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What is considered a fast bike pace?
How fast is the average cyclist?
Is 12 mph on a bike fast?
How fast is a moderate biking pace?
What is a good pace on an exercise bike?
What is a good bike distance?
How fast do Olympic cyclists go?
Is 20mph a good cycling speed?
Is 30 miles a long bike ride?
Is cycling 15 miles Good?
What is a good distance for a beginner cyclist?
How long does it take to cycle 10 miles on an exercise bike?
What is considered a moderate pace on a stationary bike?
Is 10 miles on a stationary bike good?
Is 30 minutes of stationary bike the same as 30 minutes of walking?
Average Speed on Flat Ground: 25-28 mph
The average speed for professional cyclists while traversing on flat terrain is 25-28 mph. The average amateur cyclist travels about 17-18 mph while on flat ground.
Many beginning road cyclists ride at average speeds between 10 and 14 mph on the road. It's certainly possible to sustain a higher speed, and some new riders who were already runners or some other type of endurance athlete may pedal at 15-18 mph or even higher.
The Physical Activity Calorie Counter provided by the American Council on Exercise (ACE) describes cycling at a pace of 12 to 13 miles per hour as a middle/moderate level. A cycling speed of 16 to 19 miles per hour is considered a racing speed.
Beginners and occasional riders usually ride somewhere between 50 and 60 rpm. More advanced riders, especially those riding bikes with weighted flywheels as opposed to motorized exercise bikes, ride closer to 80 or 100 rpm when simulating level terrain.
THIS IS IMPORTANT: Quick Answer: How long does a carbon fiber mountain bike last?
The average cyclist rides 10 miles to 12 miles an hour (at a moderate pace). You can, therefore, begin with about 5 miles per day—assuming you do not do any other physical activity. It is advisable to combine cycling with other exercises. This way, you can cycle fewer miles.
There are 12 different events, and the races are held in a bowl-shaped arena, called a velodrome, that is 250 meters (820 feet) round (though sizes can vary from track to track), with racers riding counterclockwise and achieving top speeds above 70km per hour (43.5 mph).
Most cyclists can achieve 10-12 mph average very quickly with limited training. More experienced, short-medium distance (say 20-30 miles): average 15-16 mph. Reasonable experience, medium (say 40 miles): average around 16-19 mph.
The majority of riders can average a speed of about 15 mph on a one hour ride. A good speed for a beginner is 10 mph, but you should be able to get to 15 mph pretty quickly. … Professional riders can easily average 25 mph during races like the Tour De France.
Even if you maintain a slow pace, a 30-mile tour will take about 2 hours on a road bike. Road bicycles only need little effort to pedal and are lightweight. These ideal features make you faster as you can focus more on mileage than force. Mountain bikes, or mtb, are ideal for bumpy terrains and hilly lands.
THIS IS IMPORTANT: How much weight can you lose using a stationary bike?
If you are fit and have good endurance, and ride a road bike or a bike designed for optimum speed on a straight road that usually goes downhill, then you should have little trouble with 15 miles. … Such speeds are not good for the faint-hearted, though. Aside from speed, endurance also plays a part in your journey.
A beginner cyclist should aim to cycle 8mph (12kph) which will achieve a distance of 8 miles (12km) every hours on average. The distance travelled will be affected by the surface of the ground, the weather and the type of bike used.
How long to cycle 10 miles? A good average for a ten mile bike ride is between 45 minutes and an hour. If you're a beginner, it's more likely to be closer to the hour mark. Over time your average speed for each of your rides will increase and so the time it takes to cycle 10 miles will be reduced.
According to Harvard University, moderate cycling is a pace of around 12–13.9 miles per hour (19.3–22.4 kilometers per hour).
That means that, on average, you'll need to bike approximately 60 to 70 miles in total to shed about 1 pound of fat.
As is the case with pedaling a stationary bike, the calories you'll burn while walking depend on the pace you sustain. A 140-pound person burns just 88 calories during a 30-minute walk at 2 mph. If this person increases her pace to 3 or 4 mph for 30 minutes, however, she burns 139 or 164 calories, respectively.
THIS IS IMPORTANT: Can I put 24 Wheels on a 20 bike?

redpajama_set_name: RedPajamaCommonCrawl


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Articles from the March 2, 2018 edition
Cutting the ribbon to JFS Orlando's new counseling wing
As the 40th anniversary of Jewish Family Services approaches, a special ribbon-cutting ceremony was held last Thursday officially opening the newest wing of the facility. In 2016, Orange County... Full story
JNF Tree of Life Gala honors four
The Jewish National Fund will host the annual Tree of Life™ Award Gala at Congregation Ohev Shalom on Tuesday, March 20, to honor Deborah Dorsky Meitin, Marc Reicher, James Riola, and Rabbi Aaron... Full story
By Christine DeSouza News March 2, 2018
JBall honors Carol McNally
What's a nice Irish-Catholic girl doing in a Jewish preschool? Making it the best Jewish preschool in Central Florida, that's what! Carol McNally, director of the Richard S. Adler Early Childhood Lear... Full story
RAISE brings hiring in house
RAISE (Recognizing Abilities & Inclusion of Special Employees), the Jewish Federation of Greater Orlando's work and social skills training program for adults with special needs, has a new job creation division called RAISE Awareness to Hire. "RA... Full story
By Pamela Ruben News March 2, 2018
With theme of 'Together We Will,' BBYO convention sounds prescient note on teen action
(JNS)-Mike Signer, who served as the mayor of Charlottesville, Va., during the rally and protests last August that brought white supremacists to the forefront of international attention, recalled... Full story
Statement from the Jewish Community Relations Council
The Jewish Community Relations Council of the Jewish Federation of Greater Orlando expresses its deepest sympathies to the survivors, victims and families impacted by the tragic shooting in Parkland, Florida, and all those affected by senseless... Full story
Beth Sholom March schedule
Celebrate Shabbat with the synagogue that feels like family. Congregation Beth Sholom's Shabbat evening service led by Rabbi Karen Allen is on Friday, March 9 at 7 p.m. An Oneg Shabbat will follow the service. The synagogue is located at 315 North... Full story
Holocaust profiles in poetry at literary luncheon
The public is invited to a presentation of "Beneath White Stars: Holocaust Profiles in Poetry" at the American Association of University Women's (Orlando/Winter Park branch) annual Spring Literary Luncheon on March 17. The served luncheon... Full story
By Israel Kasnett News March 2, 2018
Holding out an olive branch? US lawmakers speak out after being detained on Temple Mount
(JNS)-US Reps. Scott Tipton (R-Colo.) and David B. McKinley (R-W.Va.) no doubt anticipated an eye-opening experience when they visited the Temple Mount on Thursday as part of their current trip to... Full story
By Ron Kampeas Life Cycles March 2, 2018
Billy Graham, who championed Israel, but had his image tarnished one time, dies at 99
WASHINGTON (JTA)-Billy Graham, the giant of American evangelism who was exalted by Jews for his championing of Israel at its hour of need and then condemned when a nasty anti-Semitic streak was... Full story
Trump cites suffering of Jewish family
WASHINGTON (JTA)—President Donald Trump spoke of the anguish of a Jewish family in commemorating last week's school shooting in Florida. "I had them in the Oval Office, incredible people," Trump said Friday at CPAC, an influential annual... Full story
US embassy moves to Jerusalem in May for Israel's 70th
(JNS)—The United States will move its embassy from Tel Aviv to Jerusalem on May 14, in time for Israel's 70th anniversary, according to a State Department official. Steven Goldstein, undersecretary of State for public diplomacy, said on Friday... Full story
By Jonathan S. Tobin Opinions March 2, 2018
What we thought of the Rev. Billy Graham
(JNS)—Perhaps the saddest thing about the death of the Rev. Billy Graham on Feb. 21, at the age of 99, was the fact that virtually every obituary gave prominent mention to what was arguably his worst moment. Graham was a giant of American... Full story
By Stephen M. Flatow Opinions March 2, 2018
Comedian Sarah Silverman: Whose side are you on?
(JNS)—Stop the presses! A vulgar American Jewish comedian has praised a Palestinian teenage girl who assaulted an Israeli soldier. Put it on the front page! The comedian, Sarah Silverman, recently sent out a tweet demanding that Israel release... Full story
By Ben Cohen Opinions March 2, 2018
A change in common parlance doesn't change the facts
(JNS)—I interviewed Mateusz Morawiecki, the prime minister of Poland, during his September visit to New York. The public-relations maven who arranged the meeting pitched Morawiecki—then still deputy prime minister—as a rising star anxious to... Full story
By Joshua S. Block Opinions March 2, 2018
Iran's takeover of Lebanon
Not long ago, I authored a column for The Boston Herald warning of yet another Middle East humanitarian crisis in the making. Sadly, that prediction appears well on its way to becoming reality. Lebanon was once one of the most progressive and liberal... Full story
By Melanie Phillips Opinions March 2, 2018
Damned if you do... and Trump and Netanyahu are certainly doing
(JNS)—Day in and day out, two men—two crucial world leaders—remain under a constant barrage of verbal attacks. They are subjected to an obsessional, unhinged and unprecedented stream of abuse, distortion, character assassination and malicious... Full story
Opinions March 2, 2018
Action must be taken on gun control, NOW
Dear Editor: After so many mass shootings in America, including our schools, why is there not action being taken in the area of gun control? The evidence shows that a reduction in guns reduces violence and gun deaths, not only in states with increase... Full story
Calendar March 2, 2018
MORNING AND EVENING MINYANS (Call synagogue to confirm time.) Chabad of South Orlando—Monday - Friday, 8 a.m. and 10 minutes before sunset; Saturday, 9:30 a.m.; Sunday, 8:15 a.m., 407-354-3660. Congregation Ahavas Yisrael—Monday - Friday, 7:30... Full story
Who wants to have a Purim play?
Hail, Hail, the gangs all here, celebrating Purim with hands in the air! The Jewish Pavilion Program Director Walter Goldstein had the residents at Kinneret, celebrating the holiday with a Purim... Full story
By Marilyn Shapiro Features March 2, 2018
Who made the hamantashen
One of the nicest things about our community in Florida is our diversity. Often, while I am working out in my exercise class or enjoying a concert or eating in our small bistro, I am struck by the num... Full story
By Julie Capps News March 2, 2018
Precious are the pearls of the Jewish Pavilion
On Jan. 20, the Jewish Pavilion held its annual Pearls of the Pavilion luncheon to honor those who go above and beyond to support the Jewish Pavilion. During her opening remarks, Miriam Josephs,... Full story
Life Cycles March 2, 2018
Bat Mitzvah - LILY PAIGE REBAR
Lily Paige Rebar, daughter of Daron and Tracy Rebar of Orlando, will be called to the Torah as a bat mitzvah on Saturday, March 10, 2018, at Congregation Ohev Shalom in Maitland, Fla. Lily is in the... Full story
By Brooke Wilczewski Features March 2, 2018
Is your teen seeking answers to the "big" questions?
Calling any Jewish teen interested in developing a deeper understanding of Jewish politics, economy, and philosophy to attend the Tikvah Institute's Maimonides Scholar program. This summer, from June... Full story
Little ones bring smiles to seniors
"The phrase L'Dor L'Dor-from Generation to Generation-encapsulates the essence of good Jewish parenting," said Nancy Ludin, executive director of the Jewish Pavilion. Shown here (top photo) are the... Full story


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2 Long Island Hearings Set in NY Probe of Utilities' Nor'easter Response
Timothy Bolger
More than a foot of snow fell in four hours in Islip, NWS said.
New York State officials investigating utilities' preparedness after four nor'easters last month—some of which left people without power for days—have scheduled two public hearings on Long Island to discuss the issue.
The state Department of Public Service (DPS) invites the public to make statements 1 to 6 p.m. Monday, April 16 at the Nassau County Legislature in Mineola and 3 to 7 p.m. Tuesday, April 17 at the Suffolk County Legislature in Smithtown.
"As part of this investigation, we will determine what went right, and what went wrong, and take action accordingly," said DPS CEO John B. Rhodes. "Utilities must follow their utility response plans and failure to do so can result in financial penalties to shareholders."
The hearings are two of 20 that will be held statewide as a part of an investigation into all seven major electric utilities across New York.
The state wants to hear how members of the public were affected, if they think they received timely, accurate and adequate information from their utility before, during and after the outage, and their overall impression to the response. Investigators also invite recommendations on how the response can be improved.
PSEG Long Island defended its performance.
"We are proud of our storm preparation and response during the March nor'easters, and extremely proud of our PSEG Long Island crews, customer service and support personnel who worked around the clock in challenging conditions to safely and quickly restore power to our customers," the utility said in a statement. "We will continue to offer our full support and complete cooperation to this important investigation and look forward to the findings."
The Nassau legislature is located at the Theodore Roosevelt Executive Building, 1550 Franklin Ave., Mineola. The Suffolk legislature is located at the William H. Rogers Building, 725 Veterans Memorial Hwy., Smithtown.
Individuals will be called to speak after completing a request card. Each public statement hearing will remain open for a minimum of one hour and will continue until everyone wishing to speak has been heard, officials said.
Those who cannot attend can provide comments to the department on its website at dps.ny.gov, by clicking on "Search," and entering "18-00618" in the select "search by case number" field. In the open case, access the screen to enter comments by clicking on "Post Comments" box located at the top of the page.
The public may submit comments via e-mail to Hon. Kathleen H. Burgess, Secretary, at secretary@dps.ny.gov. Comments may also be mailed or delivered to Secretary Burgess at the New York State Department of Public Service, Three Empire State Plaza, Albany, New York 12223-1350. The public may also call the Department's Opinion Line at 1-800-335-2120.
Comments submitted are requested by Tuesday, May 22. Comments should refer to "Matter 18-00618" and/or the "March 2018 Winter Storms Investigation."
Previous articleWhat is The Best Window Company on Long Island?
Next articleRunaway Flu: Could A Century-old Enemy Return?
Timothy Bolger is the Editor in Chief of the Long Island Press who's been working to uncover unreported stories since shortly after it launched in 2003. When he's not editing, getting hassled by The Man or fielding cold calls to the newsroom, he covers crime, general interest and political news in addition to reporting longer, sometimes investigative features. He won't be happy until everyone is as pissed off as he is about how screwed up Lawn Guyland is.


N900: Using mail, mail developers?
if Assertion failed at integer.h:94 then s/verb /verb 3/ your-openvpn-config.conf Most of the people don't even hit this bug, because verbose level of 4 is rarely used. I do think it is related to lzo somehow. http://people.debian.org/~tschmidt/maemo/ Have also no idea who I have to report it to.


Mark Phillips' Pages: Photography: Diary: 2017.10.15, Epidavros, Greece.
As was the case throughout this trip, these Peloponnesian sites were considerably touristed — Mycenae massively so. This is a drastic change from 1979, when my college friends and I were entirely alone here. As you can see here, apart from ourselves there wasn't a soul. Very different today. It's possible this represents a change of season: December is cold in Greece, this October has been gorgeous. It seems more likely there's been a wide shift of interest in ancient places, driven at least in part by Evangelicals visiting biblical sites. That's my theory and I'm sticking to it.


It has been a while, but we want you to know Simple Comments 1.4 has been released. It is possible you aren't seeing the update in WordPress. If that is the case you can login to your My Account dashboard, go to API Downloads and get a fresh copy right now, and don't forget to get a copy of your new API Key under the API Keys tab since it has changed. If you aren't sure how to install the new copy, first go to Plugins and deactivate, then delete Simple Comments, then under plugins click Add New. Now read the WordPress Plugin Installation article we created for further instructions.
If you no longer have an active subscription for Simple Comments, but would like the new version, use the coupon code scapril15 in the checkout to get 50% off. This offer expires April 15th.


There's a difference between buying off-the-rack and having something custom-tailored. Whether it's a business suit or a dress, you might luck out and get the right fit from the store, but a bespoke suit will fit you in a way that something store-bought won't always. Believe it or not, the same applies to shelving. You may do just fine buying shelves and racks from a major shelving manufacturer, but in irregular spaces or custom use cases, a custom retail display from Shelving Design Systems is the perfect thing to pull your layout together.
If you want to understand the "why" of custom shelving, it helps to understand the benefits you get from custom work generally and from Shelving Design Systems in particular.
Custom retail shelving can be a great way to control costs. That's because we take your budget and requirements into consideration when we design, and we endeavor to deliver a custom design that helps to pay for itself.
Mass-produced shelving is cost effective because your options — colors, shapes, sizes, and materials — are limited. When it comes to custom shelving, the considerations of scale are different; the only scale we're worried about is how the shelving we deliver scales to your needs. The rest is wide open, giving you options you probably didn't realize you had, or needed.
Our retail shelving is built to last for the long haul; we select and source based on quality and durability. But the same considerations go into our custom work, because we know you'll settle for nothing less from our custom retail displays.
One last consideration: your store or boutique's layout and merchandising are, in some ways, similar to a home's interior design. You may find that a statement piece can really set off the look of your space, or showcase unique merchandise, in a way even the best commercial shelving products couldn't manage.
Shelving Design Systems handles custom shelving design and woodworking in-house. That gives us a higher degree of control over every step in the process, and helps to ensure we deliver a quality product every time. Your choices of materials and colors are as varied as the uses to which you can put your finished shelving.
A quick thought in closing: while we take pride in our custom shelving solutions, we recognize that they're something best saved for a specific purpose. There are plenty of sturdy and well-designed manufactured shelves that will form the backbone of your retail or pharmacy layout with a great ROI (and, at times, without the need for custom work). We should know; we're proud to feature Madix shelving, which covers a vast array of uses.
Not sure if you need custom retail displays? Contact Shelving Design Systems. We'll evaluate your space, your traffic, and your workflow as part of a shelving design consultation and undertake a shelving design that's unique to your needs.


"Launch of the Soyuz at Baikonur"
President Tetsuo MACHII, Mobile Broadcasting Corp.
Mobile Broadcasting Corp (MBC) is one of Japanese new satellite-service company. President & CEO of MBC, Mr. Tetsuo Machii, was interviewed at it's headquarter in Ginza. What are MBC's services and how is the preparation status of the services?
Dr. Burton I. Edelson, Director of the Institute for Applied Space Research, The George Washington University, passed away on January 6, 2002 and was 75 years old. He was very active as one of steering committee members in the U.S. for the JUSTSAP (Japan-U.S. Science, Technology and Space Applications Program). I pray for the repose of his soul.
"History of Space Development from Slightly Different View"
New Series by Mr. Y. Kazekami, Senior Editor. Subtitle is "History of Space Development from Slightly Different View". He will discuss about the history of Space Development from 1962 to now, when James Bond series have been picturized, through the screen. Some people anxious about whether he can make a valuable comment for readers.
Ms. Takenoshita found a precious key word "SPACE" when she actually saw Robot-Arm and Artificial-Brain during her activity to find a job. She is now accomplishing her goal, i.e. to continue a job for a long time, while she looks so busy to raise her children as a mother.
"Attending AIAA Technical Committee on Communications System"
A meeting of AIAA TCCS was held at the Reno Hilton Hotel, Reno, Nevada on January 14, 2002. Dr. Ron Smith, TRW is Chair of the TCCS. 5 TCCS member, Group Director and Deputy Group Director of Technical Activity Committee attended there. Also 9 TCCS member attended using telephone. I attended as a committee member with Dr. Takashi Iida, President of CRL to the activity of JFSC and the preparation of ICSSC-21.
"Attending AIAA International Activities Committee Meeting"
A meeting of AIAA-IAC was held at the Reno Hilton Hotel, Reno, Nevada on January 17, 2002. Dr. Brian D. Dailey, Senior Vice President, Lockheed Martin Corp. is Chair of the IAC. 24 people attended there. I attended as a committee member, and Mr. Yutaka Kazekami, Director of MELCO attended to report the present status of Japanese preparation related to the WSC (World Space Congress).


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Beware whenever you hear a story about a simple blood test
Gary Schwitzer | Conditions | August 22, 2011
After seeing the NBC Nightly News last night, a physician urged me to write about what he saw: a story about a "simple blood test that could save women's lives."
Readers – and maybe especially TV viewers – beware whenever you hear a story about "a simple blood test."
And this is a good case in point.
Brian Williams led into the story stating: "Two of three women who die suddenly of cardiac heart disease have no previous symptoms which is all the more reason women may want to ask their doctors about a blood test that can be a lifesaver."
Then NBC News chief medical editor Dr. Nancy Snyderman said:
"It's not a new test, it's not an experimental test but nonetheless it's a test not a lot of people know about and that's a problem because this simple blood test could save your life."
The test in question is the C-reactive protein or CRP test.
We're only seconds deep into the story and "lifesaver" or "save your life" have come up twice. We'll hold our breath for the evidence to back that up.
Then the story profiles a woman at high risk of heart attack, but quickly transitions to stating that unspecified numbers of women who are told they're at low risk are clearly at high risk. A doctor interviewed says:
"All too often we see people who were told they were at low risk for heart disease but they're in the emergency room having a heart attack and so they're clearly not low risk."
And, Dr. Nancy says …
"… that's because most doctors do not check for C-reactive protein for fear of overtreating them."
That's quite a leap: women are having heart attacks in the ER because doctors didn't check them for CRP.
NBC's choice of expert interviewee is Dr. Paul Ridker, who says:
"We have learned that the cost of the screening and the cost of the medication is quite small compared to the number of events prevented so it's a win-win for everyone involved."
NBC didn't point out what others – such as Merrill Goozner and ethicist Howard Brody have – that another way of looking at the win-win is by looking at who holds the patent on the CRP test and who benefits from its use.
Goozner wrote several years ago:
"What if I told you Dr. Paul Ridker of Harvard owns the patent to using C-reactive protein as a biomarker of heart disease and it's licensed to companies making the test. And what if I told you his research has been funded by drug companies that make statins, which lower cholesterol and may be used to combat high levels of C-reactive protein."
Harvard's Dr. John Abramson wrote to journalists in Nieman Reports:
"The commercial bias does not stop with the research, but affects the way the results are reported to the public as well."
But we didn't hear anything about financial conflict of interest in NBC's story. Only this ending from Dr. Nancy:
"If you're over the age of 40, this is the time to have a conversation with your doctor about this very simple blood test that's covered by most insurance."
Any woman over the age of 40? That's quite a leap from the high-risk woman profiled in the piece.
The discussion of the evidence never came, did it?
Well, here it is, from the US Preventive Services Task Force:
"The U.S. Preventive Services Task Force concludes that the current evidence is insufficient to assess the balance of benefits and harms of using the nontraditional risk factors (including CRP) to screen asymptomatic men and women with no history of coronary heart disease to prevent coronary heart disease events.
Although using CRP to screen men and women with intermediate coronary heart disease risk would reclassify some into the low-risk group and others into the high-risk group, the evidence is insufficient to determine the ultimate effect on the occurrence of coronary heart disease events and coronary heart disease-related deaths."
Lifesaver?
Simple blood test?
Sounds a lot more complicated than what NBC reported.
Gary Schwitzer has specialized in health care journalism in his more than 30-year career in radio, television, interactive multimedia and the Internet. He is publisher of HealthNewsReview.org.
Submit a guest post and be heard on social media's leading physician voice.
Tagged as: Cardiology, Mainstream media
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The CPD Planner allows you to quickly find a course depending on your availabilty and location.
Start by selecting which type of course you are after. Wait for the page to re-load before proceeding to select from the following options.


1. We're going to be revamping our social media.
There's been a little too much radio silence coming from our office due to the demands of our growing business. However, we don't think that should mean generating new content falls to the back burner. We've recommitted to connecting with the people who keep our lights on and make our jobs awesome!
So, you'll be hearing a little more from us and we want to hear from you too! Feel free to connect with us on Facebook, Twitter, Instagram and Pinterest to see what we've got going on. Plus, we'd love to hear what you think about MojaWorks.
2. We've moved away from direct selling.
For one thing, it's difficult to streamline your company's narrative when there are so many independent representatives with different experiences selling it. We had a lot of committed, excited partners who really love the products and wanted to share them, but we worried that the more we grew and the further removed our partners became, that there would be greater potential for miscommunication between us and our customers. Recently, some companies have come under fire from the FTC over claims that well-meaning representatives made about their products. We would hate to put ourselves or our partners in that position over a sales approach we weren't terribly passionate about in the first place.
Implementing direct selling also meant taking a much closer look at it. Most sales incentives and marketing strategies have inherent flaws (some encourage fraud or set unrealistic expectations) and direct selling is no different. One of the shortcomings we became concerned about while implementing this structure was that we saw the potential to over-saturate the market with our product. We worried that this would eventually pit our most loyal customers and committed partners against each other for sales which we felt could compromise our longevity as a company. After lovingly formulating and developing products we truly believe in we're in this for the long-haul, so it was important to us that we keep an eye to the future.
One of the best parts of going into business for yourself is to have some control over what you do. At the end of the day, the exposure and community that a direct sales structure can provide just wasn't enough of a benefit to keep us from our long-term goals.
3. We want to empower our customers with knowledge.
Even though the natural cosmetics market is filled with conscientious customers and providers we've seen how much information and misinformation there is to wade through. Sometimes the desire to find a cream or cleansing product with the least potential for causing harm can mean running into some scary-sounding information. When we say that our products are natural, we want you know know exactly what that means to us and why we care about it without fear-mongering.
Our other reasoning for wanting to put more information out there is that you know yourself better than we do! You know your skin, your family, your home and your budget, so when it comes to those needs you don't need some random strangers telling you that buying their product is going to solve all your troubles. The more information you have, the better you'll be at deciding whether or not what we've created is right for you.
As we said before, a lot of study and care went into creating products we could be proud of. It would definitely be easier for us to frame our wares as miraculous cure-alls, but there are talented, fantastic formulators and developers that wouldn't be getting props for their expertise and careful work if we did.
So, that's all for now! I hope you're as excited as we are. We've got some fun stuff coming up that we can't wait to show you. Again, be sure to follow us on Facebook, Twitter, Instagram and Pinterest for special deals, helpful information, and a myriad of other cool things.


California is preparing for a weekend of wintertime wildfires.
That's weird, because the state is technically in the middle of its rainy season right now.
In Santa Barbara, about 100 miles northwest of Los Angeles, conditions are even more dire. The Thomas fire, now the fourth largest fire in state history, has already consumed more than 250,000 acres — an area nearly the size of L.A. itself. The current forecast shows at least three major wind events in the next week, which could fan the flames even further.
Smoke from the fire has turned the skies orange and caused air quality to plummet, prompting surreal scenes of surfers donning gas masks.
Southern California hasn't received significant rainfall in more than 250 days. It's now the 12th consecutive day for extreme fire conditions — an all-time record for any time of the year. That all this is happening in December, during what is normally the peak of the rainy season, is truly remarkable.


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Cosmotron is the sixth studio album released by Skank in 2003.

Track listing
 "Supernova" (Samuel Rosa/Fausto Fawcett) - 4:37
 "As Noites" (Samuel Rosa/Chico Amaral) - 4:52
 "Pegadas na Lua" (Samuel Rosa/Humberto Effe) - 4:35
 "Amores Imperfeitos" (Samuel Rosa/Chico Amaral) - 4:13
 "Por um Triz" (Samuel Rosa/Rodrigo F. Leão) - 4:08
 "Dois Rios" (Samuel Rosa/Lô Borges/Nando Reis) - 4:43
 "Nômade" (Samuel Rosa/Chico Amaral) - 6:53
 "Vou Deixar" (Samuel Rosa/Chico Amaral) - 4:34
 "Formato Mínimo" (Samuel Rosa/Rodrigo F. Leão) - 5:12
 "Resta um Pouco Mais" (Lelo Zaneti/Chico Amaral) - 3:51
 "Os Ofendidos" (Samuel Rosa/Chico Amaral) - 3:47
 "É Tarde" (Samuel Rosa/Chico Amaral) - 4:47
 "Um Segundo" (Samuel Rosa/Chico Amaral) - 4:05
 "Sambatron" (Samuel Rosa/Chico Amaral) - 5:10

Personnel
Skank
 Haroldo Ferretti - drums
 Henrique Portugal - keyboards, Hammond organ, piano
 Samuel Rosa - vocals, acoustic guitar, electric guitar
 Lelo Zaneti - bass

Guest
 Paco Pigalle - vocals on "Nômade"

Production
 Skank - production
 Tom Capone - production, recording, mixing
 Bruno Ferretti, Renato Cipriano - recording
 Marco Diniz, Thiago Peixoto - recording assistants
 Álvaro Alencar - mixing
 Fernando Rebelo, Tomás Magno - mixing assistants
 Ricardo Garcia - mastering
 Fernando Furtado - executive producer
 Bruno Batista - production coordinator
 William Oliveira - production assistant
 Frederico Toledo, Marco Antônio Otoni, William Oliveira - studio assistants

Design
 Marcus Barão - graphic project
 Daniella Conolly - graphic supervisor
 Weber Pádua - graphic project, photography

References

2003 albums
Skank (band) albums
Latin Grammy Award for Best Portuguese Language Rock or Alternative Album

redpajama_set_name: RedPajamaWikipedia


text:
Home Breaking News NDP tell people to stay home, then tax home entertainment and sodas
NDP tell people to stay home, then tax home entertainment and sodas
Shirley Bond
THE BC Liberals say that despite the third wave of COVID-19 in B.C. and new public health restrictions enacted this week, Premier John Horgan and the NDP are moving forward with their plans to tax streaming services like Netflix and Spotify and even goods like carbonated beverages.
"We've opposed these NDP taxes since they were announced and again today we are calling on John Horgan to reverse his decision to impose these new costs on so many British Columbians in the middle of a global pandemic and economic crisis," said Interim Leader of the Official Opposition Shirley Bond on Wednesday. "British Columbians are struggling financially and have once again been asked to do more to stop the spread. It's the worst time for the NDP to be imposing new taxes on carbonated beverages and streaming platforms. British Columbians deserve a break."
Starting Thursday, all e-commerce providers from outside the province with more than $10,000 in sales in B.C. must collect and charge PST to their customers, and PST will apply to all carbonated beverages whether they contain sugar or not. This includes soda fountains and soda guns, which will impact restaurants that are already struggling.
"Countless restaurant and hospitality workers found out on Monday that they're losing out on shifts for at least the next three weeks, without any additional supports from the government. Now they're about to pay more to responsibly have a movie night at home watching Netflix and enjoying some ginger ale," said MLA Mike Bernier, BC Liberal Critic for Finance. "The fact that this soda tax applies not just to sugary drinks, but all carbonated beverages including sugar-free alternatives, proves that this isn't about promoting healthier habits. It's about gouging British Columbians at a time when money is tight, the economy is struggling, and countless small businesses are on the edge of bankruptcy."
The taxes were postponed last year due to the COVID-19 pandemic but are now coming into effect on April 1, 2021, in the middle of the third wave of infections, note the BC Liberals.
Previous articleMandatory commercial truck driver training
Next articleTotal number of COVID-19 cases crosses 100,000-mark in B.C. since start of pandemic
British Columbians expect access to rapid tests: BC Liberals
B.C.'s rapid tests sit in storage as severe testing delays plague province: BC Liberals
Essential visitors guarantee needed in B.C. long-term care homes: BC Liberals


text:
Q: How can you screenshot a users browser?
Possible Duplicate:
Take a screenshot of a webpage with javascript?

I'm looking to screenshot a users browser and upload it to a server in the simplest way possible.
I've been told that a transparent flash movie can screenshot the page, but else where heard the opposite.
Is this possible with a java-applet?
Any suggestions on how to do this would great.

redpajama_set_name: RedPajamaStackExchange


You ([customer name]), located at [customer address] are hiring us ([company name]) located at [company address] to [design and develop a web site] for the estimated total price of [total] as outlined in our previous correspondence. Of course it's a little more complicated, but we'll get to that.
This is version 9, from 6 years ago.


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text:
Henry Moore: Sculptural Process and Public Identity
Henry Moore OM, CH Three Part Object 1960
Henry Moore OM, CH, Three Part Object 1960
© The Henry Moore Foundation. All Rights Reserved
Three Part Object 1960 has been considered in relation to Moore's interest in animal forms and his ambition to convey the 'vitality' of living creatures. This concern with the essential characteristics of natural, organic materials connects this work to Moore's earlier biomorphic sculptures of the 1930s and to the work of Jean Arp.
Henry Moore OM, CH 1898–1986
Three Part Object
Inscribed 'Moore 8/9' and stamped with foundry mark 'H. NOACK BERLIN' on base
Presented by the artist 1978
Number 8 in an edition of 9 plus 1 artist's copy
Ownership history
Presented by the artist to Tate in 1978 as part of the Henry Moore Gift.
Henry Moore: An Exhibition of Sculpture from 1950–1960, Whitechapel Art Gallery, London, November 1960–December 1961, no.67.
Henry Moore: An Exhibition of Sculpture and Drawings, Arts Council touring exhibition: Arts Council Gallery, Cambridge, February–March 1962; York City Art Gallery, York, March–April 1962; Castle Museum, Nottingham, April–May 1962; Southampton Art Gallery, Southampton, May–June 1962, no.46.
Henry Moore: An Exhibition of Sculpture and Drawings, Ferens Art Gallery, Kingston upon Hull, October–November 1963, no.36.
Henry Moore: Sculpture and Drawings, New Metropole Arts Centre, Folkestone, April–May 1966; City Art Gallery, Plymouth, June–July 1966, no.41.
Henry Moore, Rijksmuseum Kröller-Müller, Otterlo, May–July 1968; Museum Boymans-Van Beuningen, Rotterdam, September–November 1968, no.106.
Henry Moore, Tate Gallery, London, July–September 1968, no.113.
Henry Moore, Heslington Hall, York, March 1969, no.25.
Henry Moore: Drawings and Sculpture, Gordon Maynard Gallery, Welwyn Garden City, July 1969, no.4.
Henry Moore Exhibition in Japan, 1969, National Museum of Modern Art, Tokyo, August–October 1969, no.46.
Henry Moore: Sculpture, Drawings, Graphics, Turnpike Gallery, Leigh, November–December 1971, no.8.
Henry Moore, Playhouse Gallery, Harlow, March–April 1972, no.2.
Mostra di Henry Moore, Forte di Belvedere, Florence, May–September 1972, no.112.
The Henry Moore Gift, Tate Gallery, London, June–August 1978, no number.
Henry Moore: An Exhibition of Sculpture from 1950–1960, exhibition catalogue, Whitechapel Art Gallery, London 1960, reproduced no.67.
Henry Moore: An Exhibition of Sculpture and Drawings, exhibition catalogue, Arts Council Gallery, Cambridge 1962, reproduced pl.1.
Henry Moore, exhibition catalogue, M. Knoedler and Co., New York 1962 (another cast reproduced).
Herbert Read, Henry Moore: A Study of his Life and Work, London 1965, p.240 (?another cast reproduced pl.231).
Henry Moore, exhibition catalogue, Marlborough Gallery, Rome 1965 (another cast reproduced).
Alan Bowness (ed.), Henry Moore. Volume 3: Sculpture and Drawings 1955–64, London 1965, no.470, reproduced pls.102–3.
John Russell, Henry Moore, London 1968, pp.159–61 (?another cast reproduced pl.171).
John Hedgecoe (ed.), Henry Moore, London 1968, p.351 (original plaster reproduced p.350, ?another cast reproduced p.351).
Ionel Jianou, Henry Moore, Paris 1968 (?another cast reproduced nos.50–1).
Henry Moore Exhibition in Japan, 1969, exhibition catalogue, National Museum of Modern Art, Tokyo 1969, reproduced.
Milton Rugoff, A Treasury of Contemporary Art, New York 1969 (?another cast reproduced p.62).
Mostra di Henry Moore, exhibition catalogue, Forte di Belvedere, Florence 1972, reproduced p.181.
John Russell, Henry Moore, London 1973, p.186 (?another cast reproduced pl.106).
C.M. Clarke, 'Three Part Object', City of York Art Gallery Quarterly Preview, no.110, April 1975, p.979 (?another cast reproduced).
Alan Bowness (ed.), Henry Moore. Volume 4: Complete Sculpture 1964–73, London 1977, p.13.
The Henry Moore Gift, exhibition catalogue, Tate Gallery, London 1978, reproduced p.43.
[Richard Calvocoressi], 'T.2285 Three Part Object', The Tate Gallery 1978–80: Illustrated Catalogue of Acquisitions, London 1981, pp.127–8.
Exhibition of Drawings and Sculptures by Henry Moore, Tasende Gallery, La Jolla, September–October 1982 (another cast reproduced).
W.J. Strachan, Henry Moore: Animals, London 1983 (?another cast reproduced no.31).
Henry Moore and Landscape, exhibition catalogue, Yorkshire Sculpture Park, West Bretton 1987 (another cast reproduced p.21).
Sam Hunter, 'Montecarlo Sculpture 87', Art News, vol.86, no.4, April 1987, pp.41–74 (another cast reproduced).
John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, London 1998
(?another cast reproduced pp.148–9).
Technique and condition
This is a vertically oriented bronze sculpture mounted onto a square bronze base. The cast is hollow and the surface of the sculpture is predominantly brown although green can be seen in its crevices. The base is a slightly darker brown and is attached to the sculpture with two large screw-threaded studs fixed with hex-headed nuts.
Moore made the original model for this sculpture in plaster, which was used to make the mould from which the bronze was cast. The model was made by applying successive layers of plaster to a supportive armature, which was probably constructed from metal or wood. Moore often worked into the plaster as it set to create varied surface textures. For instance, striations in the surface indicate that Moore used a tool such as a surform to cut into the plaster at the 'cheese hard' stage before the plaster had fully dried (fig.1). When the plaster had hardened Moore applied fine abrasives to the high points of the sculpture to achieve a smooth finish.
Detail of surface texture of Three Part Object 1960
Tate T02285
At the foundry the bronze would have been cast in multiple sections which were subsequently welded together to form the whole. There is a visible weld seam following the curved edge between the smooth and bulbous faces of the sculpture (fig.2). The base was probably sand cast, although it is not clear what casting technique was used for the sculpture itself. Weld seams were abraded down to the level of the original surface and textured to match the surrounding bronze using a range of small punch tools. This process is known as 'chasing'. Sometimes repairs need to be made to casts if there are trapped air bubbles or other faults in the bronze. An example of one such repair can be seen in the welded patch at the top of the sculpture (fig.3).
Detail of welding seam on Three Part Object 1960
Detail of repair on Three Part Object 1960
The surface of the bronze was coloured using an artificial patina. This would have required chemical solutions to be applied to the surface of the bronze, triggering a reaction that produced coloured compounds. In this case it is probable that a chemical called potassium polysulphide (often called 'liver of sulphur') was used. This produces a range of brown tones depending on its concentration and the amount of heat applied. A layer of light green patina was then applied over the top. The sculpture may also have been given a lacquer coating, suggested by some brownish gold highlights visible where the patina has been protected, which in turn suggest that the sculpture was originally a lighter colour. There are green run-marks in the patina on some of the lower surfaces, which indicate that the sculpture has been displayed outdoors.
Detail of artist's signature and edition number on Three Part Object 1960
Detail of foundry stamp on Three Part Object 1960
This sculpture was cast at the Noack Foundry in West Berlin in an edition of nine plus one artist's proof. The artist's signature and the number of the cast, 'Moore 8/9', are inscribed in a corner on the upper face of the base (fig.4). The founder's mark 'H. NOACK BERLIN' is stamped just below it on an adjacent side (fig.5).
Lyndsey Morgan
Lyndsey Morgan, 'Technique and Condition', March 2013, in Alice Correia, 'Three Part Object 1960 by Henry Moore OM, CH', catalogue entry, April 2013, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015, https://www.tate.org.uk/art/research-publications/henry-moore/henry-moore-om-ch-three-part-object-r1172001, accessed 16 January 2021.
Three Part Object 1960
This sculpture comprises three irregular bulbous forms stacked on top of each other. The vertical arrangement arcs in a way that resembles a C-shape, although this is only obvious when seen from certain angles (fig.1). The outer surfaces of the curve are much flatter and smoother compared to those on the inside, which are rounder and fuller. The sculpture was designed in the round and certain features become more or less pronounced depending on the angle from which it is viewed.
Detail of lower segment of Three Part Object 1960
The upper segment is the smallest of the three and a curved recess with sharp edges has been carved into one of its faces. A thin, angular spur projects outwards from the inside of this curve, extending from the smoother lateral face. From one side it appears as though the top of the form has been cut into at right angles, creating a groove or channel that runs the length of its apex (fig.2). An almost identical recess and projecting spur appear in the same face of the middle segment, although the curve of the recess has been less sharply delineated and it covers a larger surface area. This segment is positioned on a more vertical angle than the upper form but has a very similar shape. Like the top segment, it is deeper than it is wide.
The bottom segment is a slightly different shape (fig.3). It is much fuller and rounder but has one notably flatter face, which gives it the appearance of a slightly misshapen hemisphere. Viewed from one side the whole sculpture looks precariously balanced, with only a small area of the bottom form's rounded surface touching the base. This affect is heightened by the way the segments above curve over the base as though they are about to fall. However, the large surface areas that connect the forms, and the evenness of the sculpture's smoother outer curve give it a formal cohesion that seem to defy the instability of the composition.
From plaster to bronze
Maquette for Three Part Object 1960
Photo: Alice Correia
By 1960, when Three Part Object was created, Moore had moved away from making preparatory drawings for his sculptures and had started making small three-dimensional models in plaster or other malleable materials. It is likely that Moore made the tiny plaster maquette for Three Part Object (fig.4) in the maquette studio on the grounds of his home, Hoglands, at Perry Green in Hertfordshire. This studio was lined with shelves displaying Moore's ever growing collection of found bones, shells and flint stones, the shapes of which often served as starting points for Moore's formal experiments in three dimensions. In 1963 he described how he worked with these objects to the critic David Sylvester:
I look at them, handle them, see them from all round, and I may press them into clay and pour plaster into that clay and get a start as a bit of plaster, which is a reproduction of the object. And then add to it, change it. In that sort of way something turns out in the end that you could never have thought of the day before.1
The shapes of the three segments suggest that Moore may have created the maquette by pushing a bone fragment into clay before filling the impression left in the clay with wet plaster. This would also serve to explain why each segment has a smoother, slightly flatter surface where the plaster reached the top of the mould.2
Once Moore was satisfied with the design of his maquette it was scaled up to a full-size plaster version. The enlargement process was probably carried out in the White Studio at Hoglands by Moore's studio assistants, who in 1960 were Phillip King and Clive Sheppard. He was able to allocate the bulk of the enlargement work to others because, as curator Julie Summers has noted, it was 'a scientific rather than artistic process'.3 The first stage in the scaling-up process was to take detailed measurements from the small maquette using a set square. An armature made of wood or chicken wire was then constructed according to these measurements. Successive layers of plaster were then built up over this structure and the sculpture began to gain mass and form. At this stage Moore would have taken over to finish the work and texture the surface. The bronze cast has retained the surface texture of the plaster model and demonstrates that Moore used a range of techniques to achieve the finish. The mottled texture of the recessed surfaces would have been created as the wet plaster was applied, while long striations show how Moore cut into the plaster when it had partially dried. Once the plaster was completely dry a fine tool was used to smooth the outer surfaces of the three segments.
When the plaster version was complete it was sent to the Noack Foundry in West Berlin to be cast in bronze. By 1960, when this sculpture was cast, Noack was regarded as one of the best bronze foundries able to undertake large-scale castings. Before a mould could be made of the sculpture into which molten bronze could be poured, the plaster had to be cut up into more manageable sizes and covered in sealants and resins. It is not clear whether the bronze Three Part Object was cast using the lost wax or sand casting method, but it is evident that the sculpture was cast in separate pieces and then welded together at the foundry. Seam marks where the pieces have been welded together are clearly visible on the surface (fig.5).
After it had been cast at the foundry the bronze sculpture was returned to Moore so that he could inspect the casting, sign the sculpture, and make decisions about its patination. A patina is the surface colour of a sculpture and is usually achieved by applying chemical solutions to the bronze surface. Three Part Object has a fairly consistent dark brown base patina, over which a light green patina has been applied and a golden colour may be seen on some of the sculpture's high points. Green drip marks on the lower segment originate from the 1980s when Three Part Object was exhibited outside in the sculpture garden at Portsmouth City Art Gallery. However, these marks are minimal, and since 1991 Three Part Object has only been exhibited indoors.
Reception and interpretation
Henry Moore with Three Part Object 1960 at the Whitechapel Gallery, London, in 1960
Tate's version of Three Part Object was first displayed in Moore's solo exhibition at the Whitechapel Gallery, London, in November 1960 (fig.6). Reviews of the exhibition were mixed, with critics noting the variety of Moore's output, which included figure sculptures such as King and Queen 1952–3 (Tate T00228) as well as works that departed from Moore's recognised repertoire of subjects and forms, including Three Part Object. This work, which was one of the newest in the exhibition, was described dismissively by Nevile Wallis in the Observer as 'A new tripartite object with a sinister snout [that] hardly bears enlargement to four feet', while David Thompson observed in the Times that 'the recent "Three Part Object" [is] an extraordinary and rather beastly invention'. 4
Moore himself acknowledged the difficulties posed by the form of Three Part Object. In 1968 he asserted that 'Three Part Object is a strange work, even for me. Three similar forms are balanced at angles to each other. In my mind it has a connection with insect life, possibly centipedes. Each segment has a leg, and there is an element in the sculpture nearer to an animal organism than a human one'.5 In 1973 the critic John Russell followed these inferences, aligning the sculpture with Moore's animal forms from the 1960s, such as Large Slow Form 1962 (Tate T02290). However, Russell also cited Moore's reluctance to make direct statements about its content:
It has a sort of animal/vegetable mixture. It's not human, but neither is it animal or vegetable. Well, I just don't know how it came about. I don't know how a piece like that begins. I just begin in the morning with a bit of plaster or a bit of clay and a form comes about. Either it has some interest, and keeps it, or it doesn't. If it has, I go on without having to know, or trying to know, exactly what it means. I wish in a way that I could be even freer than I am from the tie of having to know exactly what it means, so that I could take a form and develop it and carry it further without ever having to have an 'explanation'.6
Three Part Object was included in a discussion of Moore's depictions of insects in W.J. Strachan's 1983 publication Henry Moore: Animals. Moore's earliest animal sculpture dates from 1921 and animals of various kinds appeared as a sporadic but persistent subject throughout his career, with the last examples dating from 1982. In 1977 the art historian Alan Bowness described Three Part Object as ugly and its forms as 'snout-like'.7 However, Bowness did not regard these characteristics in negative terms; instead he suggested that the sculpture acted as a reminder that 'Moore has always preferred vitality to beauty'.8 Bowness's use of the term 'vitality' recalled the critic Herbert Read's comments on Moore's animal sculptures from the 1930s, which Read believed reduced the animal subject to certain basic shapes or features 'which best denote its vitality'.9 The concept was also used by Moore himself in a 1933 statement for the publication Unit One, in which he explained that, 'for me a work must first have a vitality of its own. I do not mean a reflection of the vitality of life, of movement, physical action, frisking, dancing figures and so on, but that a work can have in it a pent-up energy, an intense life of its own, independent of the object it may represent'.10 This idea that 'vitality' conveys the essential life force of a creature more convincingly than naturalistic representation may account for the arrangement of forms in Three Part Object.
In addition to the animal and vegetable forms identified by Moore, the shapes of rocks and pebbles may have also informed Three Part Object. During the mid-1950s Moore started to become interested in flint stones he found on the grounds of his home. These flints had smoothed and rounded external surfaces, but when broken possessed sharp and jagged edges. In 1968 the critic David Sylvester noted that from 1955 'Moore quite suddenly started to do sculptures in which there are violent contrasts of surface tension, with exceedingly taut, bone-hard, passages moving into soft, resilient, fleshy passages, often very abruptly'.11 The sharp recesses and angular protrusions of Three Part Object may have their origins in Moore's examination of the flints he collected and kept in his studio.
Moore had been interested in the shapes of naturally weathered stones and pebbles since the late 1920s and he subjected them to imaginative transformations in many of his sculptures and drawings of the 1930s. In 1965 the art critic Herbert Read suggested that Three Part Object constituted a return to Moore's 'biomorphic abstraction' of the 1930s.12 Biomorphic abstraction refers to a mode of representation that evokes organic forms and materials and in 1936 the curator Alfred H. Barr identified it 'as the most significant new development in international abstract art', and singled-out Moore as one of the style's leading practitioners.13 Although he did not use the term 'biomorphic', Moore explained to Tate curator Richard Calvocoressi on 12 December 1980 that 'the free invention of forms in [Three Part Object] ... combined to produce a convincing organic whole with a life of its own'.14
Jean Arp (Hans Arp)
Pagoda Fruit 1949
Tate N06025
For Thompson these organic forms 'brought to the surface again those disquieting elements of the imagery of the subconscious which have always been present in Moore's formal vocabulary to a greater or lesser degree'.15 He went on to propose that these forms 'introduce a reminiscence of ARP into the recent "Three Part Object"'.16 Moore had been aware of the work of the German-French surrealist sculptor Jean Arp (1886–1966) since the 1930s, and would have come across Arp's Pagoda Fruit 1949 (Tate N06025; fig.7) while serving as a Tate trustee when it was acquired by the gallery in 1951. According to the critic Carola Giedion-Welcker, 'Arp's symbolic language appears to express the principles of growth and continuous transformation that one finds in nature. Thus he gives shape to the dreams of mankind. It is as if nature herself, and the circumstantial facts of physical existence, had formulated their own language of expression in the profound depths of consciousness'.17 Arp's sculpture was also identified with biomorphic abstraction and, in addition to the formal resemblances between Arp's and Moore's work, the 'disquieting elements of the imagery of the subconscious' identified in Three Part Object by Thompson suggest a deeper symbolic affinity between the two artists' work as well.18
The Henry Moore Gift
Three Part Object was presented by Henry Moore to the Tate Gallery in 1978 as part of the Henry Moore Gift. The Gift comprised thirty-six sculptures in bronze, marble and plaster and was exhibited in its entirety alongside Tate's existing collection of Moore's work in an exhibition celebrating the artist's eightieth birthday, which opened in June 1978. A press release was duly prepared announcing that 'The group [of sculptures] is the most substantial gift of works ever given to the Tate by an artist during his lifetime'.19 Three Part Object was included in the exhibition and was displayed in gallery nineteen alongside Working Model for Unesco Reclining Figure 1957 (Tate T00390; fig.8). The exhibition was attended by over 20,500 people and nearly 11,000 copies of the catalogue were sold.20 At its close in late August the Director of Tate, Norman Reid, reflected in a letter to Moore's daughter Mary Danowski that although he was sad to see the exhibition come to an end 'we have the consolation of the splendid group of sculptures which Henry has presented to the nation'.21
Installation view of The Henry Moore Gift, Tate Gallery, London 1978
After the 1978 exhibition Tate decided that it should lend certain works from the Henry Moore Gift to regional galleries in the United Kingdom on a long-term basis.22 With Moore's approval a list of galleries and works was drawn up and in 1979 Three Part Object was loaned to Portsmouth City Art Gallery, where it was exhibited in the gallery's sculpture garden. In December 1980 the sculpture was knocked off its plinth in an act of willful vandalism but fell onto soft ground and was not extensively damaged. The sculpture was reinstalled in 1981 and remained at the Portsmouth City Art Gallery until 1991. At this time Three Part Object was returned to Tate, where it was examined by conservation department staff who removed stains and bird droppings that had accumulated on its surface.
Three Part Object was cast in an edition of nine plus one artist's copy. Other examples are held in the Nelson-Atkins Museum of Art, Kansas City, and the Sunken Gardens, Yokohama. The full-size original plaster is held in the collection of the Henry Moore Foundation and the remaining casts are believed to reside in private collections.
Alice Correia
Henry Moore cited in David Sylvester, 'Henry Moore talking to David Sylvester', 7 June 1963, transcript of Third Programme, BBC Radio, broadcast 14 July 1963, p.18, Tate Archive TGA 200816. (An edited version of this interview was published in the Listener, 29 August 1963, pp.305–7).
Moore is known to have recycled certain forms in different sculptures, and he is believed to have used the same bone shape from the middle section of Three Part Object in Three Figures 1982 (The Henry Moore Foundation). This sculpture fuses its three bone-like fragments along a horizontal base so that their thin spurs project upwards rather than outwards, perhaps suggesting the form of a head. James Copper, Sculpture Conservator at the Henry Moore Foundation, interview with the author, 31 July 2013.
Julie Summers, 'Fragment of Maquette for King and Queen', in Claude Allemand-Cosneau, Manfred Fath and David Mitchinson (eds.), Henry Moore From the Inside Out: Plasters, Carvings and Drawings, Munich 1996, p.126.
Nevile Wallis, 'Elemental Moore', Observer, 27 November 1960, p.27; and [David Thompson], 'Mr Henry Moore's Exhilarating Exhibition', Times, 28 November 1960, p.6.
Moore cited in John Hedgecoe (ed.), Henry Moore, London 1968, p.351.
Henry Moore cited in John Russell, Henry Moore, London 1973, p.186.
Alan Bowness, 'Introduction', in Alan Bowness (ed.), Henry Moore. Volume 4: Complete Sculpture 1964–73, London 1977, p.13.
Ibid., p.13.
Herbert Read, Henry Moore: Sculptor, London 1934, p.13.
Henry Moore, 'Statement for Unit One', in Herbert Read (ed.), Unit One: The Modern Movement in English Architecture, Painting and Sculpture, London 1934, pp.29–30, reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, p.192.
David Sylvester, Henry Moore, exhibition catalogue, Tate Gallery, London 1968, p.127.
Herbert Read, Henry Moore: A Study of his Life and Work, London 1965, p.240.
See Christopher Green, 'Henry Moore and Picasso', in James Beechy and Chris Stephens (eds.), Picasso and Modern British Art, exhibition catalogue, Tate Britain, London 2012, p.139.
[Richard Calvocoressi], 'T.2285 Three Part Object', The Tate Gallery 1978–80: Illustrated Catalogue of Acquisitions, London 1981, p.128.
[Thompson] 1960, p.6.
Ibid., 1960, p.6.
Carola Giedion-Welcker, 'Arp: An Appreciation' in James Thrall Soby (ed.), Arp, exhibition catalogue, Museum of Modern Art, New York 1958, p.21.
Compare, for example, Henry Moore's Composition 1932 (Tate T00385) and Jean Arp's Sculpture To Be Lost in the Forest 1932, cast c.1953–8 (Tate T04854).
See 'Note on the Henry Moore Gift', 1978, Tate Public Records TG 4/6/10/4.
These figures are based on those listed in a memo in the exhibition's records; see Tate Public Records TG 92/344/2.
Norman Reid, letter to Mary Danowski, 31 August 1978, Tate Public Records TG 4/6/10/4.
See Judith Jeffries, letter to Joanna Drew, 3 October 1978, Tate Public Records TG 4/9/400/1.
Scale at Any Size: Henry Moore and Scaling Up Rachel Wells
Circling Each Other: Henry Moore and Adrian Stokes Richard Read
Henry Moore: The Plasters Anita Feldman
At the Heart of the Establishment: Henry Moore as Trustee Julia Kelly
Henry Moore's Approach to Bronze Lyndsey Morgan and Rozemarijn van der Molen
Related catalogue entries
Henry Moore OM
Headless Animal 1960, cast 1964
Bird 1959, cast 1960
Head of Serpent 1927
Three-Quarter Figure 1961
Animal Head 1956, cast c.1957–62
Large Slow Form 1962, cast 1968
Animal Head 1951
Alice Correia, 'Three Part Object 1960 by Henry Moore OM, CH', catalogue entry, April 2013, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015, https://www.tate.org.uk/art/research-publications/henry-moore/henry-moore-om-ch-three-part-object-r1172001, accessed 16 January 2021.
Materials and techniques
Public identity
Critics and Moore
Moore's life


text:
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Was senior VP of post at MGM/UA
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Fred Nolting, who worked his way up to senior VP of post-production at MGM/UA over the course of an almost five-decade career, died of cancer on Nov. 13, his 80th birthday, in Mission Viejo, Calif.
Born in Los Angeles, Nolting started in the business in the mail/shipping department at Metrocolor Lab at the age of 16. By the 1960s he was a color timer, then a customer service representative. After a six-month stint at Deluxe Lab in 1977, he returned to MGM as director of post-production; in 1980, in the wake of the merger, he became director of post for MGM/UA. He was promoted to vice president of post in 1987 and then later to senior VP, retiring from MGM/UA in 1992.
In 1993 Nolting joined Sony to participate in the development of cinema sound system SDDS but retired for good in 1994.
First wife Joanne Nolting died in 1987. Survivors include Nolting's second wife, Lila Nolting; son Kevin, a film editor; daughter Nancy Van Hoven; and three grandchildren.


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This week NASA turns 59. The pioneering organization has taken man-made vessels to every planet of our solar system, advanced humanity's understanding of the cosmos, and furthered our knowledge of how our own planet works. NASA was created by an Act of Congress "to contribute materially" to eight objectives outlined in the National Aeronautics and Space Act of 1958. These objectives chartered NASA with preserving the role of the U.S. as a "leader in aeronautical and space science and technology" activities for "peaceful and scientific purposes," and dealt with issues that ranged from "developing vehicles capable of carrying instruments, equipment, supplies, and living organisms through space" to cooperating with other domestic agencies and other nations.
NASA established ten field centers across the United States—some new, some already in existence when the agency was created—to enable it to fulfill its mandate from Congress over the course of nearly six decades. To commemorate NASA's 59th birthday this week, we explore the role that each of these field centers across the United States has played in the advancement of space exploration.
November 1963, Cape Canaveral. President John F. Kennedy tours the Saturn V launch system with Dr. Wernher von Braun.
Named after Robert H. Goddard, who is considered the "father" of modern rockets, Goddard Space Flight Center (GSFC) opened in 1959 in Greenbelt, Maryland as NASA's first space flight center. This facility manages NASA's unmanned exploration missions in Earth's orbit, including the Hubble Space Telescope (HST), the Explorer Program, the Discovery Program, the Earth Observing System (EOS), INTEGRAL, MAVEN, OSIRIS-REx, the Solar and Heliospheric Observatory (SOHO), the Solar Dynamics Observatory (SDO), and Swift. The center also plays an important role in furthering our understanding of our planet's oceans and atmosphere, as it develops satellite systems for the National Oceanic and Atmospheric Administration (NOAA).
Founded in 1936 at the California Institute of Technology and transferred to NASA's administration in 1958, the Jet Propulsion Laboratory (JPL) manages NASA's planetary probes and operates a series of facilities around the world known as the Deep Space Network. JPL's projects include the Mars Science Laboratory mission (which includes the Curiosity rover), the Cassini–Huygens mission orbiting Saturn, the Mars Opportunity Exploration Rover, the Mars Reconnaissance Orbiter, the Dawn mission to the dwarf planet Ceres and asteroid Vesta, the Juno spacecraft orbiting Jupiter, the NuSTAR X-ray telescope, and the Spitzer Space Telescope.
The Armstrong Flight Research Center (AFRC), located at Edwards Air Force Base in California, directs NASA's aeronautical research and has historically operated some of the world's most advanced aircraft. The center was instrumental in the Apollo Program by managing the Lunar Landing Research Vehicle, which helped NASA learn how to operate the Apollo Lunar Module in the moon's airless environment. The center was also home to the Shuttle Carrier Aircraft, which was the Boeing 747 that took the Space Shuttle back to Florida after it landed.
Located in Brook Park, Ohio and named after the former NASA astronaut and Senator John H. Glenn, Glenn Research Center (GRC) supports all NASA missions by serving as the agency's laboratory for aircraft engine research. Established in 1942, GRC was transferred to NASA after the agency's formation. The International Space Station (ISS) relies on the center's R&D in the areas of air-breathing, in-space propulsion and cryogenics, communications, power energy storage and conversion, microgravity sciences, and advanced materials. The center led research in the combustion processes for liquid rocket engines, which use hydrogen for propulsion.
Located near Huntsville, Alabama, Marshall Space Flight Center (MSFC) is one of NASA's largest facilities, which oversees spacecraft propulsion research. The center developed the Saturn V rocket, which carried humans to the moon, and the propulsion rockets for the Space Shuttle Program. The Spacelab, America's first laboratory orbiting Earth, and the American sections of the International Space Station were developed at MSFC. The center also contains the Huntsville Operations Support Center (HOSC), a facility that supports ISS launch, payload, and experiment activities in coordination with Kennedy Space Center.
Founded in 1939 under NASA's predecessor, National Advisory Committee for Aeronautics (NACA), Ames Research Center (ARC) was originally designed to conduct wind-tunnel research on the aerodynamics of propeller-driven aircraft. Its location, in the heart of Silicon Valley, has enabled ARC to expand its role and NASA's leadership in Astrobiology, small satellites, robotic lunar exploration, the search for habitable planets, supercomputing, intelligent/adaptive systems, advanced thermal protection, and airborne astronomy. One of ARC's most exciting roles is managing mission control for Kepler, NASA's space observatory that has discovered thousands of planets orbiting stars in our galaxy.
Founded in 1917 in Hampton, Virginia as an aeronautics research center by the government, the 100-year old Langley Research Center (LaRC) is NASA's oldest facility. Many of NASA's initial missions were designed at LaRC, including the Apollo Lunar Lander. LaRC's main focus is aeronautics where it conducts research for NASA in vital aerospace areas such as wake vortex behavior, fixed-wing aircraft, rotary wing aircraft, air safety, human factors, and aerospace engineering. The center also works closely with the National Transportation Safety Board to improve airline safety.
John C. Stennis Space Center (SSC) is NASA's largest rocket engine test facility located in Hancock, Mississippi. NASA's original spec for a rocket testing facility required the site to be located between the manufacturing facility for NASA's rockets in New Orleans and the Kennedy Space Center in Florida. The ideal site also needed barge access, as the rocket motors tested for the Apollo Program were too large for land transport. Since the decommissioning of the Space Shuttle, NASA opened SSC to private and public organizations for engine testing.
When audiences around the world follow the suspense before one of NASA's manned spacecraft lands, they usually see the tension of the men and women working at Mission Control, located at the Lyndon B. Johnson Space Center (JSC) in Houston, Texas. Known as the Manned Spacecraft Center, it is NASA's main facility for training astronauts, doing research on space conditions on human health, and where NASA controls the space missions that involve humans—from the moon to the ISS. In 1962, NASA Houston was selected from a shortlist of nine locations to house Mission Control. The requirements ranged from access to water and fair weather to having cultural and research facilities nearby.
The most historic and famous of all ten NASA field centers is Kennedy Space Center (KSC) in Florida. KSC is the epicenter of NASA's manned space program and is the site where man set out to land on the moon on July 16, 1969. It is named after President John F. Kennedy, who in 1961 issued the Moonshot Challenge to put an American astronaut on the moon before the end of the decade and bring that person safely back to Earth. Since then, every human-manned NASA mission, dozens of space probes, and all the Space Shuttle Missions, which were instrumental in taking up the materials to build the International Space Station and the Hubble Space Telescope, were launched from here. KSC is also home to many life sciences startups, including Joi Scientific.
Happy 59th anniversary NASA! Joi Scientific is proud to be located at one of these incredible field centers for the advancement of human activities "devoted to peaceful purposes for the benefit of all mankind," as chartered by Congress in the National Aeronautics and Space Act of 1958.
Photo by NASA on The Commons [Public domain or No restrictions], via Wikimedia Commons. Details on each field center included from Wikipedia and NASA.