilson Thomas is Co-Founder and Artistic Director of the New World Symphony, America's Orchestral Academy; Music Director of the San Francisco Symphony; and Conductor Laureate of the London Symphony Orchestra. In addition to these posts, he maintains an active presence guest conducting with the major orchestras of Europe and the United States.
Born in Los Angeles, Mr. Tilson Thomas is the third generation of his family to follow an artistic career. His grandparents, Boris and Bessie Thomashefsky, were founding members of the Yiddish Theater in America. His father, Ted Thomas, was a producer in the Mercury Theater Company in New York before moving to Los Angeles where he worked in films and television. His mother, Roberta Thomas, was the head of research for Columbia Pictures.
Mr. Tilson Thomas began his formal studies at the University of Southern California where he studied piano with John Crown and conducting and composition with Ingolf Dahl. At age 19 he was named Music Director of the Young Musicians Foundation Debut Orchestra. He worked with Stravinsky, Boulez, Stockhausen and Copland on premieres of their compositions at Los Angeles' Monday Evening Concerts. During this same period he was the pianist and conductor for Gregor Piatigorsky and Jascha Heifetz.
In 1969, after winning the Koussevitzky Prize at Tanglewood, he was appointed Assistant Conductor of the Boston Symphony Orchestra. That year he also made his New York debut with the Boston Symphony and gained international recognition after replacing Music Director William Steinberg in mid-concert. He was later appointed Principal Guest Conductor of the Boston Symphony Orchestra where he remained until 1974. He was Music Director of the Buffalo Philharmonic from 1971 to 1979 and a Principal Guest Conductor of the Los Angeles Philharmonic from 1981 to 1985. His guest conducting includes appearances with the major orchestras of Europe and the United States.
His recorded repertoire of more than 120 discs includes works by composers such as Bach, Beethoven, Mahler, Prokofiev and Stravinsky as well as his pioneering work with the music of Charles Ives, Carl Ruggles, Steve Reich, John Cage, Ingolf Dahl, Morton Feldman, George Gershwin, John McLaughlin and Elvis Costello. He also recorded the complete orchestral works of Gustav Mahler with the San Francisco Symphony.
Mr. Tilson Thomas' television work includes a series with the London Symphony Orchestra for BBC Television, the television broadcasts of the New York Philharmonic Young People's Concerts from 1971 to 1977 and numerous productions on PBS' Great Performances. Mr. Tilson Thomas and the San Francisco Symphony produced a multi-tiered media project, Keeping Score, which includes a television series, web sites, radio programs and programs in schools.
In 1990 Mr. Tilson Thomas and the New World Symphony were presented in a series of benefit concerts for UNICEF in the United States, featuring Audrey Hepburn as narrator of From the Diary of Anne Frank, composed by Mr. Tilson Thomas and commissioned by UNICEF. This piece has since been translated and performed in many languages worldwide. In August 1995 he led the Pacific Music Festival Orchestra in the premiere of his composition Showa/Shoah, commemorating the 50th anniversary of the bombing of Hiroshima. Thomas Hampson premiered his settings of poetry by Walt Whitman, Renée Fleming premiered his settings of the poetry of Emily Dickinson and the San Francisco Symphony premiered his concerto for contrabassoon entitled Urban Legend. As a Carnegie Hall Perspectives Artist from 2003 to 2005, he had an evening devoted to his own compositions which included Island Music for four marimbas and percussion, Notturno for solo flute and strings and a new setting of poems by Rainer Maria Rilke. Other compositions include Street Song for brass instruments and Agnegram, an overture for orchestra.
Among his many honors and awards, Mr. Tilson Thomas is a Chevalier dans l'ordre des Arts et des Lettres of France, was Musical America's Musician of the Year and Conductor of the Year, Gramophone Magazine's Artist of the Year and has been profiled on CBS's 60 Minutes and ABC's Nightline. He has won 11 Grammy Awards for his recordings. In 2008 he received the Peabody Award for his radio series for SFS Media, The MTT Files. In 2010 President Obama awarded him the National Medal of Arts, the highest award given to artists by the United States Government.
Photo by Shelly Mosman
Gabriela Montero's visionary interpretations and unique improvisational gifts have garnered her critical acclaim and a devoted following on the world stage. Anthony Tommasini remarked in The New York Times that her "playing had everything: crackling rhythmic brio, subtle shadings, steely power…soulful lyricism…unsentimental expressivity."
A graduate and Fellow of the Royal Academy of Music in London, Ms. Montero has performed with many of the world's leading orchestras to date, including the Royal Liverpool, Rotterdam and Oslo philharmonic orchestras; Gewandhausorchester Leipzig, NDR Sinfonieorchester Hamburg, Zürcher Kammerorchester, Academy of St Martin in the Fields and Australian Chamber Orchestra; the Pittsburgh, Houston, Toronto, City of Birmingham, Barcelona, Lucerne and Sydney symphony orchestras; The Cleveland Orchestra, National Arts Centre Orchestra of Canada and orchestra of the Komische Oper Berlin.
Ms. Montero is an award-winning and bestselling recording artist. Her most recent album, released in 2015 on the Orchid Classics label, features Rachmaninov's Piano Concerto No. 2 and her first orchestral composition, Ex Patria, and won Ms. Montero her first Latin Grammy Award for Best Classical Album (Mejor Álbum de Música Clásica). Previous recordings include Bach and Beyond, which held the top spot on the Billboard Classical Charts for several months and garnered her two Echo Klassik Awards: the 2006 Keyboard Instrumentalist of the Year and 2007 Award for Classical without Borders. In 2008 she also received a Grammy Award nomination for her album Baroque, and in 2010 released Solatino, a recording inspired by her Venezuelan homeland and devoted to works by Latin American composers.
Ms. Montero made her formal debut as a composer with Ex Patria, a tone poem designed to illustrate and protest Venezuela's descent into lawlessness, corruption and violence. The piece was premiered in 2011 by the Academy of St Martin in the Fields. Her first full-length composition, Piano Concerto No. 1, "Latin", was first performed at the Leipzig Gewandhaus with the MDR Sinfonieorchester and conductor Kristjan Järvi. She gave subsequent performances of the work at the Klavier-Festival Ruhr and on tour with the Orquesta Sinfónica Nacional de Mexico and Carlos Miguel Prieto.
A committed advocate for human rights, whose voice regularly reaches beyond the concert hall, Ms. Montero was named an Honorary Consul by Amnesty International in 2015, and recognized with Outstanding Work in the Field of Human Rights by the Human Rights Foundation for her ongoing commitment to human rights advocacy in Venezuela. She was invited to participate in the 2013 Women of the World Festival at London's Southbank Centre and has spoken and performed twice at the World Economic Forum in Davos. She was also awarded the 2012 Rockefeller Award for her contribution to the arts and was a featured performer at Barack Obama's 2008 Presidential Inauguration.
Born in Venezuela, Ms. Montero gave her first public performance at the age of five. At age eight she made her concerto debut in her hometown of Caracas, which led to a scholarship from the government to study privately in the U.S. and then at the Royal Academy of Music London with Hamish Milne. She currently resides in Barcelona with her husband and two daughters.


text:
Q: Angular 2 - controlling animation keyframes I'm trying to find a way to control CSS3/ angular 2 animations.
For example, look at the following code from the offical angular 2 animation docs with some changes:
animations: [
  trigger('flyInOut', [
    state('in', style({position: 'absolute', left: '15%',bottom:'15%'})),
    transition('void => *', [
      animate(300, keyframes([
        style({opacity: 0, left: '30%', offset: 0}),
        style({opacity: 1, left: '50%',  offset: 0.3}),
        style({opacity: 1, left:'80%',     offset: 1.0})
      ]))
    ])
  ])
]

My question is that if there is any way to control the css values with angular 2 variables. An illustration would be:
<animation leftPrec="15%" bottomPrec="15%" firstStep="30%" secondStep="60%" thirdStep="80%"></animation>

and in the animation component:
animations: [
      trigger('flyInOut', [
        state('in', style({position: 'absolute', left: leftPrec,bottom:bottomPrec})),
        transition('void => *', [
          animate(300, keyframes([
            style({opacity: 0, left: firstStep, offset: 0}),
            style({opacity: 1, left: secondStep,  offset: 0.3}),
            style({opacity: 1, left: thirdStep,     offset: 1.0})
          ]))
        ])
      ])
    ]

This demo obviously not working and written for illustration for what i'm trying to achieve.
I would love to hear if you have any way or suggestion about how to achieve something similar in order to control the animation keyframes properties.

A: you can now perform a re-usable animation using useAnimation();
export const easeInOutCubic = 'cubic-bezier(0.645, 0.045, 0.355, 1.000)';

export const zaFade = animation([
     style({ opacity: ' {{ from }} ', transformOrigin: '50% 0%' }),
     animate('{{ time }}',
     style({ opacity: ' {{ to }} ', transform: ' {{ transform  }}' }))
], { params: { time: `1000ms ${easeInOutCubic}`, from: 1, to: 0,
     transform: 'translateX(0)' }}
);

then USE the animation somewhere else and you can change the default params.
query('button', stagger('300ms', [
          useAnimation(zaFade, { params:
              {
                time: `1000ms ${easeInOutCubic}`,
                from: '0',
                to: '1',
                transform: 'translateY(0px)'}
            }
          )
        ]), { optional: true }),

redpajama_set_name: RedPajamaStackExchange


While sitting in the stands beats a hotel lobby any day of the week, can anyone blame us for getting a little nostalgic for the Hot Stove League? Any baseball fan can agree that even the best of May Sweeps would pale in comparison to some good trade talk. We've gone on record with our first impressions, our second and some noteworthy early season statistics, and now it's time to move the focus from the field to the front office. As contenders are hit by injuries that expose holes and bad teams watch their hopes die, it is time to start talking trade.
If I am Tim Purpura, I would either trade Roger Clemens or surround him with better players. The Astros are 11-16 and they are not getting any younger or better. In fact, Houston's roster is the fourth oldest in baseball. Clemens would be an expensive acquisition as his new team would not only have to pick up the balance of his $18 million contract for the year but also pay a $3 million assignment fee.
With teammates like Jeff Bagwell and Craig Biggio, the Astros need to make a decision to go for it all now (a decision I think is virtually impossible at this stage) or start rebuilding. As much as I enjoy Clemens pitching for his homestate team, I would vote to trade him to a contender. Reuniting the Rocket with the Boston Red Sox would be a great way for him to go out. Absent that, how about Toronto? At 16-13, the Blue Jays are in the thick of things in the AL East, especially given the fact that the Yankees or Red Sox are no longer a lock to win the division. Let's not forget that Clemens enjoyed perhaps the two best back-to-back years of his career north of the border.
If I am Brian Cashman, I might trade for Clemens if the Rocket and George were agreeable to such a deal. However, I would not trade for Ken Griffey, as rumored, under almost any scenario. Junior is not the answer to the team's problems in center field. He is nothing more than a name at this point in his career. Peel back the onion skin and you're looking at a 35-year-old, injury prone player, making over $10 million per year, barely hitting his weight and on pace to hit 13 HR.
Speaking of the Yankees, if you want to really shake things up, why not move Derek Jeter to CF, Alex Rodriguez back to SS, and pick up a cheaper option at 3B in the form of Casey Blake (if that could be arranged) or settle for a Mike Lamb or even a Jose Hernandez? This is the type of bold move that will light a fire under the Yankees. Moving Tony Womack around only makes the team worse, not better.
If I am Dan O'Dowd, I would swoop in and trade for Zach Day. The Washington National right-hander is apparently in manger Frank Robinson's doghouse. He is the prototypical Coors Field pitcher. Granted, Day needs to throw more strikes but his sinking fastball and low salary are an ideal fit for a rebuilding Colorado franchise.
I am also of the belief that the Rockies should trade Todd Helton to any team willing to take on the rest of his contract, irrespective of the players I might get in return. Reallocating the money earmarked for Helton among a number of other players is a must in my mind.
If I am Paul DePodesta, I'm on the phone right now talking to Theo Epstein about Bill Mueller or Kevin Youkilis and Terry Ryan about Michael Cuddyer or Terry Tiffee. I think Youkilis, Cuddyer, and Tiffee are all better options than the Dodgers have now and offer decent solutions longer term. Mueller works because he would fill the void this year and perhaps for part or all of 2006, allowing the Dodgers to sit back and wait for Joel Guzman, who I think projects as a 3B, to develop.
If I am Bill Bavasi, I am on the horn with Scott Boras, working out a deal for Jered Weaver prior to the upcoming draft. Five years, $7.5 million. That's about a 50% improvement over the Angels' offer and just $600,000 below what the Weaver camp was asking for at the end.
Paying a pitcher who could be in the starting rotation as early as 2006 an average of $1.5M per year for each of the next five years is a bargain, if you ask me. You overpay in the early going but, if he pans out, you've got yourself a steal in the post-arbitration years. Weaver, on the other hand, gets to stay on the west coast and pitch in the friendly confines of Safeco Park.
If I am Jim Hendry, I get on the phone with Chuck Lamar, quickly. Has anyone else noticed that the positions in which the Cubs are most lacking, the Devil Rays would consider trading? Aubrey Huff, Julio Lugo and Danys Baez. While I doubt the Cubs could muster a blockbuster involving all three, just grabbing Huff and Lugo would be a smart move for a team that still has a chance to get in the playoffs.
Luckily, the one kid quickly becoming the Cub's untouchable -- Felix Pie -- plays a position the Devil Rays are not interested in acquiring. But start with Angel Guzman, Jason Dubois and one of the Cubs young relief prospects. Throw in a few more decent names, and the Devil Rays will have a hard time saying no. With Huff and Lugo added to that lineup, Cub fans will slowly stop wincing every time Nomar's name is mentioned.
If I am Allard Baird, I make sure Daniel Glass is willing to pay Alex Gordon what he is asking this June. While it's a given at this point that Arizona is going to draft Justin Upton, Baird should be very excited that he will land the top player on my board. Gordon continues to prove that he is a fantastic talent, and even Mark Teixeira bonus demands should not make the Royals run away. While the Royals are slowly putting together a pitching staff that isn't laughable, they have a long way to go on offense. Gordon is the type of player that will make rebuilding easier.
After drafting Gordon, I make sure to recognize the considerable market for Jeremy Affeldt. It's amazing how ready people are to completely disregard performance and go straight by stuff, which Affeldt has plenty of. Closers are the one position that will be most sought after in the next three months, so Affeldt is a nice bargaining chip. Get a conference call going between Mr. Hendry, Mr. Sabean, Mr. Beinfest and Mr. Minaya, and let the four of them battle it out until the top bidder wins the southpaw.
If I am Ken Williams, I put some good publicity out there about Frank Thomas, who is not exactly receiving a hero's welcome in preparation for his return. I realize that this so-called "small ball" will not keep the Chisox in front of the division forever and that Frank's bat will be loads more valuable than what Jermaine Dye and Scott Podsednik are currently giving me. I also make sure that Dye and Poddy are the guys losing time, as Carl Everett is better than both of them, as well.
If I am Joe Garagiola Jr., I take advantage of the Cubs said interest in my infielder Alex Cintron. While I thought he might be a good player once, it seems like he really isn't much better than what Craig Counsell could give me. In no scenario will I back down from my current offer of one Major League reliever, though I might go as far to let Jim Hendry pick from the Mike Wuertz, Jon Leicester and Todd Wellemeyer group. If it were up to me, I would choose Wuertz.
If I am John Hart, I will undoubtedly shop Alfonso Soriano once Ian Kinsler proves to be a bit more ready. Soriano has put up some decent numbers in Texas, but with a ready contributor waiting in the wings and pitching sorely needed, you can kiss him goodbye. I'm not exactly sure who would be interested, but there has to be some market for a second baseman with great speed and plus power.
If I am every GM in baseball not named John Hart, I do not acquire Soriano. I realize that Hart will likely be asking for my best pitching prospect, and that is just not something I am willing to pay for someone who walks about as often as Jose Reyes. Soriano also plays sketchy defense, and should his OPS be lower than his .808 performance last year, that will be the fourth straight season of decline. Sure, players at 29 are supposed to be at the pinnacle of their careers, but Soriano is a perfect example of the kind that peaks at 26.
So, would you hire us? What ideas are too ridiculous, too pie-in-the-sky, or simply make too much sense? What would you do?
Would I hire you guys? Sure. Bryan would head minor league development and Rich, you could be my Senior Advisor of Baseball Operations any day!
The Jeter-to-CF, ARod-to-SS moves make WAY too much sense for Steinbrenner to do it. I don't see Clemens pitching for Toronto at all. If I'm the Mets, I make a play for Ugueth Urbina.
If I'm the Mets I avoid Urbina at all costs. A much better fit is Cameron for Dotel. Billy loves the centerfielder (he was bidding against the Mets when they ended up signing him two years ago) maybe enough to even throw in Calero, providing the Mets kick in some cash.
Whooo! I'd love to see a Lugo-Huff-Baez for Dopirak-Guzman-Wellemeyer (Or Guzman) blockbuster type deal. Just the trade itself would be fun, not even including the baseball that would follow it. Two GMs taking big risks, putting their jobs on the line and swapping tons of talent with two mutually independent and contradictory goals to win today and win tomorrow. That would be sweeeeeeeet.
I'd hire you if you could make that deal happen.
I hope you're right about Affeldt. He's a major disappointment for Royals fans, and frankly his stuff has gotten worse since in the past year.
If another GM is gullible enough to give up a decent prospect or two for Affeldt, I'd run, not walk, to sign those papers.
If I was the Detroit GM, I would like to disembowel that team and start re-building. First, try damned hard to void the contract given to Maggs -- that was the most foolish move the Tiggers have made since they traded away the everything but the kitchen sink for one year of Juan Gone! Trade either Troy Percival or Ugueth Urbina, whichever one interests other teams. If there is some interest for both, then deal both. Why does a non-contending team need two closers? Finally, trade Ivan Rodriguez. He still has a great deal of value, but probably not too many years left. A contender (Anaheim perhaps?) would gladly scoop him up. And lastly, do not sign any more free agents on the wrong side of 30 until this team is ready to contend again!
With all due respect, what good does dealing Clemens do for the Astros? In terms of run production and differential, Houston is quite comparable to Atlanta, but the two teams have performed differently in a small sample. Taking a different look, Houston isn't that far out in the Central. Really, if having Rocket on the team were about the money, he wouldn't have been re-signed in the first place. Armchair GMing is great fun, but dismantling a key component of a team's success by merit of them being seven out after 17% of the season (just for the sake of a media parade in Boston, New York, or Toronto) seems a tad disingenuous to me.
My comments re the Astros trading Clemens or surrounding him with better players were not intended to be disingenuous at all. I'm not a big fan of finishing in third place, especially if the elevator is going down rather than up. I would rather take a short-term hit this year and position the team to compete next year and beyond.
Trading Clemens isn't about dumping payroll per se. I think the Astros could get some longer-term value in return for his services this year. Absent trading the Rocket, I think the Astros need to make a Carlos Beltran type trade once again. If that is the chosen direction, great. But let's not kid ourselves here and think Houston can win its division or even gain a wild card spot as is.
My point was that Houston doesn't need to be in panic mode right now, and dealing Clemens is a panic move. There's no doubt in my mind that another bat is needed, but I'll wait until Berkman returns to form before talking about potential upgrades. The slumping offense is lame, but the team could just as easily be 14-13 with some luck in 1-run games.
I didn't realize that pointing out the Astros weren't as poorly off as they seemed was an admission that I look forward to a third place finish. I was pointing out that in a parallel universe, the Astros are only a game or two worse than the first place Cards.
I wasn't trying to attack you or the idea of improvement through trade. A few of the other deals are off-the-wall and interesting, and I was only remarking on the hasty logic of dealing Clemens. If playing for a 2005 run is front and center like you say (and it is), then Clemens shouldn't be moving anytime soon.
Here's one way of looking at it: if the Cardinals play .600 ball the rest of the season (which is assuming they are overperforming right now, they finish 99-63. For the Astros to then still win the division, they have to have a .659 winning percentage the rest of the year.
Even when Lance Berkman comes back to this lineup and Brandon Backe stops playing like he is, this team is not a .660 ballclub.
I agree that trading Clemens right now is a panic move, because for all we know, the Cardinals might win at just a .500 clip the rest of the year. But that isn't likely, and if the Astros are 10 back in July, trading Roger will make a whole lot of sense.
TRADE CLEMENS TO NEW YORK ONLY IF THEY AGREE TO TAKE BAGWELL AND BIGGIO. THE ASTROS ARE MORE CONCERED WITH THESE OLD DOGS GOING TO THE HALL OF FAME THAN WINNING.
I read this morning's article, Rob, but unfortunately didn't have access to it Thursday night when I wrote mine.
Jim - I am acutely aware of the fact that Bavasi is the GM of the Mariners. I was referring to the fact that Seattle has the third pick in the upcoming draft (behind Arizona and Kansas City).
I don't think the Diamondbacks or the Royals are likely to draft Weaver, meaning the 2004 College Player of the Year is likely to be available (assuming he doesn't sign with the Angels this month) when Bavasi and the Mariners are on the clock.
The Angels hold exclusive negotiating rights to Weaver until one week prior to the draft. Bavasi, however, could call Boras between the time the Angels lose their rights to Weaver and the date of the draft to work out a deal. If I am Bavasi, that is what I would do. I hope I have made myself clear on this point.
Point taken, but I'd be hard-pressed to see how Weaver is in a better negotiating position now than he was last year.
In 2004, he was a player who had the potential to move quickly through any minor league system, based on polish. In 2005, though, he's a player who hasn't made a meaningful pitch since last June.
Could he prove me wrong? Sure. Wouldn't be the first time I was wrong about something. But if I'm Bavasi, I'd have to think long and hard before committing my energy, time and money (not necessarily in that order) to Weaver at his current state.
If I'm Larry Beinfest, I take a gander at Zach Day, too. Beckett, Burnett, and Willis are strong trio right now, but the early returns on Leiter have been far from impressive. Comments from Dr. Jack McKeon aside ("His stuff has actually been too good lately"), Leiter can't hit the broadside of a barn right now, and anything that comes near the plate gets shot back at him with extreme prejudice. Who knows when Ismael Valdes will come back, and with all due respect to my father, Brian Moehler is NOT a long-term solution to the problem. It'd be both a move to correct an existing problem, and a forward-thinking move, as the Marlins stand to lose at least 2/5, probably 3/5, of their opening day starting 5 next season [Burnett, Leiter, Valdes].


A place only still waiting to be discovered by the local and foreign tourists.
shining star of aegean cost definetely will be most wanted destination in near future.
Ilica cesme a popular holiday destination in Turkey started to attract foreign visitors especially from Russia, Germany and England.
cesme donkey island which is a very interesting tourist attraction place with hundreds of donkeys living n the island can be reached and visited by daily boat trips from Cesme .
cesme peninsula is favourite place of the jet set in last years a great summer holiday town.
kizlaragasi han ( inns) is one of the best point to experience both past and present day.
kus cenneti meaning bird paradise in english is a natural protected park located in Izmir.
Izmir saat kulesi ,Izmir Clock Tower is the symbol of izmir city.
Asansor (lift )meaning an elevator in Turkish is one of the famous and worth place of Izmir to see and spend time.


Everybody's heard the philosophical question about the tree falling in the forest, and frankly, I could care less about figuring it out. Why should I care if some random tree in some random forest is making noise? It's a tree. With that being said, when you apply the same question to an up-and-coming band, the answer becomes a lot more interesting and a lot more clear-cut. Yes, of course they can make a sound, but wouldn't it be a lot more fun if someone was around to hear it?
Before you headline Madison Square Garden and save the world with your music, you just need to find a community that's willing to give you a chance. For a lot of bands, that community is the school they're going to—just ask R.E.M., Sleater-Kinney, Slowdive, Radiohead, and countless others. Everyone has to start somewhere, and the more supporting and accommodative that somewhere is, the easier it is to get your feet off the ground. As a student and musician currently finishing up my undergraduate at Drexel, I understand this all too well, but for much of my college career, the campus has lacked a place like-minded friends and I could call home. It wasn't always that way, though.
About six years ago, a Drexel student received a grant for over $90,000 in top-of-the-line sound equipment. It was eventually installed in the basement of the James E. Marks Intercultural Center, resulting in the birth of Flux, the university's premier concert venue. For the next few years, the space hosted performances from student, local, and touring acts, including Modern Baseball, The Districts, The Front Bottoms, and more. It was the community-centric space I had always dreamed of in high school, but just as I was beginning to feel optimistic about the future, things took a turn for the worse.


Nuts! What's not to love? They're crunchy, yet creamy, flavorful and incredibly nutritious. While we have to be mindful of portions – it's so easy to get carried away – a modest amount of these little powerhouses can deliver heart-healthy fat, which can help lower bad cholesterol, antioxidants and fiber. Though we often think of almonds, cashews and walnuts as the perfect snack, perhaps in bag of trail mix, they can be the shining star in a main dish as well. We scoured Pinterest for some examples to help you go nuts in the kitchen this winter!


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Arya, also spelled Aarya or Ariya (  ;   ) or as Aryo or Ario, is an Indo-Iranian name. The Sanskrit word Arya is a surname and a masculine ( ) and feminine ( )  given name, signifying "honorable" or "noble". In India and Iran it is a popular masculine given name and a popular surname. In the historically Indianized country of Cambodia, it is usually a name given to girls. In Indonesia, Arya is also commonly used as a masculine given name, usually in Java, Bali, and other places. In Javanese it becomes Aryo, Ario, or Aryono. It is a common name amongst Hindus and Muslims.

Modern usage
The 2011 television series Game of Thrones features a character named Arya Stark, increasing the name's popularity among Western audiences. In 2013, BBC News wrote that "the passion and the extreme devotion of fans" had brought about a phenomenon unlike anything related to other popular TV series, manifesting itself in a very broad range of fan labor, such as fan fiction, Game of Thrones-themed burlesque routines, or people naming their children after characters from the series. In 2012, "Arya" was the fastest-rising girl's name in popularity in the United States, jumping from 711th to 413th position.

It peaked in popularity in the United States in 2019, when it was the 92nd most popular name for newborn girls. It fell to 120th position on the U.S. popularity chart in 2021. The name entered the top 200 most commonly used names for girls born in England and Wales in 2017.

Notable persons

From India
 Arya Bhatta (476–550), Indian mathematician
 Aditi Arya (born 1993), Indian model
 Aditya Arya, Indian photographer
 Arya (actor) (born 1980), south Indian actor
 Aarya Ambekar (born 1994), Marathi playback singer
 Aarya Babbar (born 1981), Indian actor
 Arya Gopi, Indian Malayalam-language poet
 Arya Rohit, Indian actress
 A. S. Arya, Indian structural engineer
 Anita Arya, Indian politician from the BJP
 Chaudhari Kumbharam Arya (1914–1995), Indian freedom fighter and popular leader
 Ishan Arya, Indian cinematographer and producer
 Mangilal Arya (1918–1992), Indian freedom fighter and social reformer
 Satyadeo Narain Arya, Indian politician from Bihar
 Shraddha Arya, Indian actress from the Telugu film industry
 Shubhavi Arya (born 1998), Indian animator
 S. N. Arya, Indian physician and writer
 S. P. Y. Surendranath Arya, Indian independence activist
 Yashpal Arya, Indian politician from the National Congress

From Indonesia
 Arya Penangsang, Sultan of Demak (1549–1554)
 Ario Soerjo (1898–1948), murdered Indonesian politician
 Arya Maulana Aldiartama (born 1995), Indonesian badminton player
 I Ngurah Komang Arya (born 1985), Indonesian footballer
 Aryo Danusiri, Indonesian film director
 Aryo Djojohadikusumo, Indonesian politician
 Bima Arya (born 1972), Indonesian politician

From Iran
Aryo Barzan, an Achaemenid prince who was born in 368 BC and died in 330 BC
Aryandes, satrap of Persian Egypt
Ariamnes, satrap of Cappadocia
Ariyāramna, a minor king in pre-imperial Persia (Pars region) and great-grandfather of Darius I
Ariobarzanes I of Media Atropatene, ruled from 65 BC to 56 BC
Ariobarzanes II of Atropatene, grandson of Ariobarzanes I, king of Media Atropatene from 20 BC to 8 BC
Ariobarzanes I of Cappadocia, king of Cappadocia from 93 BC to ca. 63 or 62 BC
Akram Monfared Arya (born 1946), first Iranian female pilot
Fatemeh Motamed-Arya (born 1961), Iranian actress
Arya Aramnejad (born 1983), Iranian singer
Arya Aziminejad (born 1973), Iranian composer
Arya Nasimi-Shad (born 1999), Iranian swimmer
Ariya Daivari (born 1989), Iranian-American professional wrestler

From other origins
 Arya Mitra Sharma (born 1959), German doctor
 Chandra Arya, Canadian politician

Fictional characters
 Arya Dröttningu (later Arya Dröttning), from the Inheritance Cycle book series by Christopher Paolini
 Arya Stark, from George R. R. Martin's A Song of Ice and Fire book series and its television adaptation Game of Thrones

References

Indian masculine given names
Persian masculine given names
Iranian masculine given names
Indonesian masculine given names
Indian surnames
Persian-language surnames
Indian unisex given names
Persian unisex given names
Indonesian names

redpajama_set_name: RedPajamaWikipedia


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Are you a creative, entrepreneurial person?
Do you have a unique business idea?
Do you need a bit more "ooomph" to get yourself and your idea out there?
It's called Lessons from the Big Girls (and Boys) because here's the truth: the same 'lessons' that helped the leaders of Apple, Virgin and The Gap supercharge their business and become mega-brands can work for you.
Teresa Alpert will take you through the paces in an intensive half-day workshop. Teresa —along with a few special guests—will share lessons from the most iconic brands and people on the planet. How did they do it? What made them successful? And how can YOU take those same tips, tools, and tactics to become a more successful entrepreneur?
It all starts with the brand called YOU - and some Lessons from the Big Girls (and Boys).
Refreshments and vegan gluten-free lunch included!
Raised in Wisconsin, sharpened in New York and now at home in London, Teresa Alpert is Director of Crimea River Ltd., a global brand consultancy that works with businesses large and small.
Teresa's diverse career path began as a special education teacher working with mentally and emotionally challenged teens and adults, an experience that has proven invaluable in the business world. She left the classroom to become an engineer and strategic marketer for ATT/NYNEX specialising in future technologies. After ten years in high tech, she entered the advertising business and has never looked back.
Over the past two decades, Teresa has led business and brand strategy at McCann Erickson, DDB, Ogilvy, and Lowe and Partners Worldwide. She has helped burnish insight into resonant, results-producing strategies for a roster of global brands including IBM, Portobello Road Market, Unilever, BAE Systems, Thomas the Train, L'Oreal, and iVillage.com. She specialises in complicated brands with multiple constituents but has also helped smaller, emerging companies--from fashion labels to IT start-ups--find their footing, their voice, and their audience.
A firm believer that successful brand-building occurs from the inside out, Teresa is the architect of employee engagement programs designed to help businesses enrich, align, and empower their people. She is also a frequent advisor and guest lecturer on the international university and business circuit.


Understanding the concept of capacitance can be helpful in understanding why nanotechnology is such a powerful tool for the design of higher energy storing capacitors. A capacitor's capacitance (C) or amount of energy stored is equal to the amount of charge (Q) stored on each plate divided by the voltage (V) between the plates. Another representation of capacitance is that capacitance (C) is approximately equal to the permittivity (ε) of the dielectric times the area (A) of the plates divided by the distance (d) between them. Therefore, capacitance is proportional to the surface area of the conducting plate and inversely proportional to the distance between the plates.
Using carbon nanotubes as an example, a property of carbon nanotubes is that they have a very high surface area to store a charge. Using the above proportionality that capacitance (C) is proportional to the surface area (A) of the conducting plate; it becomes obvious that using nanoscaled materials with high surface area would be great for increasing capacitance. The other proportionality described above is that capacitance (C) is inversely proportional to the distance (d) between the plates. Using nanoscaled plates such as carbon nanotubes with nanofabrication techniques, gives the capability of decreasing the space between plates which again increases capacitance.


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Victory in the Kitchen: The recipes that kept Britain going in the Second World War
Country Life February 17, 2017
Wartime potato poster - ©IWM (PST 3366) and pie poster ©IWM (PST 3108) Credit: Wartime potato poster - ©IWM (PST 3366) and pie poster ©IWM (PST 3108)
You too can rustle up something delicious out of meagre rations with these austerity recipes from the Imperial War Museum's new collection.
The Second World War had a huge impact on the kitchens, and the stomachs, of millions of British people.
Food was 'a munition of war' and without it, military forces could not fight on; civilian workers could not contribute to their nation's 'war machine' in the unrelenting production of weapons and equipment; and ordinary people living through a state of war on the home fronts had to be sustained. Food was their fuel.
With imports hit hard by the attacks on shipping convoys, compromises were made to get Britain as far as possible towards self-sufficiency. Food was never wasted; alternate ingredients were constantly tried out. Those efforts have been celebrated in a new book called Victory in the Kitchen, published by the Imperial War Museum at £6.99.
Victory in the Kitchen is not your usual cookbook: there are no beautiful photographs of food carefully prepared in studios, but instead a collection of simple, delightful and – to our modern palates – unusual recipes from the Second World War. It's all beautifully illustrated with some of the museum's collection of beautiful and often very funny wartime posters.
We've picked out two of the recipes for you to try – two of the pie recipes, just like your mothers, grandmothers or great-grandmothers might have made in the war.
Lord Woolton's Pie
For a nation that favoured meat, it was extraordinary for a vegetarian dish to be accepted by the British people. Lord Woolton's Pie is an example of a dish that was so successful, it in fact became a legendary wartime recipe. As overseas supplies became increasingly threatened by the war, there was a push towards home-grown produce and self-sufficiency.
That need led to the creation of this pie, one of the most popular wartime recipes, which was named after the wartime Minister of Food. It's a root vegetable pie, including the infamous 'Doctor Carrot' and 'Potato Pete,' blended with oats and topped with a potato crust.
Ingredients – filling
1lb seasonal vegetables such as potato, swede, cauliflower and carrot
3–4 spring onions
1 teaspoon vegetable extract
1 tablespoon oatmeal
Chopped parsley
Ingredients – pastry
8oz wheatmeal flour
1 level teaspoon baking powder
Pinch of powdered sage (optional)
1 pint cold milk, or milk and water
Dice the vegetables and spring onions. Cook together with the vegetable extract and oatmeal for 10 minutes with just enough water to cover. Stir occasionally to prevent the mixture from sticking. Allow to cool.
To make the pastry, mix all the dry ingredients together then stir in the milk milk and water, and roll out the mixture.
Finally, put the filling in a pie dish and sprinkle with chopped parsley, then cover with the pastry. Bake in a moderate oven until the pastry is nicely brown and serve hot with brown gravy.
Wartime pie poster ©IWM (PST 3108)
Egg and Bacon Pie
If veggie pie doesn't appeal to your taste buds, why not try an Egg and Bacon Pie? Two of Britain's favourite breakfast ingredients mixed together and topped with pastry, what more could one want?
2–3 oz bacon, chopped
1 oz fresh breadcrumbs
Pastry (as above) using 6oz flour
Line a seven-inch flan ring or sandwich tin with two-thirds of the pastry. Beat the eggs and mix in the bacon, breadcrumbs, milk and seasoning.
Pour into the flan case and cover with the remaining pastry. Bake in a hot oven for an hour and serve hot or cold.
Tom Parker Bowles on how to eat seasonally in January
How to cook a Christmas turkey on the barbecue
Brussels sprouts: Fresh and nutty, sweet and savoury all at once — and a recipe to convert even non-believers