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criticism ▶ Dispatches
Gaining Traction: Industrial-scale Collaboration in Philadelphia
by Edward M. Epstein
Traction Company at the Pennsylvania Academy of Fine Arts
July 2 to October 11, 2015
118-128 North Broad Street at Cherry
Philadelphia, (215) 972-7600
Interior of subTRACTION, 2013. Scaled model of Traction Company by members of the collective. Photo: Jesse Friedman
Shared media or common theoretical interests sometimes spur artists to form a collective. The Philadelphia Traction Company is a collective formed around a building. Beginning in 2007, this group of graduates of the Pennsylvania Academy of the Fine Arts (PAFA) set up shop in a vast shed that was once a repair depot for Philadelphia's trolley system, and a symbol of the city's industrial past. The process of making that forlorn and forbidding space their home was the common experience that forged their partnership. It has led to shared approaches to materials and a certain esprit de corps that has transcended markedly different artistic output of individual members.
The Traction Company's eponymous exhibition at PAFA contains works by individual members, collaborative projects and equipment borrowed from the site. Most notable are installations that straddle the line between art-making and entrepreneurship, such as the Modular Studio (2015) that greets visitors as they enter the exhibition. Made of repurposed materials of many types, including palette racks, unfinished plywood, pre-fabricated wainscoting, and corrugated metal, the capsule is meant to be inserted in the old trolley barn as a studio-within-a-studio. According to group member and multidisciplinary artist Billy Dufala, the rent collected from such moveable spaces is one way the group plans to cover the high cost of maintaining the building.
Installation shot of the exhibition under review with "Modular Studio" in the distance. Courtesy of Pennsylvania Academy of the Fine Arts. Photo: Barbara Katus
Modular Studio encapsulates the knowledge gathered by the group about how to make do in their adopted home. Dufala notes that the building's owner has been supportive of the artists' presence but limited in his capacity to maintain the site. Faced with a vast, unheated and not always dry space, the artists learned to repair, improve and adapt in the manner of wilderness explorers. Their first building-within-a-building, a three-story structure that functions as place of rest, design studio and office, took advantage of the trolley barn's lofty overhead. On the floor below, each artist created or inserted facilities for his or her own craft, such as metal casting, woodworking, or welding. Along the way they acquired an understanding of the building's 19th century bones that has shaped the aesthetic of their recent collaborative projects.
The need for spot heating has sparked many innovations including a tiny, handmade stove installed in Modular Studio. This beautifully-crafted item is an example of the overlap of art and old-fashioned manufacturing know-how that characterizes the Company's output. The artist made serendipitous use of odd-shaped scrap metal pieces to create a stove that is both functional and ornamental.
This form-cloaks-function aesthetic dates the trolley barn's heyday, when industrialists sought to familiarize new machinery by embellishing it with decorative styles from the past. A grand example is Miguel Horn's Obelisks (2015), replicas of the building's ornamental gate-posts, displayed upside-down at the entrance to the gallery. Made of thick-hewn wood carved with elegant designs, the tapering posts recall, in their new orientation, Egyptian-style designs made popular in the mid-19th Century as archeology uncovered the treasures of the ancient world. When presented in the context of a current-day, white cube gallery, these functional objects stand out as art in and of themselves.
The group recognized that the building's best readymades were its enormous roof trusses, and so re-created one in the gallery using thick timbers borrowed from a demolished building nearby. Seen up close rather than from the usual vantage point of approximately thirty feet below, the truss's heroic scale and hard-worn beauty comes to the fore. We see the natural ruptures and striations of its oversized wooden beams, and the enormous nuts and bolts affixed to its carefully fabricated steel join plates. More than with sheer size, the object impresses us with the care the artists took in learning how to make it. Imagine that Marcel Duchamp had apprenticed as an industrial ceramicist in order to manufacture a urinal for Fountain instead of using an off-the-shelf model.
Installation shot of the exhibition under review with "Truss" in the distance. Courtesy of Pennsylvania Academy of the Fine Arts. Photo: Barbara Katus
According to Dufala, the group's skill set comes in handy not only in repairing and improving the building, but in outside projects that help to situate the collective within its community and sustain it financially. Dufala is himself a veteran at forging such creative partnerships, having developed the Recycled Artist In Residency (RAIR) as a quid-pro-quo with a local scrap yard: artists gain access to materials, the scrap yard gains a positive image. The Traction Company has also improved its standing in the community by lending its skills to the repair of a nearby church. And it has been hired to fabricate other artists' work, suggesting another earned-income alternative to the usual funding sources for collectives, membership dues and grants.
Opposite in scale from the truss, but also showing off the group's collective technical bravura is subTRACTION, a playhouse-sized model of the entire building, complete with miniature versions of welding equipment, power tools, raw materials, and works in progress. Walking into this pint-sized world, which is barely tall enough to stand in without bumping one's head, one appreciates the group's flair for re-purposing materials as well as its relentless concern for detail. The artists have re-created each of the trolley shed's hanging light fixtures, for example, using a cut-off top from a metal spray can and a decorative LED bulb. subTRACTION – which was shown at the artists-coop Napoleon in 2013 and discussed at the time by The Review Panel Philadelphia – recalls every effort the group made to adapt to the harsh conditions they encountered. It is part scale model, part self-portrait.
Joshua Koffman. Synagoga and Ecclesia in Our Time. 36 x 45 inches.
Individual members vary greatly in style and approach when it comes to their own work. Following PAFA's age-old traditions, many are figurative sculptors. We see Joshua Koffman's allegorical grouping Synagoga and Ecclesia in Our Time (2015), commissioned by St. Joseph's University as a thirty-year commemoration of the Second Vatican Council's progressive teachings on Jewish-Catholic relations. Nearby is Connie Ambridge's helmeted portrait head Joan of Arc (2015), in bronze and silver and adorned by an intricate gorget of hexagonal brass plates. Sedekial Gebremedhin's video installation Dinner at Traction (2015) represents a much more contemporary approach. In line with the Traction Company's self-aware building techniques, this video—showing an African American couple feeding each other hors d'oeuvres—is projected in a viewing room whose exterior structure is exposed. There are numerous examples of abstract sculpture as well, including Brendan Keen and Leila Bateman's Space for Space (2015), a giant pod carved from glued boards and supported by a thicket of wires that creep up the piece's base. In a pop-art vein is Laura Giannini's Mason Basin (2015), a claw-foot tub made of tiny bricks.
As different are they are in style, these works are linked by an attention to materials and details of facture that speaks the artists' experience of collectively building out their shared facility. The trolley shed has spurred the development of both hammer and nail skills and an industrial approach to art making that differs from the non-profit gallery model that characterizes most collaboratives.
Installation shot of exhibition under review with Miguel Horn's Obelisks (2015).


Passengers onboard in B3 and B7 coaches of Jammu-Delhi Duranto Express were looted by unidentified assailants on the outskirts of the national capital on Thursday.
New Delhi: Passengers onboard in B3 and B7 coaches of Jammu-Delhi Duranto Express were looted by unidentified assailants on the outskirts of the national capital on Thursday.
The incident took place in the early morning hours of today. Northern Railway Public Relations Office said that the Railway Protection Force has initial leads in the case and action will be taken against culprits.
As per a passenger who was travelling in that train, the incident lasted for 10 to 15 minutes.
He said, "Some 7 to 10 unidentified miscreants entered coaches B3 and B7 of the train. They were carrying sharp edged knives with them. They put the knife near to the neck of passengers and asked them to handover whatever expensive items they are carrying with them."


text:
Posted in Useful Information
Prayer Academy By Elisha Goodman
Our prayers go out to Amy's family, friends and fans at this difficult time." The singer's publicist, Chris Goodman, went on to say "Everyone. get her if she stays on this road." The Recording.
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Five years ago, Elisha Goodman was inspired by the Holy Ghost to write out these 14 paryer points for Christian Singles for locating their Godly spouse. Today, over 21,378 people have been blessed by these prayers, you too can tap into this spiritual treasure for locating your God-ordained spouse. Read and pray aong. Shalom.
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redpajama_set_name: RedPajamaCommonCrawl


In 2008, the S&P 500 experienced a drawdown of about 50% from peak to trough. Many assets which are typically considered effective equity diversifiers also faced precipitous losses. In stark contrast, volatility levels as measured by VIX experienced significant increases and in 2008 repeatedly set new highs not seen since the crash of 1987. This anecdotal evidence leads one to wonder whether some degree of long VIX exposure would have provided effective diversification during the 2008 financial crisis when standard diversifiers failed to provide their expected diversification benefits. This study assesses the impact of long VIX futures and call positions as diversifiers for a stock portfolio, a stock/bond portfolio and a typical well-diversified institutional investment portfolio. The analysis covers the period of March 2006 to December 2008, with a focus on the latter part of 2008. While a long volatility exposure may result in negative excess returns over the long term, the study shows that investable VIX products could have been used to provide some much needed diversification during the crisis of 2008. In addition, the results of this study suggest that, dollar-for-dollar, VIX calls could have provided a more efficient means of diversification than provided by SPX puts.


Went on a little phototrip with a friend, around Aarhus and Silkeborg.
Photo Update 2015 - From Silkeborg - Denmark. Here is some of my new Photo's From June not to many but maybe July will be better, and have some better weather in Denmark.


From a new shipment that just arrived from Italy, this is a lovely viscose/lycra 4-way stretch knit, lightweight yet opaque, with lovely drape. The silhouette floral print (17.25" vertical repeat) features various denimy blue tones, from indigo to bleached (PANTONE 19-3725, 14-4110, 17-3922, etc.). 80% stretch in the width, 60% in the length, with great recovery. Great for tees, tops, tunics, dresses, etc. Beautiful quality! Hand wash or machine wash gentle, inside out, and hang to dry.


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Below you can find Sahrzad OpenVPN setup guide for Apple devices based on iOS.
1. Setup OpenVPN Connect application from AppStore on your iOS device.
You can find it in the attachment to the letter that we send you.
Please open it on your iOS device in Mail app and select Open it in OpenVPN.
Very important to open config file exactly in Mail app. Otherwise it can't be opened by OpenVPN application.
4. Enter 'UserID' and 'Password'. 'UserID' is your VPN username. Tick 'Save' and switch 'Connection' to ON.


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Helen Clay Frick (September 2, 1888 – November 9, 1984) was an American philanthropist and art collector. She was born in Pittsburgh, Pennsylvania, the third child of the coke and steel magnate Henry Clay Frick (1849–1919) and his wife, Adelaide Howard Childs (1859–1931). Two of her siblings did not reach adulthood, and her father played favorites with his two surviving children, Childs Frick (1883–1965) and Helen. After the reading of their father's will, which favored Helen, the brother and sister were estranged for the rest of their lives. Nonetheless, Helen developed as a strong, independent and spirited young woman.

She was equally interested in art history and philanthropy, making a catalogue of her father's art collection as a young woman, a collection which became the Frick Collection in New York. Her interest in the history of art resulted in her establishing the Frick Art Reference Library, which was originally housed in the bowling alley of the Frick family mansion in New York City at 1 East 70th Street. In 1924, a separate two and one-half story building was constructed at 6 East 71st Street to house the library, which was replaced in 1935 by the present thirteen story building at 10 East 71st Street. The Library houses photographs and archival records that document the history of Western art, many works of which were lost during World Wars I and II. She also established an art library at the University of Pittsburgh and, later in her life, built the Frick Art Museum on the grounds of Clayton to house her private art collection.

Her interests and philanthropy efforts also extended to the environment. In 1908, she requested that her debutante gift from her father be a donation of land to the city of Pittsburgh for the purpose of becoming a public park. This land donation would become Frick Park.  In the 1950s, she made her own land donation and established Westmoreland Sanctuary, a nature preserve in Mount Kisco, New York. She was also an avid gardener and belonged to the Bedford Garden Club.

Early life in Pittsburgh and New York

Helen's father was chairman of the Carnegie Steel Company, a partner in business with Andrew Carnegie; together the two men founded United States Steel Corporation.  Helen's early life was shaped by her father's wealth and reputation as a ruthless industrialist and union strikebreaker, and especially by the attempt on his life by Alexander Berkman, after the Homestead Strike of 1892. The strike lasted 60 days, resulted in 10 deaths and 60 wounded – the Pinkertons had been brought in to quell the strike – and only ended when the National Guard were sent in by the order of Pennsylvania's governor. Frick's actions were seen as heroic by men such as Andrew Mellon and J. P. Morgan but earned him a reputation as an enemy of the working class, and he became known as "Frick, the strike breaker". Two days after a July 23, 1892, assassination attempt, Frick's newborn son died.

A year earlier his first-born daughter, Martha, died – from swallowing a pin while on a trip in Europe – after an excruciatingly painful illness that lasted several years. Her sister's illness formed Helen's earliest memories. After the deaths of her siblings, Helen grew up in a household of obsessive mourning, and she was greatly affected by witnessing her sister's death. She grew up in Pittsburgh on the family's estate,  Clayton, where she was educated by a Swiss governess. As a child she showed an interest in her father's art collection, going so far as advising and giving opinions about various paintings. In the 1890s, after the Homestead Strike, Carnegie and Frick became bitter enemies over control of Carnegie's holdings.

At the end of the 1890s, Carnegie moved to New York, and Frick moved his family there a few years later, in 1905. He leased the Vanderbilt house at 640 5th Avenue, bought the old Lenox Library and began building the Henry Clay Frick House on 5th Avenue, on which he spent about $5 million. He employed a 27-member staff to cater to himself, his wife, and Helen. Helen went to finishing school at the Spence School, graduating in 1908. She returned frequently to Pittsburgh, where she had her social debut in 1906.

Helen traveled frequently and kept detailed diaries and notes about galleries and museums she visited. By age 17, she had been to Europe nine times, visiting the Louvre, Uffizi, Prado, Pinakothek, the National Gallery, as well as visiting churches and cathedrals. Additionally, she gained access to private collections with her father on buying expeditions. It was during these trips that she became interested in art archives, spending time in the archives at London's Record Office and in Paris' Musee des Archives. In 1908, she went with her family to Europe where they visited London, Paris, Madrid, Barcelona and Florence. In Paris, Helen, her father and brother visited Alphonse James de Rothschild's widow, the Baroness Rothschild, whose art collection was reputedly the most important in Europe. Helen's father bought two El Grecos on Helen's advice.

Back in New York, she established a home for women textile workers in Wenham, Massachusetts. On a visit to Boston's North Shore, she had become aware of the life of shoe-workers in Lynn, Massachusetts, and in the textile mills farther north, and upon her return from Europe she asked her father to purchase a home to provide the women with the opportunity to rest and recuperate. The home became known as the "Iron Rail Vacation Home for Working Girls".

World War I and inheritance
In 1917, when America joined World War I, the romantic relationship between Helen and Fordyce St. John was severed when his hospital sent him to serve in a surgical unit at a war hospital in northern France. The relationship may have begun as early as 1913, but the two kept it quiet, although they were seen together in public on occasion. St. John apparently adored Helen and she seemed to be in love with him, and an engagement announcement between the two had been expected before his departure. Why he left for Europe without following through on his promise to marry Helen is unknown, but was perhaps because Helen's brother told St. John that Frick would never sanction a marriage between the two. Helen decided to join the war effort: she applied for and received permission to establish a Frick unit under the Red Cross. With four other women, Helen left for France in November 1917, arriving in Paris in December where she went to work immediately helping to wrap 150,000 Christmas packages being sent to soldiers at the front. After Christmas she arrived in Bourg-en-Bresse where her unit worked with refugee women and children. Eventually she would become responsible for refugees in 70 villages, and she asked her father for funds to build an orphanage. During that trip she witnessed the destruction of art works and churches.

She chose never to marry and, on her father's death in 1919, when she was 31, she inherited $38 million, making her the country's wealthiest unmarried woman. She received $5 million outright; the rest in shares, properties and companies; as well as $15 million to endow the Frick art collection and control of the collection – which would become entirely hers if the city of New York refused its offer as a museum. Her mother and older brother, Childs Frick, received considerably less, which would cause ongoing tension and conflict for Helen in future years. In the meantime, she bought a farm in Bedford Village, New York, and joined the exclusively male board of the Frick collection.

Art archives and Frick Collection
She devoted her adult life to defending her father's public image from attack and continuing his tradition of philanthropy. The Frick Collection in New York was founded from Frick's personal art collection, as established in his will. Helen became trustee for the Frick Collection and was heavily involved in early acquisitions. Before Frick's death, by the time she was 25, she had embarked on a project of cataloguing the family's private collections, photographing the art work and collecting provenance data. After his death, she devoted ten years to learning about museum management and preparing to turn the Frick residence into the Frick Collection.

In 1920, she went back to Europe, revisiting sites she had known before the war, taking pictures and documenting the damage. In northern France, traveling through Berry-au-Bac and on to Soissons, she was appalled at the destruction, particularly to Soissons Cathedral. She photographed the damage, accumulating a record of the devastation wrought during the war. It was on that trip that she came to blame the Germans for damaging sites she had visited before the war, an attitude that would strengthen throughout her life.

In London Robert Witt (who went on to found the Courtauld Institute of Art) showed her the Library of Reproductions for the National Gallery, which held 150,000 photographs, spanning six centuries. Entranced with his archiving model, Helen asked whether she could copy it. He told her she could and that he would help. Upon her return to New York began assembling an archive of 13,000 records, beginning with the Frick family collection of catalogs, postcards and photographs, mounting each reproduction and labeling it with information about artist, provenance, exhibition histories for future reference. She went on to hire agents in Europe to buy catalogues and she hired a professional photographer to begin photographing art in the US and in Europe, in "the days when one could almost buy some works of art for the cost of making photographs of them." She converted the mansion's basement bowling alley to store the collection, and despite its location it soon gained a reputation among art historians. Eventually the references were moved to New York where the Frick Art Reference Library opened in 1924, in a single story building on E. 71st Street.

In the mid-1920s she responded to John Gabbert Bowman's request for funding the University of Pittsburgh. The institution was deeply in debt and had cut fine arts courses, but the acquisition of land in Oakland that previously belonged to the Frick estate provided space in Oakland for expansion. Bowman wanted to build a "cathedral of light" there; Helen funded the university's fine arts department with the proviso of "having the final selection of the department head."  She went on to endow and found the University's teaching collection in 1928, and continued to give Bowman funds to pay workers to complete what eventually came to be called the Cathedral of Learning.

Early in the 1930s, after the 1931 death of her mother, she hired John Russell Pope to expand of the Frick Reference Library into two adjacent townhouses. Pope built abundant shelving and windows, and a medieval-style office for Helen. Time magazine said of the building, it was "instantly recognized at one of the most important art libraries in the world." It would grow into a records library with over 300,000 books and exhibition catalogues, extensive auction  and provenance records, and 1.2 million images of art from the 4th to the 20th centuries; it contains the only records for many pieces of art lost or destroyed during both World Wars. Between 1922 and 1967, Helen commissioned 57,000 large format negatives. In Italy church interiors were lit, making it possible to photograph centuries-old frescoes and altarpieces, such as the now-lost frescoes by Giovanni Baronzio. More than 8,000 photographs are attributed to Italian photographer Mario Sansoni, who worked for Helen for many years.

The family's home on 5th Avenue was transformed into the Frick Collection in 1935. Helen continued as a trustee, to be active in acquisitions.  A small woman, described as a "frail little woman," Helen was often in conflict with the male board members, in particular with John D. Rockefeller, whom her father had also appointed as trustee to the Frick Collection. The two fought over the manner in which the house should be transformed into a museum, whether the costly furniture should be kept (she wanted it, he did not), and Helen resisted his efforts to add pieces from his own collection. She eventually resigned the position in 1961, "in a fury," after yet another fight with the Rockefellers.

Worried at the outbreak of World War II and reminded of the devastation she witnessed during World War I, in 1941 Helen had every single record in the art archives microfilmed, which were stored, at first, in an underground bank vault, and later moved to the Midwest. As early as 1943, the Committee for the Protection of Cultural Treasures in War Areas was consulting with the library, compiling lists for the Monuments, Fine Arts, and Archives program, which located, identified and returned looted art at the end of World War II.

Later years
Helen also owned an estate in Westchester County, New York, known as Westmoreland Farms. She donated part of her land to create Westmoreland Sanctuary, a nature preserve, in 1957. She was insistent that there be no charge for visitors to the Sanctuary and was a lifelong supporter of the nonprofit.

In the early 1960s, she funded the building of the Frick Fine Arts Building to house the fine arts department at the University of Pittsburgh. She was reticent about her involvement with the project and refused, at first, to have her name associated with it. Eventually she allowed a Pittsburgh reporter to interview her, revealing she was the building's donor. A dispute eventually severed the relationship with the university, involving the employment of Germans – Helen's World War I experience instilled an intense dislike of Germans she never overcame – in addition to the university's acquisition of modern art, which she equally disliked. In 1970, she built the Frick Art Museum on the grounds of Clayton to house her personal art collection.

Notoriously reclusive during her last years, she died at her Clayton home in Pittsburgh at age 96 on November 9, 1984, leaving a personal estate estimated to be worth $15 million. She is buried alongside her parents in the Frick family plot at Homewood Cemetery in Pittsburgh.  Much of her later life was spent in Pittsburgh, at Clayton, where she kept a permanent staff. Clayton's second floor contains personal family archives spanning almost a century, which proved to be useful to architects when, after Helen's death, the house underwent a full restoration to its original state before opening to the public as a museum.

References

Sources
 Lifson, Amy. "All The Art." Humanities. Volume 33, issue 2 (2012)
 Lockhard, Anne Ray. "Helen Clay Frick: Pittsburgh's Altruist and Gentlewoman Avenger". Journal of the Art Libraries Society of North America. Vol. 16, No. 2, (Fall 1997)

Further reading

External links
 Frick Digital Collections
 Frick Art Reference Library
 Helen Clay Frick
 Helen Clay Foundation Archives

1888 births
1984 deaths
Frick Art Reference Library
People from Pittsburgh
Burials at Homewood Cemetery
Spence School alumni

redpajama_set_name: RedPajamaWikipedia


There are rotating exhibits located off the rotunda, as well as the entrance to the Military exhibit. To see our current rotating exhibits, visit our Special Exhibitions page.
Visit the History Theater to see a different film featured each month.
The Observation Gallery located in the Knox Foundation Center (Georgia Railroad and Banking Exhibit) lets visitors view the artifact conservation and preparation laboratory as well as the research library. Get a behind the scenes look at some of our new acquisitions down below as the staff prepares them for exhibition or storage.
Red dots on the map indicate the location of QR codes within the museum of interactive sites. Use a QR code scanner on your mobile device if you are in the museum, or click on the red dots on the map to learn about historic places in Augusta. To close a box, click the red dot again.


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TD Ameritrade vs Moneta Markets 2023
Trying to decide between TD Ameritrade and Moneta Markets? We've taken the guesswork out of the equation with our Comparison Tool. Use our tool to compare hundreds of data points, side-by-side, to see how these two brokers stack up against each other.
Based on our extensive research, hands-on testing, and expert analysis of over a hundred data-driven variables, we've determined that, overall, TD Ameritrade ranks more highly than Moneta Markets.
TD Ameritrade Moneta Markets
1.25 pips (September 2022) 1.27 (September 2022)
TD Ameritrade vs Moneta Markets Comparison
Comparing forex brokers side by side is no easy task. For our 2023 annual forex broker review, we spent hundreds of hours assessing 39 forex and CFD brokerages to find the best forex broker. Let's compare TD Ameritrade vs Moneta Markets.
Can I trust TD Ameritrade?
TD Ameritrade has a trust score of 99, giving it a "Highly Trusted" trust label. Here's what each trust score label means:
Can I trust Moneta Markets?
Moneta Markets has a trust score of 71, giving it a "Average Risk" trust label.
Is TD Ameritrade a good broker?
TD Ameritrade, part of financial conglomerate Charles Schwab, is a leader in platform technology and trusted by millions of investors globally with trillions in assets under its brands. Available exclusively to U.S. residents, TD Ameritrade's forex offering consists of just over 70 currency pairs, along with powerful research, trading tools, and comprehensive educational resources for investing.
Is Moneta Markets a good broker?
Moneta Markets, part of the Vantage Group, is an up and coming brand that provides MetaTrader alongside its own web and mobile apps. That said, its pricing, education, and research still have room to improve if it wants to compete with the best forex brokers.
Tier-1 regulators go above and beyond by requiring additional capital requirements, checking in on brokers more frequently, and putting brokers through a tougher screening process. TD Ameritrade is SFC Authorised (Hong Kong), MAS Authorised (Singapore), FCA Authorised (U.K.) and CFTC Registered (USA), while Moneta Markets is ASIC Authorised (Australia)., neither have IIROC Authorised (Canada), CBI Authorised (Ireland), FSA Authorised (Japan), FMA Authorised (New Zealand) and FINMA Authorised (Switzerland)
Tier-2 and tier-3 licenses are still important in evaluating the overall trustworthiness of forex brokers. As far as tier-2 licenses go, TD Ameritrade is none, while Moneta Markets is FSCA Authorised (South Africa)., neither have CBRC Authorised (China), CySEC Authorised (Cyprus), SEBI Authorised (India), ISA Authorised (Israel), CBR Authorised (Russia), SEC Authorised (Thailand) and DFSA / Central Bank Authorised (UAE). When comparing tier-3 licenses unfortunately, neither TD Ameritrade nor Moneta Markets are SCB Authorised (Bahamas), IFSC Authorised (Belize), BMA Authorised (Bermuda), FSC Authorised (British Virgin Islands), CIMA Authorised (Cayman Islands), FSC Authorised (Mauritius) and VFSC Authorised (Vanuatu)., neither have VFSC Authorised (Vanuatu).
For trading platforms TD Ameritrade supports a Proprietary Platform and Desktop Platform (Windows), whereas Moneta Markets supports a Desktop Platform (Windows), DupliTrade and ZuluTrade., neither have cTrader
Does TD Ameritrade offer MetaTrader? Does Moneta Markets offer MetaTrader?
For MetaTrader TD Ameritrade provides neither of these, while Moneta Markets provides MetaTrader 4 (MT4) and MetaTrader 5 (MT5). If MetaTrader is a must for you, read our guides on the best MT4 brokers or best MT5 brokers.
How do TD Ameritrade and Moneta Markets differ in terms of minimum deposit? What about average spreads and funding options?
TD Ameritrade requires a minimum deposit of $0, while Moneta Markets requires a minimum deposit of $50. From our testing we found TD Ameritrade offers spreads of 1.25 pips (September 2022), while Moneta Markets offers spreads of 1.27 (September 2022). TD Ameritrade supports Bank Wire (Deposit/Withdraw) for popular funding options, where Moneta Markets supports Bank Wire (Deposit/Withdraw) and Visa/Mastercard (Credit/Debit)., neither have PayPal (Deposit/Withdraw) and Skrill (Deposit/Withdraw)
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TD Ameritrade offers a more diverse selection of investment options than Moneta Markets allowing you to trade Forex Trading (Spot or CFDs)., neither have Spread Betting Looking at total tradeable symbols, TD Ameritrade has 0, compared to 965 from Moneta Markets.
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Crypto trading is popular with forex traders. Most crypto assets are offered either as the underlying physical asset or as a CFD or other derivative — including spot forex contracts. In terms of trading physical cryptocurrency neither TD Ameritrade nor Moneta Markets allow you to trade physical cryptocurrencies.
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In terms of research and research tools TD Ameritrade gives traders the following tools: Daily Market Commentary, Stock Charts and Forex News (Top-Tier Sources). In comparison Moneta Markets has the tools listed here: Daily Market Commentary, Stock Charts, Forex News (Top-Tier Sources), Trading Central (Recognia) and Social Trading / Copy Trading., neither have Autochartist


How to create one to one chat with Web SDK?
As a Chat service QuickBlox uses XMPP-server. WebSDK doesn't have a wrapper for XMPP API, so you will need to include additional XMPP JS library.
For our examples, we used Strophe.js (http://strophe.im/strophejs/).
Next steps that should be made are as following.


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Dosing Confusion Common With Kids' Liquid Medicines
Study: Packaging for OTC Products Hard for Parents to Understand
By Salynn Boyles
Nov. 30, 2010 -- Dosing instructions for over-the-counter liquid medicines used by kids are often confusing, inconsistent, and hard for parents to follow, a new study shows.
Researchers examined the packaging of 200 best-selling liquid cough and cold, allergy, pain, and GI products marketed for children following the publication of voluntary packaging guidelines by the FDA in 2009.
Those guidelines called for over-the-counter liquid medicines to include a measuring device to help with dosing. Federal officials also said directions on the devices and medicine labeling should be consistent, with the same abbreviations and units of measurement.
The new report, published online Tuesday in the Journal of the American Medical Association, illustrates the extent of the problem with over-the-counter pediatric liquid medicine packaging.
Among the major findings:
One-in-four liquid drugs examined did not contain a dosing device, such as a cup, dropper, or syringe.
Just about all of those that did (99%) had markings on the enclosed device that were inconsistent with the label instructions. Some of these inconsistencies were small, but others made correct dosing very difficult, the researcher noted.
More than half the medicines did not use standard abbreviations for terms such as teaspoon or milliliter.
"It is really important that parents understand product instructions so that they are able to give medications correctly," NYU assistant professor of pediatric medicine and study researcher Shonna Yin, MD, tells WebMD. "We should be helping by providing them with clear and straightforward dosing instructions and devices."
Voluntary Guidelines
In a news release, study co-author Ruth Parker, MD, of Atlanta's Emory University School of Medicine expressed doubt that the FDA's voluntary guidelines were sufficient for addressing the problem.
"The current guidance does not contain a timeline for compliance or specify consequences for non-compliance," she notes. "Standards and regulatory oversight will likely be needed to ensure that all products contain label information and dosing device markings that match and are understandable and useful."
More than half of children in the U.S. take one or more medications every week, and more than half of these are over-the-counter drugs, the researchers note.
Darren A. DeWalt, MD, MPH, of the University of North Carolina, Chapel Hill, says it defies logic that pharmaceutical companies spend hundreds of millions of dollars developing new drugs -- including determining the appropriate dosage to give -- and then fail to provide clear dosing instructions for them.
DeWalt, whose research focuses on how well patients understand doctors' instructions and the impact on medical care, says the fault does not lie with the product labelers alone.
"At every level, including the clinic and the pharmacy, we are not doing a very good job of helping parents understand what they need to know when they give these medications at home," he tells WebMD.
Teaspoon, Tablespoon Confusion
DeWalt says one of the biggest areas of confusion involves teaspoon and tablespoon dosing recommendations.
He says people often confuse the two and use tablespoons, which are typically three times the size of teaspoons, when instructions call for teaspoons.
"This happens all the time," he says. "Most of the time there is no real harm. But if it happens with, say, Tylenol several times a day for several days, there could be issues with liver toxicity. Or if it happens with Benadryl that can knock a child out."
Devices for delivering medicines often have extra markings that are not necessary for following label directions.
In the newly published analysis, four out of five measuring devices included these superfluous markings.
And some products included units of measurement that hardly anyone understands, such as "drams" and "cubic centimeters."
"I couldn't tell you what a dram is, and it's a safe bet that very few people can," DeWalt says.
In an editorial published with the study, DeWalt recommended that milliliters be adopted as the standard unit for delivering liquid medications.
Yin says if this happens, efforts to educate the public and health care providers about this unit of measure will be needed.
"This is not a term many parents understand," she says. "And doctors, nurses, and pharmacists will need to use this term. There has to be a united front, or it will just add to the confusion."
Consumer Healthcare Products Association Responds
In a statement released Tuesday afternoon, the trade association representing the over-the-counter drug industry says it is working with federal officials and others to simplify dosing for consumers.
"The OTC medicine industry takes very seriously its responsibility to help parents and caregivers safely and correctly administer OTC pediatric medicines to children," the Consumer Healthcare Products Association (CHPA) statement reads.
Last November, the CHPA approved dosing guidelines for liquid drugs that also called for the inclusion of appropriate dosing devices in over-the-counter liquid medications. The group also recommends the adoption of milliliters as the preferred unit for dosing with the abbreviation to read "mL."
"CHPA's voluntary guidelines, supported by the American Association of Poison Control Centers, were developed as part of a public-private partnership, called the PROTECT Initiative, with the CDC and other stakeholders," the statement reads.
SOURCES: Yin, H.S. Journal of the American Medical Association, Dec. 1, 2010.Consumer Healthcare Products Association.H. Shonna Yin, MD, MS, department of pediatrics, New York University School of Medicine.Darren A. DeWalt, MD, MPH, Cecil G. Sheps Center for Health Services Research and Division of General Medicine and Clinical Epidemiology, University of North Carolina at Chapel Hill.News release, Journal of the American Medical Association.News release, NYU Langone Medical Center.
©2010 WebMD, LLC. All Rights Reserved.


text:
class QSlider;
class WXDLLIMPEXP_CORE wxSlider : public wxSliderBase
{
public:
  wxSlider();
  wxSlider(wxWindow* parent, wxWindowID id, int value, int minValue, int maxValue, const wxPoint& pos = wxDefaultPosition, const wxSize& size = wxDefaultSize, long style = wxSL_HORIZONTAL, const wxValidator& validator = wxDefaultValidator, const wxString& name = wxASCII_STR(wxSliderNameStr));
  bool Create(wxWindow* parent, wxWindowID id, int value, int minValue, int maxValue, const wxPoint& pos = wxDefaultPosition, const wxSize& size = wxDefaultSize, long style = wxSL_HORIZONTAL, const wxValidator& validator = wxDefaultValidator, const wxString& name = wxASCII_STR(wxSliderNameStr));
  int GetValue() const override;
  void SetValue(int value) override;
  void SetRange(int minValue, int maxValue) override;
  int GetMin() const override;
  int GetMax() const override;
  void DoSetTickFreq(int freq) override;
  int GetTickFreq() const override;
  void SetLineSize(int lineSize) override;
  void SetPageSize(int pageSize) override;
  int GetLineSize() const override;
  int GetPageSize() const override;
  void SetThumbLength(int lenPixels) override;
  int GetThumbLength() const override;
  QWidget* GetHandle() const override;
private:
  QSlider* m_qtSlider;
  wxDECLARE_DYNAMIC_CLASS( wxSlider );
};
#endif


text:
Home Features Career Ruining Movies – Part 2…….
Career Ruining Movies – Part 2…….
......she suddenly realised she was a grown woman who was dressed up as a cat in PVC.......
As you all enjoyed our first career ruining movies piece we thought we'd do another batch of movies that ruined perfectly decent careers
Halle Berry & Pitof – Catwoman (2004)
Having won an Oscar, made a show stopping appearance in Bond film 'Die Another Day' and bared her breasts in 'Swordfish' Halle Berry was hot but her career was given a double blow by the lacklustre 'Gothika' followed by the fatal body blow that was 'Catwoman'. It was a $100m summer event movie which made a catastrophic $82m worldwide. Perhaps it was the fact the Michelle Pfeiffer's iconic turn in 'Batman Returns' remained the defining interpretation of the character or perhaps it was that the movie had been directed by an ex visual effects artist who decided that he was such a star that the world should no him only as Pitof (though it could be argued that he was mishearing people telling him to 'P*ss off'). Test screenings were poor and extensive reshoots were done but made little difference as the film bombed taking everyone with it to such a degree that it earned a huge number of Razzie awards which Halle Berry won as worst lead actress. In fairness to her she was the first actor to ever attend the ceremony and accept the award telling everyone there,' I'd like to thank Warner Brothers, for making me do this godawful, piece of s**t movie!' It was a good point well made and her career never really recovered after that and she appeared in such detritus as 'Movie 43' and relied on the X-men movies to maintain her profile. Pitof never directed a cinema feature again and returned to visual effects and producing other forgettable dreck.
Hayden Christenson – Star Wars: Revenge of the Sith (2005)
Up to this point Christenson had forged a half decent career in TV but had come to attention in 'The Virgin Suicides' which bought him to George Lucas who cast him in 'Attack of the Clones' which many looked forward to only to find themselves once again bored rigid. 'Revenge of the Sith' was the one that many Star Wars fans looked forward to as it marked the transition to the 1977 Star Wars film and finally saw the transition of Anakin Skywalker into one of cinemas great villains, Darth Vader. Unfortunately his shortcomings as an actor were compounded when appearing alongside Christopher Lee, Ewan McGregor and Samuel L Jackson and audiences were less than convinced that this stroppy on screen teenager was to become the Galaxy's Evil One. It hardly helped that Lucas dialogue was as dire as ever and audiences were to continue to be disappointed with the Star Wars prequel trilogy which was little more an overlong CGI-fest. Since then he has returned to far better low budget independent films such as 'Shattered Glass' though his attempt at a return to event movies fizzled again with 'Jumper'.
Mike Myers – The Love Guru (2008)
After the huge success of Wayne's World and even more success with Austen Powers and going stratospheric with Shrek Myers turned to Indian mysticism for laughs with a character that he had been trying out in comedy clubs and decided that now was the time for the character to make its big screen debut. He was wrong. Very, very wrong. Dragging Justin Timblake, Jessica Alba and worst of all Ben Kingsley in a truly cringe worthy turn. Arguably racist in its portrayal of Indian mysticism it was also immensely unfunny and audiences seemed to agree staying away in droves and the $62m budgeted movie bombed at the box office taking only $40m worldwide. Understandably it was nominated for a whole slew of Razzies winning worst film, worst actor and worst screenplay all for Myers. Critically mauled by everyone Myers has not made a film since apart from a small cameo in Tarantino's 'Inglourious Basterds'. Instead he's stayed behind camera doing his Shrek voice for the TV spin offs. His first confirmed role in almost ten years is in 'Terminal' out later this year whose success may influence appearing in any further films including a rumoured fourth Austen Powers film.
Chris O' Donnell – Batman & Robin (1997)
O'Donnell's career was taking off having made appearances in regarded films such as 'Fried Green Tomatoes at the Whistle Stop Cafe', 'Scent of a woman' and 'Circle of friends' and moved into blockbuster territory with 1995's Batman Forever returning in 1997 for Batman and Robin with George Clooney in the lead role and again directed by Joel Schumacher. With Schwarzenegger, who was still a big box office draw as the lead villain Mr Freeze, all seemed assured. Then the test screenings began. A hint that things were not going well when an audience member having sat through the pun laden electric neon lit cobblers shouted out, 'Death to Joel Schumacher!'. The press unfairly taunted Alicia Silverstone about her weight gain and inability to get into the batgirl costume. Clooney himself even joked that they'd killed the franchise. The film made money but the fan fury was so great that the franchise came to an immediate end for years until Christopher Nolan rebooted it all. In fairness it put Silverstone's and Schumachers career on hold too. O' Donnell didn't help himself by turning down the lead role in Men in Black either. Subsequent films tanked too and he now makes a living appearing in TV series NCIS;Los Angeles.
M Night Shyamalan – The Lady in the Water (2006)
After huge success with 'The Sixth Sense', 'Unbreakable' then 'Signs' the director had the first indications of a box office wobble with 'The Village' but it was his next film 'The Lady in the Water' that proved his downfall. Having left Disney for Warner's and pretty much given carte blanche to make what he liked he came up with the fairy tale like 'Lady in the Water'. His signature twist in the tale he abandoned choosing instead to write a script that had obvious digs at critics of his work but perhaps worst of all was elevating himself from cameo appearances to fully fledged major roles in the film. A limp story was met with limp reviews and poor box office which bombed with a $72m worldwide gross against its $70m budget. Accused of arrogance when he refused to acknowledge the films failure he returned to his twist in the tale films. Unfortunately it was the unintentional laugh fest 'The Happening' a film which featured Mark Wahlberg talking to a pot plant. It did make money but his career crashed with 'The Last Airbender' which was derided by many even though financially it was a success – although it did include one of our all time favourite unintentionally funny lines, 'I always knew you were a bender!' His name, which had featured so prominently on film posters, was now kept off the Will Smith starrer 'After Earth' which fared badly against other summer blockbusters and since then he has stripped his budgets right back with 'The Visit' and 'Split' both of which have seen him return to form and box office success. Hoorah!
career ruining movies
chris o donnell
hayden christenson
pitof
the lady in the water
the love guru
Previous articleThe Michael Jackson monkey movie…….
Next articleWin the dvd of PHANTOM BOY starring Vincent D'Onofrio…….EXPIRED
OSCARS 2023 nominations
Plane to see…..those real life special forces operatives turned actors in action fest, 'Plane'
What was Quentin Tarantino's most successful film at the box office?
Mission Impossible – Dead Reckoning Part One – TRAILER
Win a 50th Anniversary copy of Mel Brooks, 'The Producers'…….EXPIRED
Richard Jewell – TRAILER
Robert Evans – Obituary


Derby College is among the first FE colleges in the East Midlands to become a Peter Jones Enterprise Academy – providing an opportunity for aspiring young entrepreneurs to realise and achieve their business dreams.
The Enterprise Academy – the UK's first non-profit educational institution dedicated to teaching enterprise and entrepreneurship – is the brainchild of Dragons' Den star Peter Jones CBE, who had a vision to create a centre of excellence for developing enterprise skills.
Peter's aim was to shift the boardroom into the classroom and equip the future generation of entrepreneurs with the skills and confidence to aim higher.
From this September, Derby College will offer two unique courses in Enterprise and Entrepreneurship which focus on developing and furthering the aspirations of young people to set up their own businesses or work in growing companies.
The PJEA also enables students to work closely with business professionals from a wide range of industries, carry out work placements and receive personal guidance on areas such as sales, marketing and finance.
Peter Jones said: "We are in what the Prime Minister has called the UK's 'most entrepreneurial decade' and I therefore believe that now is a critical time to engage and inspire our future entrepreneurs.
Derby College Director of Enterprise and Innovation Louise Curd added: "Developing entrepreneurs and enterprise skills in young people is critical to the future success of the local economy.
"We are delighted to be a Peter Jones Enterprise Academy partner as this enables us to offer young people a unique opportunity in this area to develop their entrepreneurial skills.
"Becoming an Enterprise Academy partner is an exciting new venture for the College and for the local business community who will have the opportunity to share their knowledge and wisdom with our Enterprise students.
"By the time they finish the course, our students will have what it takes to thrive in the business world.


text:
Q: Jump to Declaration when file is in another folder/directory I use a keyboard shortcut for "Jump to declaration" in PyCharm constantly.  I'd like my project structure to conveniently support having source code files in multiple folders/directories.  Unfortunately, it seems that "jump to declaration" fails when attempting to jump to a function call that exists in another directory.  Is there any way to fix this or teach it where to jump?  It seems it's not indexing/searching into nested directories despite those directories being in the same project.  So i'm forced to keep all of my source code in the same directory so I can have a working "jump to declaration" in PyCharm...
I'm importing files from other folders via this solution:
Importing files from different folder
# some_file.py
import sys
sys.path.insert(0, '/path/to/application/app/folder')

import file

But then when I try to "jump to declaration" via keyboard shortcut of file.function(), it fails because it's not in the same directory of the current file i'm in.
Edit:
So I created the structure @Code-Apprentice suggested.

Then I added the __init__.py that @Lukasz suggested and it worked:

Now back to my other project, the __init__.py didn't seem to work.  Let me tinker and see what the differences are.
Edit2:
Interesting, so if add the same exact file, bar.py to a subfolder of my original project with the __init__.py file included, I cannot jump to declaration there.  So there must be something wrong with this project or PyCharm's interpretation of my project.  It's a big project, maybe something is throwing it off.
Edit3:
The last issue was a dumb mistake on my part. Thanks guys!

A: Could You add some code and file structure?
You need empty __init__.py files in folders to make them python package, so imports will work for modules
You can import also:
from app.folder1 import name [as sub_name]

A: Let's call your project directory PROJECT_ROOT. You can create any arbitrary directory structure in this folder. So for example, say you create bar.py in a foo folder and main.py in PROJECT_ROOT:
PROJECT_ROOT
|_ foo
   |_ bar.py
|_ main.py

In main.py use standard imports:
import foo.bar

foo.bar.do_something()

Now move the cursor to the usage of do_something() in main.py and press Ctrl+B. This will jump to the definition in foo/bar.py.

redpajama_set_name: RedPajamaStackExchange


text:
Title: "Neither the guerrillas nor the government consider us a political actor"
Subtitle: Interview with the General Secretary of the National Indigenous Organisation of Colombia (ONIC), Luis Fernando Arias
Topics: Colombia, guerrilla war, interview
Notes: Interview with the General Secretary of ONIC, Luis Fernando Arias, on the delicate situation of the Awá people. We also talked on the current Colombian political scenario, signaled by the intensification of the conflict in the indigenous territories and of the strategy of plunder through mass displacement, from the point of view of indigenous people and in relation to their own role as a political force.
"Neither the guerrillas nor the government consider us a political actor"
Interview with the General Secretary of the National Indigenous Organisation of Colombia (ONIC), Luis Fernando Arias
On Wednesday 18th of February, we held a telephone conversation with the General Secretary of ONIC, Mr Luis Fernando Arias about the massacre in which an indeterminate number of indigenous of the Awá tribe in Nariño, south-east Colombia, which was carried out by the "Revolutionary Armed Forces of Colombia –Army of the People" (FARC-EP). This latest act of violence against the indigenous population attests once more to the degree of degradation which the social and armed conflict has reached in Colombia. With brutal authoritarianism, there have been massacres of people denounced as "informers", who were only defenceless members of a population which days earlier had been attacked by the Colombian army, forced to give information about the area and about the presence of insurgents. The Awá community is thus incorporated forcefully by the armed actors in its territory into a conflict which they don't feel a part of, violated such is the principle of indigenous autonomy.
The media, which conspiratorially silences the systematic violations of indigenous communities on the part of the State and especially the government of Álvaro Uribe Vélez, also have the blood of the Awá on their hands – they have used this massacre as another element in their war propaganda. A game for which neither the indigenous nor the ONIC asked. In a clear declaration read at a press conference on the 12th of February, Luis Evelis Andrade, Chief Adviser of the ONIC, stated:
"Those who murdered the Awá are not only the FARC. The National Army, the police and the paramilitaries have also brought terror to this community. From September 2008 till 2009, there have been 44 murders and massacres of indigenous Awá. In the first 43 days of this year there have been 58 murders of our brothers in the national territory. In the last seven years there have been 1,303 murders of indigenous in Colombia, a figure which could grow given that many are not announced for fear of retaliation." He recommends also that the government "no longer lies to the international community with respect to the acts of war – bombings, fumigations and machine-gunnings in territories of the Awá. (As well as) abstaining from publicising the fact that Democratic Security guarantees and protects the life of the indigenous communities."[1].
The Association of the Indigenous Councils of Norte del Cauca, who were the main protagonists of the heroic "Minga" of Indigenous and Popular Resistance, which shook Colombia in October and November of last year, announced in a declaration with a graphic title "Why did they massacre the Awá?" about the antecedents of the massacre and the vested interests at play in this region. It concludes categorically:
"This is not a problem of the Awá, it is not a problem of the indigenous, it's not a crime against a community in Nariño. This is an act of terror which is a part of the accelerated implementation of policies leading to dispossession through the means of death. This is Plan Colombia in action. An economic megaproject that delivers and integrates our territories and lives to the greed of global capital.
Before so much horror, so evident, we cannot continue to look on from afar or wait our turn. It is time to know why they were killed, why they kill us and take us into detention. It is time to reject once and for all the horror which the FARC commits in the name of the people, as we reject that of the regime.
It is also painfully evident that it is of little use before this State to have lands, to denounce violations of human rights or to negotiate with an illegitimate government when the model of development with its treaties and laws which serve terror, coming from wherever to massacre, displace and to dispossess. It is vitally important to resist this model in its entirety and as a priority. In these conditions and before these awful acts, it is necessary to recognise that all the rest, even the electoral system, must urgently abide by an agenda of mobilisation and action in the Minga which resists and stops the accelerating course of dispossession of which this massacre is a part.
We call the Social and Communal Minga. We will mark the agenda to resist the model of death which comes with the TLC, with the laws of dispossession, terror, with broken agreements, with the absence of a fabric of the communities for liberty. We dedicate ourselves in Minga to stop the horror of the FARC, the State and all the armed groups in Nariño and Colombia. To support the Awá community and to defend with them their territory and to defend life and our territories from this death, knowing that it advances continually accumulating."[2]
The 20th of February, the ONIC pointed at a new communiqué which before the disappearance of the bodies of the massacred Awá called a Humanitarian Minga to find the bodies. Enough time until Monday the 23th of February at 18:00 for the FARC-EP to bring back the bodies, this demand is also directed at the national government, which has troops in the zone. The communiqué concludes by once more demanding the demilitarisation of the Awá territory and the withdrawal of all the armed actors, "legal and illegal". For their part, they insist that the insurgents recognise the indigenous autonomy and that the government don't take this opportunity to pressurise the Awá to "collaborate" as part of its warlike strategy.[3] (Uribe at the moment is in Nariño and is threatening the zone with great military pressure, which will have the effect of aggravating the humanitarian crisis of the Awá).
We reproduce below the interview with the General Secretary of the ONIC, Luis Fernando Arias, about the grave problem of the Awá community. We also talk regarding the current situation in Colombia from the perspective of the indigenous movement, a situation which is marked by the worsening of the conflict in reservation zones and the intensification of the strategy of dispossession and massive displacement.
Dear Luis Fernando, can you tell us what has happened to the Awá in Nariño?
What has happened isn't temporary; it is something that's being coming for a while. We could say that it is the Chronicle of an Announced Death. We came to denounce for a long time, the Defence, the ONIC, UNIPA, the system of Early Warnings, which had risked a lot in this zone. Yet they still did not adopt urgent measures for individual and collective protection.
Here there is a strategy, on the part of the armed actors, to get the civilian population involved in the conflict. On the one hand, there's the Army which accuses us of not cooperating and on the other hand, there is the FARC which accuses us of being informers. Nevertheless the Awá have retained a firm attitude in defence of their territory, autonomy based on the agreements and laws of origin.
The total dehumanisation of the conflict has brought about today that this massacre could be wrought on the Awá people. We have read the justifications of the FARC but we reject them. We have called on all the actors to stop involving our peoples in the conflict and that they demilitarise the territories. The response that we have received has been of a military character, together with threats and displacements.
This atrocious crime must be seen in an integrated and historical manner as the result of a series of violations which succeed one another in a systemic manner. A public prosecutor claims that they are trying to get the Awá to cooperate with them, but we have spent five years trying to get them to listen to us.
What is the reason for this zone being such an acute space of conflict?
This zone is a strategic corridor, since it is on the Ecuadorian border and has a route to the sea. Therefore its control is fundamental for two types of traffic, the trafficking of arms and the trafficking of drugs. Because of this there is a paramilitary presence and also a guerrilla and an army presence. The geographical conditions are also very inhospitable and all of this aids the war situation.
We read the communiqué of the Mariscal Sucre Column of the FARC-EP and they recognise only 8 deaths, in circumstances where the media talked of 27 deaths came to light.... What is this substantial divergence due to?
On 6th February the Awá comrades initially announced that there had been 17 deaths. Later an indigenous leader stated that there had been 10 more deaths afterwards. These pieces of information could not be verified due to the current conditions in the zone. Our information, what we have been able to verify for the moment, shows that the second massacre could not have happened. It still hasn't been able to enter, but preliminary information seemed to confirm that the second massacre did not happen.
The FARC communiqué doesn't mention two women who were murdered inside this group. Maybe there have been 10 of these deaths that have been confirmed up until now. But there are seven disappearances that were taken with the group, whose whereabouts we do not know nor whether they've been executed. Therefore we demand that they be returned, those who were taken along with the others. This is the information that we have at the moment.
We see that the government has been hurried into making political strategies of this situation, insisting that the communities "co-operate" with the armed forces and with the "democratic security", to exert pressure through a major militarisation of the reservations... What position does the indigenous movement have with regard to this situation?
The Colombian indigenous movement has been consistent in denouncing the Democratic Security policy of Uribe Vélez. This is nothing more than a policy of death and terror. We have had, during his period in government, 1,300 indigenous people murdered. This is an incontrovertible figure, corroborated by national, international and independent organisations. This signifies that, with this government, an indigenous person is being murdered every second day. This was recognised by the United Nations' spokesman, Rodolfo Stavenhagen, who in 2004 affirmed that a process of ethnocide and genocide is being carried out in Colombia. This is a result of the deepening of the war as a result of the Democratic Security policy, precisely. If the government had been looking for peace there would have been other responses, of a political nature. But the indiscriminate response of a military nature claims its principle victims from among civilians.
We told Mr Uribe not to come to point out that the policy of Democratic Security is a policy that benefits the indigenous people. Therefore we have demanded he dismantle these policies... this is what we are setting out through the Minga, so we are seeking total demilitarisation. Because the war is not taking place in the Ubérrimo (the hacienda of President Uribe), but in our own reservations. The deaths are our own, they are indigenous people.
Also we say to the insurgency that situations such as this cannot be part of a revolutionary project. That is how they are imitating the government, they imitate their warlike, authoritarian policies. The basic problem is that neither the guerillas nor the government consider us as a political actor, they see us more as a nuisance. Our posture is definitive around autonomy and this fact hinders their models.
The government blames the indigenous movement for acting within a double discourse: on the one hand they ask for State protection, but on the other, they demand autonomy and demilitarisation from it.... What do they hope to get from the State regarding the question of security for the communities?
What this government doesn't understand is that protection isn't about having soldiers or bullet-proof vests. What we ask is that it respects and strengthens the requests for self-defence, that is, the Indigenous Guards. We speak of the help for our plans of life and permanency, of territory and lands, we speak of our culture. We insist in this last aspect that the most important to guarantee our protection is the respect of our autonomy, the respect of our values and world view, of our culture, and that we are not trying to get involved in a conflict that does not belong to us.
You refer to bringing about a Humanitarian Minga on the part of the indigenous people. Could you explain this to us?
Continuing the idea of the Minga (ie, the concept of collective effort, directed in this case to highlighting the human rights issues of indigenous peoples through their own active mobilisation) which was started at the end of 2008, this would be a Humanitarian Minga involving human rights organisations, to distinct expressions of solidarity, to the Indigenous Guards, to popular organisations. The most important thing is to send a strong, clear message that the Awá are not alone and that by means of the solidarity of our community is how we construct an organisation of permanent protection.
In the days before the massacre there had been gestures on the part of Colombianos y Colombianas por la Paz (Colombians for Peace, CCpP) who put forward the possibility of a Humanitarian Accord to humanise the conflict. How do you see this development being affected by what has happened in Nariño?
What has happened polarises the parties. What we believe is that the war will become more profound, and this comes always accompanied by the stigmatisation and persecution of the popular organisations and of civil society. The deepening of the war will create complicated scenarios for the indigenous people and for the CCpP.
What we are trying to do therefore is to redouble our efforts from the popular world, from the actors belonging to civil society, in order to get the parties to come together, to put pressure on peace dialogues but peace dialogues which are participatory, inclusive and long lasting.
We will continue to fight for a negotiated exit from the conflict which implies various compromises to the armed actors: a cease-fire, Humanitarian Accord, concrete points for the agenda of political negotiation.... This is our hope, but we are conscious of the fact that the state of affairs at the moment doesn't present many political conditions for these hopes to materialise. What is happening is a worsening of the conflict, in which the population will be the cannon fodder, so we can expect more false positives[4] and more executions of indigenous.
In this complicated scenario, what is the role of the indigenous movement of Colombia?
For example, we have now subscribed to a political agreement between various Colombian organisations and some from Washington. We call it the "Group of Washington." It's a way to see how the bilateral scene works to explore peaceful ways out. The central axis of this agreement is peace, but this also constitutes itself from certain common political criteria. We have drafted a letter to Obama, in our intention to generate a direct dialogue regarding the situation of peace in Colombia.
Tomorrow we will deliver this letter to the embassy and we will have a press conference in which we will argue that this conflict of more than five decades must be resolved by the Colombians themselves. The dialogue with Obama will try to introduce peace as opposed to militarisation. We know that Obama is trying to change certain points of the Bush policy. Therefore we believe that there are possibilities in order to change in a certain manner the policy towards Colombia: fundamentally, Plan Colombia. We will explain to him about the search for peace, we have certain resevations regarding the scenario, as there are circumstances which we must observe carefully, but we look forward to the response.
Another scenario is also that in the present circumstances we support what the CCpP is seeking. Which means that we cannot resign ourselves to the military solution. We believe it to be vitally important to get agreements in social and political order.
[1] www.onic.org.co
[2] www.nasaacin.org
[4] *False Positives: a term which refers to Army staged results in order to swell their military successes, ranging from staged bomb attacks to the actual killing of civilians that are then reported as "guerrillas killed in combat". We have already written a lengthy article on this issue: "Los Falsos Positivos: los horrores de una guerra mediática" www.anarkismo.net


Throughout the Webmaking 101 challenges you'll be writing a lot of code and you'll be doing it with your own fair hands. When you write your code ( instead of having software to do it for you) it is referred to as "coding by hand". In this challenge you're going to take that phrase literally. To complete this challenge you've got to complete three tasks. It should take you about half an hour of your time. You'll need a sketchbook or paper, a pen of some description and some means of taking a digital photograph.


The Gear Grinder involves a single steel hopper that attaches to the seat stay of a single-speed bike, with recommended grind rate of 100 turns per 14 grams (depending on the wheel size and terrain, this equates to about 0.4 miles).
The punchline may be the Gear Grinder's price tag — a cool $483 USD. Is this satire? Irony? An honest attempt by two entrepreneurs to capitalize on aging fads? To this point, Hill and Buonaguidi aren't letting on.


text:
Whitney Moore Young Jr.
Whitney Moore Young Jr. , "Whitney Moore Young Jr. ," Histories of the National Mall, accessed February 1, 2023, https://mallhistory.org/items/show/125.
From 1961 to 1971, Whitney Young was the Executive Director of the National Urban League (NUL), a civil rights organization which emphasizes economic parity and self-reliance. In March 1963, A. Philip Randolph asked Young and the NUL to participate in a proposed March on Washington for Jobs and Freedom to be held in August. Young agreed and became one of the organizers of the March, known as the Big Six.
Wikimedia Commons. View original photograph.
Lincoln Ridge, Kentucky
Whitney Moore Young Jr. was born in 1921 in Kentucky. His father, the senior Whitney Young, was president of Lincoln Institute, a private African American college. He graduated from Kentucky State Industrial College at Frankfort in 1941 with a degree in social work.
After a brief period as an assistant principal at a high school, he enlisted in the US Army in 1942. Young was a member of the 369th Anti-Aircraft Artillery Group, an all-black unit. His experiences in the segregated army inspired him to turn his attention to issues of racial justice.
After the war, he earned a masters degree in social work from the University of Minnesota in 1948. Immediately after graduating, Young began work with the National Urban League, (NUL), a community-based organization which emphasizes economic opportunity and civil rights. By 1950, he was the president of Omaha, Nebraska, chapter of the NUL. Young moved to Atlanta in 1954 to become dean of the School of Social Work at Atlanta University.
In January 1961, Young was appointed the executive director of NUL. It was in this capacity that he became involved in the 1963 March on Washington, acting as one of the six leaders of the march. He was awarded the Presidential Medal of Freedom in 1969 by President Lyndon Johnson.
Young died in 1971 while in Nigeria attending a conference on relations between the United States and Africa. President Richard Nixon delivered the eulogy at his funeral.


Found by Arnie Faichney in the Airdrie area Bishopbriggs Brickworks, Bishopbriggs, Lanarkshire . . . .
Found by Andrew Gemmell in the Milngavie, Glasgow area There is a very slight difference between this example and my other very similar brick with regards font size. Summerston Brickworks, Balmore Road, Wester Balmuildy, Glasgow Alternative(s) Milngavie; Bishopbriggs; Brick Works. . .
Found in Airdrie. Bishopbriggs Brickworks, Bishopbriggs, Lanarkshire. . . . . Below – The same stamp on a larger brick.
Found at Garnqueen, Glenboig by KC** Bishopbriggs Brickworks, Bishopbriggs, Lanarkshire. . . . .
Found Helensburgh Round ended frog – 3 cores Keir & Cawder, Bishopbriggs Works, Glasgow. Alternative brickworks include: Blackhill Works, Glasgow. Holytown Works, Glasgow. Summerston Works, Glasgow. Cadder Works, Glasgow.
Found in Fife area – JC Keir & Cawder, Bishopbriggs Works, Glasgow. Alternative brickworks include: Blackhill Works, Glasgow. Holytown Works, Glasgow. Summerston Works, Glasgow. Cadder Works, Glasgow. .


Minnesota physician Dr. Steven Shu, medical director of One Stop Medical Center, joins a group of doctors from the United States going to the Haiti in the last week of October, 2017 to provide free vasectomies for local residents. This is the fifth time that he has been part of an international vasectomy mission sponsored by the nonprofit organization, No Scalpel Vasectomy International Inc (NSVI).
The mission of NSVI is to promote and provide free No-Scalpel Vasectomy services worldwide, but especially in developing countries whose infrastructure and environmental resources are challenged by rapid population growth unchecked by established and/or effective family planning programs.
Over the past 14 years, Dr. Shu has been enjoying making his contributions to local communities. Since 2015, he has been focusing more on his international volunteer work in Philippines and Haiti. In 2017, he became a founding president of Medical Volunteers International (MVI, medvolunteers.org), a new non-profit organization for the Chinese American physicians dedicating the medical missions in the poorest countries around world.


text:
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