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Citation: The PLOS Biology Editors remain concerned about the integrity with which the data provided by the corresponding author. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. The PLOS Biology Editors (2020) Expression of concern: A chaperonin subunit with unique structures is essential for folding of a specific substrate.
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Splicing concerns were raised for several figures in this article, including panels of Figs 3A, 3B, 3C, 4B, 4F, 4G, 5B and S1B.


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Q: What is the difference between - and -- in python, linux and in windows cmd? What is the difference between - and -- in Python and in Linux, I know about operators but in cmd line we will use python -m pip install --upgrade pip so that's the doubt.
hope some can clear my doubt as soon as possible.
thanks in advance! :-)

A: Python is a programming language. Linux is an operating system kernel.
My guess is that by "in Linux" you mean using a command shell like bash. Yes, the language that bash processes might reasonably be called a "language." The command shell in Microsoft Windows is cmd.
If bash is what you mean, then Python and bash are two different languages; in the same way that Python, bash, Java, PHP, C++, and others are all different languages. Each may have its own meaning for the use of - and --.
It is always important to read the documentation. It is common practice at this time for executable programs to have command line options using - for single letter options and -- for long name options. When using bash, see the output of ls --help to see the short (single letter) and long options. -a and --all are equivalent.
Most programs from Microsoft to be run in the cmd shell, and those designed for it, typically use / to specify options. See DIR /? for a list of options that can be used with the DIR command.
PowerShell uses - like bash to indicate options. However, the options can be long names. In a PowerShell console, use the command help Get-ChildItem -ShowWindow to see the options (called parameters) that can be used with the Get-ChildItem command.
When in doubt, read the doc.

A: Using -- instead of - are just conventions used in naming/invoking options on the command line, the single dash (-) is usually used on short options, the double dash (--) is used on long options. Many commands will accept either form but you must check the man page and/or manual first.
In your example 'python -m pip install --upgrade pip' means:

*

*python -m pip means to run a module, in this case pip

*install --upgrade pip means you are telling pip to install an update for the package called pip, which will bring it to the latest version available.

If you are on Linux, you can see a summary of options for most commands by typing -h or --help after the command, for example python -h.
-- is not a valid operator in Python, but - is.
I hope this clears things up for you.

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Bernice Blackie preaches God's word thru music
Posted by admin on Saturday, October 3, 2015 · Leave a Comment
Blackie's unique gospel music style captivates
There are many Liberian gospel musicians, but only one, Bernice Blackie – so completely embodies the skill and vocal that is transcending Liberian gospel music. Bernice has consistently displayed her genius by combining Liberian and African high-life gospel music, with soul and blues into a fervid, heart changing contemporary gospel.
Over the years, she has introduced a new style of gospel music that is captivating the young and old alike.
Her title track "Father's Love," Hip Hop track "I feel your pain" and a Liberia high-life track, "U Na Do Weh" are already causing buzz in African Churches around the world; making her an overnight sensation and inspiration to the youths.
Born in Monrovia, Liberia on November 6, 1990, Bernice Bartehn Blackie is a household name when it comes to Liberian gospel music. She started singing at the age of eight, having been inspired by her dad Aaron N. Blackie and the legendary Whitney Houston.
Despite her rise to stardom, Bernice has had her share of misfortunes in life. She was taken to Ghana in early 2006 to undergo medical treatment after suffering from an unknown ailment for a protracted period. The sickness made her paralyzed in the leg, leaving her crawling for months on the floor. The then little Bernice suffered some of the worse agony any child can endure; facing rejection and abandonment by her family during her unexplained ailment. Music was her only escape.
It was through divine intervention that she fully recovered and went on to sing as a backup vocalist on a singing competition called TV3 Mentor in Ghana. That was when she made her first break into the world of gospel music.
Following her appearance on the TV3 Mentor Show, Bernice would go on to win numerous gospel music awards after she launched her first gospel album in 2010 called Crucifixion. She has won seven awards since the beginning of 2014 and many more in the last two years.
Bernice won four Liberia Gospel Music Awards presented by LAGMA in Monrovia: "best hip-hop gospel artist, the best music video, best female gospel artist, best female artist. She also collected a praise award on May 15, 2013 along with two other awards.
Miss Blackie made her first international appearance on June 14, 2014 at the Liberia Music Awards (LMA) held at the Gwinnett Culture and Performing Arts Center, in Atlanta, Georgia USA.
At the LMA, Bernice again gave a spellbound performance that left the audience in awe, securing her a permanent spot in the Liberia gospel arena. She took home two awards at the LMA (Gospel Artist/Group of the Year) as she got ready for her first concert held out of Liberia.
Her goal as a gospel artist is to preach the word of God to both old and young through music and to win souls for the kingdom of God. Bernice hopes to one day establish an orphanage and music school in her homeland Liberia.
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Before you spend a fortune on an antiquated item, read on for tips on how to tell an authentic antique from a reproduction or replica.
Furniture pieces of yesteryears still find their way to many modern homes, thanks to their rare beauty and intrinsic value. Many homeowners—some of them avid collectors—fell in love with antique furniture because they add character to their spaces. But they also know that collecting antiques can be a costly yet highly rewarding hobby.
"The growth of interest in antiques, rather than merely second-hand furniture, began as a specialized antiquarian taste. It was about the mid-eighteenth century that antique furniture along with other objects became identifiable as a collectable type of object for a minority, mostly wealthy people...," writes David E. Hussey and Margaret Ponsonby in their book Buying for the Home: Shopping for the Domestic from the Seventeenth Century to the Present. Nowadays homeowners are all over antique beauties, which includes Chinese furniture. Karen Mazurkewich, in Chinese Furniture: A Guide to Collecting Antiques, says: "The international market for antique Chinese furniture is booming, and masterpieces from the Ming and Qing dynasties are now worth hundreds of thousands of dollars."
Because some antique pieces can cost you an arm and a leg, it is important to know the things you need to consider before you seal the deal. We talk to Rob Pendergrast of Expat Auctions and Singapore Trading Post for tips on how to spot authentic antique furniture.
Furniture, antiques, and homewares have been Rob's passion for some time. His zeal for auctions (he attends six auctions per week!) was borne from owning and managing antique and art deco stores in New Zealand. The chance to rekindle this love came when he moved to Singapore as a "trailing spouse" in 2010 and he took over Expat Auctions. He has been regularly hunting one-of-a-kind finds in Malaysia, Vietnam, Indonesia, Myanmar, and India over the past five years.
"Always do your homework before you embark on buying antiques. The Asian Civilisations Museum is a great place to start and they have some wonderful books to use as reference materials," begins Rob.
1. If it's a Chinese item, check the rear of the piece for a wax seal.
This is often on the top at the rear of the piece. It denotes that it has been checked and approved as an antique that can be exported. It does not mean the item is over 100 years but rather that the piece is not a reproduction. The seal should be dark red or brown.
2. If the item has drawers, check them to see whether they have dovetail joints.
Source: "The dovetail is one of the strongest, most beautiful, and most complex joinery techniques that woodworkers employ."
This usually denotes an older construction and is not often done on reproductions as it takes more time and needs a more skilled cabinetmaker.
3. Check the back and/or the bottom of the cabinet.
This is where they often will not finish the piece properly. The bottom and the back should show wear.
4. Check the reputation of the company/seller.
Remember that a certificate or letter of authenticity from the company selling the item is often not worth the paper it is written on. Anyone can provide a letter/certificate but unless that company has a worldwide reputation, then it is nothing more than a piece of paper.
5. Always check the bottom of statues/decorative pieces offered as antiques.
They should always show wear and should have some identification numbers/manufacturer/painter. Take a photo on your phone and check online.
Any experience in hunting for antique furniture? Share them with us at hello@cromly.com.


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You are at:Home»News»Covid-19»Data platform that can help with social distancing draws €2m extra funding
Data platform that can help with social distancing draws €2m extra funding
By Tom Stone on June 25, 2020 Covid-19, Multimodality & Micromobility, Public transit
CitySwift, has announced it has secured new funding for its data platform that visualises a birds-eye view of a city's mobility data and creates an operational plan and schedule simulations that can help orchestrate the movements of passengers and help to enable social distancing.
The Galway, Ireland-based transport data company has closed a funding round of €2m bringing funding to date to €3.5m.
CitySwift's latest solution, a passenger-facing bus capacity checker using AI predictions, works like Google Maps but with the added feature that passengers are able to see how busy their bus is going to be up to two weeks in advance of travelling. It generates dynamic predictions of bus loadings to inform passengers' journey choices whilst capacities are restricted and as new travel patterns emerge.
Dynamic public transport planning and optimising operations through data is also set to play the main role in the recovery and new future of public transportation and mobility in cities, and CitySwift's specialist data engine is set to be at the very foundation of this transport evolution.
The end-to-end SaaS platform can help orchestrate the movements of passengers and every vehicle in a city-wide transportation ecosystem, enabling public transport operators to choose the best options available and create a superior service for passengers while significantly reducing operating costs for cities.
CitySwift's industry-leading data engine for public transport has been rolled out by a number of the UK's largest listed passenger transport companies, including National Express and Go-Ahead Group, who have collective revenues of over €8billion, where it is being used to reduce operating costs and increase reliability. The technology has enabled an agile response to social distancing measures and lockdown restrictions being eased assisting bus companies in planning and reacting to the new normal.
"One thing we've come to learn through Covid-19 is just how important data is – whether for businesses trying to operate, governments trying to reopen or individuals trying to understand this pandemic," says Brian O'Rourke (left), CitySwift co-founder and CEO. "This has been even more evident for public transport companies as they monitored the effects of lockdown restrictions on their networks and model and plan for future scenarios as restrictions have begun to ease. The CitySwift platform has been leveraged to enable our clients and their passengers to make informed, data-driven decisions as they navigate the road to recovery in these ever-changing times."
CitySwift's latest funding will speed up product development and the hiring of 25 new positions, in Ireland and remote, over the next 12 months. The hires will be across commercial and technical roles including business development, customer success, product, data science and engineering, fuelling the expansion of its business in the European market, where they are already working with a number of public authorities.
Tom Stone
Tom has edited Traffic Technology International (TTi) magazine and its Traffic Technology Today website since May 2014. During his time at the title, he has interviewed some of the top transportation chiefs at public agencies around the world as well as CEOs of leading multinationals and ground-breaking start-ups. Tom's earlier career saw him working on some the UK's leading consumer magazine titles. He has a law degree from the London School of Economics (LSE).
OPINION: How public transport will evolve in 2023
Dott, Tier and Lime launch e-scooter services in Madrid


How best can primary schools reduce their energy use? How much energy can schools save?
MEEN was awarded funding by Manchester City Council's Carbon Innovation Fund to create a project involving the Council's Energy Management Unit (EMU) and three primary schools: Armitage, Aspinal and Claremont. The schools would benefit from physical energy efficiency measures, put in place by EMU, and have support from MEEN to take steps to change the behaviour of children and staff. The intent was also to spread learning to members of the local community.
The school communities worked hard to embed behaviour change: the Eco teams led the way, with a brilliant array of staff, including catering and site managers, TAs, teachers and heads, supporting the project. For example, the Armitage Draught Squad (ADS) did practical work by fixing those draughty doors and windows; in Aspinal the Energy Enforcers shared their learning about Climate Change with their parents at an after-school club; whilst Claremont's Eco monitors attended the first Climate Change conference in Manchester impressing the delegates, including the Council leader, who thought their contribution was the most inspiring part of the day.
Practically the three schools represent different building types and levels of energy use, consequently they needed to have different energy saving measures installed, creating a variety of results.
Armitage Primary School: This single one-storey building built in the 1960s using lightweight construction techniques uses less energy than the average school. However, having T5 lighting installed improved their light levels and, along with behaviour change, cut electricity consumption by 12%, a projected saving of ?1424 per year, representing a payback period of eight years.
Furthermore, there will be a projected carbon saving, year on year, of 4.7 tonnes.
Aspinal Primary School: A traditional redbrick one-storey school uses considerably more energy than average. They needed an investment in roof insulation and T5 lighting. Consequently, their electricity consumption came down by 6%, a saving of ?555 per year, and gas by 25%, a saving of ?1208 per year. More recent data indicates that electricity consumption has fallen further. The payback period for gas is 3 years.
Here there is a carbon saving of 10.5 tonnes.
Claremont Primary School: Comprises two traditional redbrick two-storey blocks joined by a modern corridor and its energy use is very close to the average.T5 lighting was installed in certain areas with some motion sensors. Their electricity consumption fell by 13%, saving ?2243 year, giving a payback period of eight years.
In Claremont the carbon saving is 11.5 tonnes.
This gave a total carbon saving of 26.7 tonnes and, with investment, a year on year financial saving of ?5430.


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The Humbling Clip
Check out this preview clip of The Humbling, the upcoming drama comedy movie directed by Barry Levinson:
The Humbling – I am not asking for your pity.
"An aged and addled actor (Al Pacino) has his world turned upside down after he embarks upon an affair with a much younger woman (Greta Gerwig), in this acidulous adaptation of the Philip Roth novel."
In the scene above you may have recognized Al Pacino, Greta Gerwig, and Billy Porter.
What do you think about people who pursue medical interventions to "change" their gender? Mutilation or legitimate surgery?
Tags: The Humbling
The Humbling Movie Trailer
Check out the slow-paced trailer of The Humbling, the upcoming drama comedy movie directed by Barry Levinson and starring Al Pacino, Greta Gerwig, Dianne Wiest, Kyra Sedgwick, Charles Grodin, and Dan Hedaya:
THE HUMBLINGPlot:
So Al Pacino's character is going through some kind late middle-life crisis? Well that pretty young woman will make his life more interesting for sure!
Anyway, what do you think of the trailer of The Humbling?
The Humbling Movie starring Al Pacino
A first official poster for The Humbling, the upcoming drama movie directed by Barry Levinson and starring Al Pacino, Greta Gerwig, and Dianne Wiest:
(Click on the poster to enlarge.)
Come on, Al Pacino is way too old to have an affair with Greta Gerwig. Why would she date someone who could be her grandfather? Is the character she's playing suffering from gerontophilia?
We also have a few pictures:
(Click on a picture to enlarge.)
The film has yet to get an official release date.
Directed by: Barry Levinson
Starring: Al Pacino, Greta Gerwig, Dianne Wiest
More Information at: The Humbling Trailer
https://teaser-trailer.com/movie/the-humbling
Tags: Al Pacino, Barry Levinson, Dianne Wiest, Drama, Greta Gerwig, TBA 2014, The Humbling


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Title: Otherworlds Review #4: Snakes
Authors: Otherworlds Review, The Otherworlds Review
Topics: Magic, Occult, spirituality
Source: https://itsgoingdown.org/otherworlds-review-4-snakes/
The Otherworlds Review
Otherworlds Review #4: Snakes
December 2017 · Sun in Sagittarius · Full moon in Gemini
The avenger that completes the task of liberation in the name of generations of the downtrodden. This conviction, which had a brief resurgence in the Spartacus League, has always been objectionable to Social Democrats. Within three decades they managed to erase the name of Blanqui almost entirely, though at the distant thunder of that name the preceding century had quaked.
– Benjamin, "On the Concept of History"
Let us finally conclude the immanence of the smallest scraps of matter. Although their lifespan is of one second, their rebirth is boundless. The infinity of time and space is not the exclusive privilege of the universe as whole. It also belongs to every form of matter, down to the infusoria and grains of sand.... Therefore every one of us has lived, lives, and shall live endlessly under the form of billions of alter egos.... The stellar systems carry us along within their immortality. Being the only organization of matter, they possess its fixity and its mobility all at once. Each of them is but a strike of lightning, but such strikes illuminate space eternally.
– Blanqui, "Eternity by the Stars"
On the 17th of november, when the new moon met the sun in Scorpio – the sign of desire and careful attack – rebels in Olympia, WA began a blockade of the railroad leading to and from the dreadful port of Olympia. This auspicious night for new beginnings also marked a year since the eviction of a blockade of the same line, a blockade erected in solidarity with the struggle of indigenous water protectors and their accomplices against the DAPL pipeline – the Black Snake.
In spiritism, as in other necromantic traditions, it is held that it takes a certain amount of time after death before a spirit can fully take its place among the ancestors. In many traditions, one must wait a year before calling on an individual spirit, as an ancestor, for strength and guidance. It is thought that it takes that much time for the spirit to work through the pain and confusion of their own death, to adjust to the otherworlds and to their new existence in them. When a year has passed, and the departed has joined its ancestral house (or wherever other collective or place it is joining), then and only then can we begin to speak of conjuration.
Yes, the world is full of wandering and lost spirits, those stuck and incapable of moving on. And yes, anyone with a ouija board or tarot cards can get one of those spirits on the line, but to conjure real otherwordly strength means to act in partnership with and to call forth the spirits of a given tradition who form an ancestral line onto themselves. When the state ended last year's blockade, sent it to the otherworlds, they unknowingly set it on the path that all spirits walk: the labyrinthine meander of the worlds beyond, of the chthonic.
The golden tablets buried with the Orphic initiates tell us that in the underworld we are given the choice to drink from the waters of forgetting or the waters of memory. Those who've seen the mysteries know to resist the temptation of forgetting and to ask for the cool waters flowing from the Lake of Memory. When the dis-membered spirit re-members and is re-membered, they gain the strength to join the others of their lineage. Last year's blockade drank the waters of memory and in doing so joined the collective of spirits hereafter referred to as "the Commune."
With initiation comes the powers, goetic and mantic, to invoke and truly conjure the Commune. The Commune, a composite being – one and many wolves – comes when called by those who know the way to call it forth. That so many "call" to each other, without ever calling the spirits, explains why their so-called communes look more like everyday life than its interruption. When the spirits who compose the Commune (and the spirit of the Commune itself) assert themselves, they make their presence unmistakably known. Time moves differently, old divisions fall away, new roads open, there is an immanence to spirit and potential. Then, and only then, can a moment of space-time be named the Commune. That presence requires a break, a fissure, a doorway between this world and the others. To build the Commune one must open the door and call the spirits through it. To do one without the other (the break and the remembrance) risks fascism and worse.
The anarchists, indigenous activists, punks, queers and other communards in Olympia proved their adeptness in summoning the Commune to full force. For twelve days the spirits flooded to the site of interruption and made it spread. There was dancing, streetfighting, a punk show, coyotes, workshops and discussions, plant medicine, prayer, a piano on the tracks. For twelve days, now-time was given material space. For twelve days, the doors stood wide open.
Yes, the police destroyed the Olympia Commune. They tore its encampment apart, scattered its children, severed its spirit from this world, dis-membered it. But we arm ourselves with Memory – anamnesis, not-forgetting. We sing the mourning songs of the goetes and in our singing send the Commune on its way, strengthen it for its journey to the waters of memory and forgetting, where it too will make its choice. Our remembering it can only help it to remember as well. It too, if we all do our part, will find its way to the weblike assemblage of ancestral communes, the Commune itself. And when the moment is right, those who know its name can call it back to the Earth.
Over the Oakland Commune hung a banner – Paris 1871, Oakland 2011 – to which we joyously now add Olympia 2017. We mourn the commune, tend to the void it has left in the hearts of those who knew it, but we know it shall return. Just as the wine from the grapes grown on Montmarte hill is pressed and opened and drank as the blood of the communards; as a sacrament of the Commune – the interruption in space-time – which died there with them. We too drink the wine, the waters of memory, and vow to live in the time-between-Communes in ways which anticipate the return.
The Olympia Commune remembered other spirits as well, other stories. It remembered the encampments at Standing Rock which in turn remembered the Lakota prophecy of the terrible Black Snake which would come bearing destruction. The awareness of this prophecy was a weapon in the hands of those who were called to wield it.
Snakes, especially where they involve themselves in matters of apocalypse and prophecy, are found in mythologies and eschatologies the world over. Norse lore tells that when the serpent wrapped around the world releases its grasp on its own tail, it will do so in order to fight the Gods at Ragnarok. But the Orphics also knew that a snake was also there at the beginning, wrapped around the world egg, waiting for the hermaphroditic god Phanes – the light bringer; all genders and species manifest together – to crack its shell wide open with its dancing and thereby bringing the cosmos into existence. Before he could build his oraclular temple at Delphi, Apollon first had to slay the serpent which already held court at that gate to the otherworlds. That his prophetesses thereafter took the name pythia – pythoness – bears this memory. The transgendered shaman Tiresias and the animistic prophet Melampous slew and saved snakes respectively and each gained the true sight by way of their encounters. Snakes unnerve us because of their ambivalence and alienness, their force of interruption. And yet they always come bearing the gift of knowledge. Lucifer too was a light bringer who offered knowledge as an apple from the Tree.
The Black Snake has arrived as the interruption of the sacred waters and the ways of life which depend on them. It arrives as apocalypse and poison and empire. But empire too can be interrupted. It was, after all, a nocturnal vision of a snake coiled around Spartacus' face which revealed to his wife, a prophetess subject to the Dionysiac frenzy, that he would catalyze the largest slave revolt the Roman Empire had ever seen. They led a years-long interruption of that Empire's hold over hundreds of thousands of lives, and they did so moved by the illumination of that vision. We live under the reign of the true descendant of that Empire and thus share common cause with the spirits who fought to destroy it. Such remembrance requires knowledge: the knowledge to open the door and to call the spirits through it.
Some within the Olympia Commune responded to the tired call for demands by issuing twenty of them:
make the port a beach again
blow up the sun
the complete destruction of time itself
a brick for every window
a wrecking ball
that, while science still exists, one of us be endowed with an Adamantium laced skeleton
a swift and brutal end to the exploitation commonly referred to as "science"
the destruction of all dams, and the return of the salmon
no motor boats ever again
that fascists and politicians spontaneously combust
compost the police
release of all prisoners and the Total Destruction of prison, in all of its forms
cessation of all space exploration
the return of the Tasmanian wolf, the aurochs, the dodo bird, the coral reefs, and all other creatures and habitats that have ceased to be
total freedom
the liquidation of Pacific Union's assets, to be equally distributed among all children
mandatory clown uniforms for all Olympia parking employees
that steve hall fight a bear
From the very first they emphasize their commitment to memory, but we call your attention, dear reader, to the seventeenth.
17. [ ]
This is the door, situated there between freedom and liquidation, thrown open by the Olympia communards. The door is the refusal to play the game of the state's discourse; the refusal to forget its betrayals and false promises. May we always remember that door that we may call it to presence again. Let us commit its passphrases to memory that we may recall them when we meet again.
Nothing is over; everything continues.
"Every second was the narrow gate, through which the Messiah could enter." The anarchists of the Golden Age would have understood – they do understand, for our ancestors are always with us – when we speak of devotion. In the Roman battlefield ritual of devotio, a general promised himself and all of the enemy legions to the divine dead and the earth in exchange for victory. A self-sacrifice, but not a christian one: no forgiveness for foes here, no renunciation of the earth. But the Roman devotio served the State, ours seeks to ruin it. Nor is the Revolution to be forever in the future, to be earned through wretched asceticism, the protestant-capitalist work ethic, and crawling progress.
"Liquidating the lie of the transitional period means making the revolt itself a different way of conceiving relations." When we speak of devotion, we speak of the insurrectionary imminence and immanence of our gods, their fiery and shining presence in our lives, the bolt of lightning that consumed Semele when she asked to see Zeus in his true form, the torches of the Battle Crow blazing from the skull of Cú Chulainn. We speak of "the Idea," of "the faith," of Anarchy! Our incendiary goddess, for whom Elia Corti and so many others gave their lives. For it is our lives that we offer, not our deaths. We speak of the hearth fires around which we gather, around which we have always gathered, which have kept the continuity of our communities and our struggles alive even in the bleakest of times. We fight for that which we are already a part of, even – especially – when the war demands negation. At the same time, we fight for the unknown – that is, for our relationship to it, for that which is familiar only through déjà vu. How can the Gods meet us face to face till we have faces?
From the hearth fires of devotion, the torches of liberatory fanaticism are kindled. In a world that has seen so much horror perpetrated by religious and rationalist authoritarians alike, we recognize the danger of this language, but we do not shy from embracing it. Our lineages, our kin: the Boxers, the Ghost Dancers, Carlota Lukumi and the rebels of Triunvirato, the Vouduisants at Bois Caïman, the Yellow Turbans, the black-clad firebrand-throwing women of the Isle of Mona, the maenads – those Dionysian fanatics of old. All those who rejected the armor of Leviathan and sought protection from the spirits through dance, through possession. Fanatic: from Latin fanum, "temple, shrine, consecrated place" – spoken in an ecstatic state; spoken while possessed by spirit. We who have consecrated ourselves as sacer are above all man-made law, partaking only in the sovereignty of the Otherworlds. We are outlaws, wargs, wolves – one and many. We are the affinity group, the gang, the pack. Our informal organizations exist unto themselves, but in relation to civilized society, we are always a threat. And our forms of organization are mirrored in the spirit world, our accomplices are found in all the realms. Wolves on the surface of the earth, snakes descending into the subterranean depths and back again, corvids in the heavens. Always shapeshifting, always mediating between life and death, always accompanied by the howling and hissing multitudes of our collective ancestors.
Our world is going through a rather peculiar moment of dread and confusion – one for which there does not seem to be a 'proper name' yet. And yet naming our time is part of what is at stake. In this regard one thing at least is clear – ours is a time of planetary entanglement. But the planetarity of our predicament is not all there is. As it happens, times of planetary entanglement are propitious for all kinds of accelerations or escalations. They are propitious for the renewed production of things, forms and imaginaries both baroque, grotesque and dystopian if only because such forms/things/and imaginaries generally strive to generate their own actuality through sheer excess and stupefaction.
– Achilles Mbembe, January 2017
The duality of our relationship with reality can also carry us towards armed struggle, especially after so many years of disorientation. We want to see practical results, we think it's possible to go beyond the abstraction of round-table politics, we want to see some concrete action. The urge to construct forms of action for ourselves is sometimes very strong, since we've had to put up with so many years of empty speeches. And imagination? It helps us to bear the clash with reality; in this case it helps us to avoid seeing what we don't want to see. Certainly it slips into and supports fanaticism. But men become fanatical under the yoke of their ideological schemas while we, more often than not, are driven by the violence of our dreams.
– Anonymous, Italy, 1991
The virtual and the actual together make up two mutually exclusive sides of the real. The actual is a given states of affairs that is populated by bodies. The virtual is a 'pure past' of incorporeal events and singularities that have never been present, which have 'the capacity to bring about x, without (in being actualized) ever coming to coincide or identify itself with x, or to be depleted and exhausted in x' while 'without being or resembling an actual x.' In this sense, the virtual includes all potential worlds, everything that inhabits them, all of their really-existing potentials, and their every potential to differ that coexists with the actual.
– Deleuze, Difference and Repetition
Twin existences play out more openly when the twins of Gemini find their full moon in the sky of December. Under and over, within and without. There is a blend of the known, unknown, familiar and strange, blessed and cursed. Cold gets colder. The earth spun this way before and the body starts to know this air. The communal web of consciousness takes the breath. The philosophical inheritance of Sagittarius howls.
One labyrinth of solitude might reveal that "the predominance of the closed over the open manifests itself not only as impassivity and distrust, irony and suspicion, but also as love of Form."
EVOCATION: Earth, 114 million years ago, one morning just after sunrise: the first flower ever to appear on the planet opens up to receive the rays of the sun. Prior to this momentous event that heralds an evolutionary transformation in the life of plants, the planet had already been covered in vegetation for millions of years. The first flower probably did not survive for long, and flowers must have remained rare and isolated phenomena, since conditions were most likely not yet favorable for a widespread flowering to occur.
One day, however, a critical threshold was reached, and suddenly there would have been an explosion of color and scent all over the planet – if a perceiving consciousness had been there to witness it. Without our fully realizing it, flowers would become for us an expression in form of that which is most high, most sacred, and ultimately formless within ourselves. Flowers, more fleeting, more ethereal and more delicate than the plants out of which they emerged, would become like messengers from another realm, like a bridge between the world of physical forms and the formless. Palpable tenets of gaseous sentience, sense perceptions, dial into the spaceless space found at the Olympia Commune, at the Ghost Ship, at the walls of the prison. The spaces are bridges to cross. The spaceless is the "new quality [that] emerges in a leap as the slow accumulation of quantitative changes, long resisted by a stable system, finally forces it rapidly from one state into another." The doors opened by every act of rebellion, by every spirit of refusal, by the ancestors of freedom are our passages through protected thresholds.
Blessings to Feral Pines and all who passed at Ghost Ship!
Blessings to Robîn Agiri: Şehîd Namirin!
Santiago Maldonade Presente!


A new online guide to help the retail sector meet its packaging reduction commitments is being launched by WRAP (Waste & Resources Action Programme).
Entitled the Guide to Evolving Packaging Design, it has been developed in response to demands for packaging advice from throughout the retail supply chain. It is being launched at a time when retailers and brands are announcing the challenging reduction targets that their customers are asking for. The guide provides advice and support to respond to these challenges as well as generate ideas.


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Karl-Erik Rolf Olsson, född 17 februari 1927 i Hörby, Malmöhus län, död 7 september 1995 i Eftra församling, var en svensk flygtekniker och målare.

Han var son till förste kansliskrivaren Johan Wilhelm Olsson och Beda Victoria Thomasson och från 1953 gift med Britta Sonja Maria Nilsson. Olsson var som konstnär autodidakt. Separat debuterade han med en utställning i Norrköping 1959 och han medverkade i samlingsutställningarna Kullakonst i Höganäs, Liljevalchs Stockholmssalonger och Helsingborgs konstförenings vårsalonger. Han var medlem i konstnärskollektivet i Villa Thalassa och medverkade i gruppens utställningar. Han tilldelades ett första pris vid Expressens konstutställning 1956. Olsson finns representerad vid bland annat Nationalmuseum i Stockholm.

Tryckta källor
Svenskt konstnärslexikon del IV sid 325, Allhems Förlag, Malmö. LIBRIS-ID:8390296

Noter

Svenska målare under 1900-talet
Representerade vid Nationalmuseum
Män
Födda 1927
Avlidna 1995
Personer från Hörby

redpajama_set_name: RedPajamaWikipedia


The Utica Zoo Zebra View Pavilion offers 600 sq. ft. of covered pavilion space to host your event, party, meeting, or anything else you can imagine. Positioned next to our Zebra and Ostrich exhibit, the Utica Zoo Zebra View Pavilion offers a bit more privacy than the rest of our pavilions. The Zebra View Pavilion does not have a concrete floor like our Rotary Pavilion but is rather covered in natural ground tree mulch and is regularly outfitted with several picnic tables.
Contact our Event Team below to book the Utica Zoo Zebra View Pavilion for your event. Need a larger event space? Book our Rotary Pavilion with over 4200 sq. ft. of space!


Throughout Advent we read and sing the words Prepare the Way as we make room to welcome the Christ child into our lives once again. We prepare our city streets and buildings. We prepare our homes and workspaces. But sometimes Advent can slip away from us before we can prepare our hearts.
In this 4-week study and prayer book, Pamela Hawkins invites us to prepare our hearts through guided prayer, readings from Isaiah and Matthew, as well as brief reflections on four scriptural themes: Peace, Justice, Fearlessness, and Faithfulness.


The goal is to show Wade's impact beyond basketball.
TOP PERFORMERS: D'Angelo Russell leads the Nets averaging 2.8 made 3-pointers and scoring 21.1 points per game while shooting 36.4 percent from beyond the arc.
Spoelstra shared the story before Wade's final regular-season Heat home game Tuesday at AmericanAirlines Arena in Miami.
Wade punctuated his career with one last triple-double, finishing with 25 points, 11 rebounds and 10 assists in a 113-94 loss to Brooklyn. "I've seen him go into his bag of tricks so many times and just compartmentalize".


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Hailey residents will soon have more options for garbage bin sizes, providing an opportunity for some households to save money. The change also could provide economic incentives for separating recyclable materials from household rubbish.
Under a new franchise agreement with Clear Creak Disposal, Hailey residents able to reduce the amount of their household garbage from 95 gallons to 69 gallons each week would save about $6 per month using the new "medium-size' bins. One way to reduce overall garbage volume, and use the smaller bins, is to separate recyclable materials for curbside pickup.
Hailey has led the valley in recycling and green building efforts, signing in 2007 the U.S. Mayors Climate Protection Agreement, complying with the Kyoto Protocol to reduce greenhouse emissions, before other cities in the valley. Recycling of bottles, cans, paper and other materials in Hailey doubled from 2004 to 2010.
The city has had a "pay-as-you-throw" trash program since the 1990s, charging more for larger garbage bins and presumably creating an incentive to divert recyclable materials from the landfill. Yet some residents felt that the large bins were too large, and the small bins too small.
After receiving a citizen's request for medium-size bins, Hailey Sustainability Director Mariel Platt provided to the City Council a review of pay-as-you-throw garbage hauling programs around the country in December.
Platt's report states that all municipalities in California, Oregon and Washington offer recycling and "pay-as-you-throw" incentives, compared with only 22 percent of Colorado and Utah cities and 12 percent of Idaho cities.
Platt said that despite Hailey's record of increasing recycling amounts over the past seven years, the city continues to recycle at less than half the national average.
Residents have for several years had the option of using a 32-gallon or 95-gallon trash bin, with once-a-week pickup costing $11 and $28 per month, respectively.
Under the new franchise agreement, the large bins will cost $24.92 per month. The smallest bins will be reduced from $11.80 to $10.25.
Under the new agreement, residents will have the additional option of using a 69-gallon bin at a cost of $18.72 per month, potentially saving about $6 per month.
"The goal is to recycle more and reduce the amount of waste," Platt said in an interview on Tuesday.
Platt said in December that Hailey's position as the largest city in Blaine County means that it carries a proportionally larger role in maintaining recycling services for the county as a whole.
Citing a worst-case scenario, Platt said that if Hailey's recycling efforts diminished considerably, it could reduce the economy of scale that supports the countywide recycling program at the Ohio Gulch transfer station.
"Because Hailey is the largest community in the county [aside from unincorporated areas that do not have curbside recycling], a decrease in recycling participation in Hailey could mean a large enough drop in volume for the entire county, to the degree that the economics could render recycling unfeasible for the entire county," she said.
Ohio Gulch transfer station north of Hailey currently recycles tin and aluminum cans, glass, mixed paper (including cereal boxes), newspapers, magazines, phone books, plastic bottles and containers categories 1-7 and corrugated cardboard.


Princesses, pirates, ghosts, goblins, superheroes, cartoon characters and everything in between are invited to the 25th annual Parade of Frights on Saturday, Oct. 28, in the Canyon Lake Towne Center. Registration begins at 9 a.m. in front of city hall.
This historic community event will feature costumed children trick-or-treating at more than 30 Towne Center businesses using the chamber's "Treasure Map." Participating businesses will stamp the map and hand out treats.
Completed maps are entered into a prize drawing. Three winners will be drawn.
Kids of all ages are invited to enter the costume contest for prizes. A prize will be awarded for Best Costume in the following age groups: one and younger, two to five, six to nine and 10 to 13. Thunder from Lake Elsinore Storm will lead the costume contest parade in front of city hall.
DJ Mike Shroyer from Good Time Entertainment will be rockin' the tunes, ABC Bounce will bring additional fun with jumpers and carnival games and Anton Riniti will make an appearance with his 33-in1 Bean Bagglz Game.
This event is hosted by the Canyon Lake Chamber of Commerce and sponsored by, Advantage Flooring, Berkshire Hathaway Home Services California Properties, Canyon Lake Car Club, Canyon Mattress and More, CR&R, Platinum Plumbing, Lake Elsinore Casino and Southern California Edison.
Sponsorship opportunities are still available. For more information, contact Executive Director Alison Burrafato at the chamber at 951-244-6124.


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319: And the Call Was Coming from the Basement
Albert Donnay
Host Ira Glass and Albert Donnay read a true ghost story that appeared in a medical journal in 1921. After a "Mrs H" and her family moved into an old rambling house, strange apparitions started appearing...until her brother-in-law figured out the real cause of the ghostly presences. (6 minutes)
More in Environment
628: In the Shadow of the City 2017
Act Three: Yes, In My Backyard
The story of the government cracking down on smokestack emissions at a city factory...even though the residents LIKE the emissions.
495: Hot In My Backyard
Act Two: The Right Man for the Job
Producer Ben Calhoun tells the story of a former Congressional Representative from South Carolina, Bob Inglis.
Act Three: Find an Enemy
Host Ira Glass tells the story of writer turned activist Bill McKibben.
The story of one man's journey from obscurity to international professional celebrity.
One Last Thing Before I Go
Stories in which ordinary people make last ditch efforts to get through to their loved ones.


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Culver teachers connect with kids in person and online
HOLLY SCHOLZ
The small, high-desert district, one of the few to host in-person classes, has a 94% attendance rate
Part of a series on rural education under the pandemic.
While many high schools are struggling to keep students engaged, the attendance rate at Culver High School is 94%.
That may have something to do with the size. The high school, located in rural Central Oregon, has just 200 students. And the district is one of those across the state that has been able to have students in classrooms since mid-September, even if it is for just two hours a day.
"The attendance rate is all we can hope for, given the circumstances," said Culver Superintendent Stefanie Garber.
The bulk of the teaching in this high-desert community, as in most of Oregon, takes place online. Students must log into each of their virtual classrooms, starting at 8:30 a.m. and wrapping up at noon.
"They spend about 50 minutes with us every morning and then they're expected to pick up another 30 minutes in the afternoon," said English teacher Wendee Bowen.
This is part of a series on rural education during the pandemic:
• Oregon educations worry about signs of a resurgent achievement gap
• Working through challenges in rural Oregon
• Learning new tools to engage students from home
• Trying to make learning magical in Madras
• Knock, Knock, look who's here
Bowen teaches four online English classes each day. Two classes have about 22 students and two have a dozen. She gives her students five to 10 minutes to get logged on and gives them a writing prompt.
She then takes attendance. The PowerSchool program shows the students' icons when they are logged on.
Then becomes the task of keeping students engaged during those 50 minutes of English class.
"It is me continuously interacting with them and talking to them and requiring them to talk to me," Bowen said.
She'll give them an "Of Mice and Men" assignment and then occasionally pop into Google Classroom and ask everybody to flip their cameras on. "I don't have to see their faces. They can point them to the ceiling, which is fine because, honestly, some of these kids are just getting out of bed," Bowen said. "They just flip their cameras up, so I can see them wave at me or whatever, and then I require them to talk to me."
And so it goes: Teachers are not only learning to use new technology to reach their students, they have to invent new ways of engaging them during distance learning.
Bowen often puts her students in small breakout groups in Google Classroom so they can discuss a topic.
"They have to talk to each other to work on something, and they know that I'm going to pop in and listen and maybe I'll ask a question or two, just as if they were in my classroom working in small groups," Bowen said. "I know that they will walk away if I don't keep checking in periodically through the class."
She says her teaching strategy during the first quarter of the 2020-21 school year, while not ideal, has worked.
"We have learned to give each other grace, we've learned to be super flexible, and great organizational skills," Bowen said.
Freshman Kaiden Tolman has no problems paying attention in Bowen's online English class.
"I like it better because you get it done faster and there's not as much work, sometimes," Kaiden said of distance learning.
Her classmate Nic Ivie says his internet is a little buggy sometimes, and he misses socializing at school. Like many students, he comes to the optional two-hour, in-school class only if he needs the study hall time or extra help from a teacher.
"It depends on the day," Ivie said. "Sometimes, if I have a whole bunch of homework, I'll come, but if I have like five sentences to write, I won't come."
This article is adapted from a longer article published by the Madras Pioneer in December. It is part of a collaborative reporting project called Lesson Plans -- Rural schools grapple with COVID. It includes the Institute for Nonprofit News, Charlottesville Tomorrow, El Paso Matters, Iowa Watch, The Nevada Independent, New Mexico in Depth, Underscore News/Pamplin Media Group, and Wisconsin Watch/The Badger Project. The collaboration was made possible by a grant from the Walton Family Foundation.


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Man Shares An Important Truth About Asperger's
This Humans Of New York Story Makes A Powerful Point About Asperger's Syndrome
What many people probably know about autism comes from movies like Rain Man, in which a person with the disorder has some amazing talent but isn't able to interact socially. While people who have autism do behave this way sometimes, autism is a spectrum and it doesn't always look like what we've come to expect from movies and books.
One Uruguayan man with Asperger's syndrome is breaking down this stereotype, by publicly talking about his symptoms on Humans Of New York.
"I have Asperger's, but I wasn't diagnosed for a long time," he said in the post. "I was a polite child. I found it easy to concentrate at school. I had some problems socializing but that's pretty normal for children."
His symptoms were much more subtle than being unable to interact with his peers or at school.
"My problem is that I'm too transparent," the post said. "I kept trying to fix people. I could never just stand aside and let things be. I kept telling people what was wrong with their lives. I thought I was helping them. I just wanted everything to be in order. But I accidentally stirred up so much negativity. Now I'm sometimes afraid to talk to people. I don't want to cause any problems. There's no danger in what I just said-- is there?"
His post reminds us not to expect every person with Asperger's or autism to act exactly the same. As Stephen M. Shore, former board president of the Asperger's and Autism Network, said on the organization's website, "when you meet one person with Asperger's — you've met one person with Asperger's."
Humans Of New York Asperger's Syndrome Symptoms
Entertainment News • Health Trends • News • Trend Tracker • Wellness
Photographed by Anna Maquire.


Lama Tenzin at Harley this week to construct the Mandala of Compassion from colored sand… Upon completion the grains will be gently scraped up and gathered into a jar, and carried to the creek to be returned to the earth with wishes of peace and good will.
The students tried making their own using straws.
Fourth-grade abstract painting and edible color wheels for the Primaries.
The Primaries created this color wheel to illustrate the various shades of each color.
Influenced by the work of Islamic and Italian artists, the students created tiles based on the lines and shapes in their names.
The students were inspired by the trompe l'oeil work of Mario Penati. Even the shadows were painted on this flat wall!


Enlargement of the uterus. Fibrous growths, subinvolution, and prolapse. Uterine tumors, with bearing-down sensations. Fever sores on lips. Cramps in feet. Cold creeping and hot flashes. Infantile eczema.
Dose-Ten to fifteen drops of tincture, three times a day.
If you have any question about Fraxinus Americana Homeopathy Dilution or want advise on a medical condition requiring homeopathic treatment, please leave your comment below (in the comments section) and we will respond.


text:
A Series Of Summer Virtual Concerts In GB
Ron Carson
Ron Carson Published: June 3, 2021
The Aston Magna Foundation in Great Barrington has been idle last year due to the COVID-19 pandemic. They have returned in full force with a variety of FREE performances featuring some of the finest pieces in baroque and classical music. These shows will STILL be presented on a virtual basis as you can access the shows and obtain more information by logging on their web site
The 1st pair of shows are brought to you in conjunction with The Mahaiwe Performing Arts Center in Great Barrington. You can access these 2 performances on the Mahaiwe web site by going here.
Here is the complete summer schedule in detail:
SUNDAY, JUNE 13TH: "Early Duos for Fortepiano & Violin". Sylvia Berry and Daniel Stepner will feature musical selections from Mozart, Bach and Beethoven. This performance begins at 7 pm.
SUNDAY, JUNE 27TH: "Mozart: the String Trios" features Daniel Stepner, Marcus Thompson and Jacques Lee Wood will perform various selections from the legendary composer. Showtime is set for 7 pm.
The month of July features a quartet of concerts that will take place at St. James Place on Main Street in Great Barrington:
SATURDAY, JULY 3RD: "Three French Masters" will entertain audiences worldwide featuring musical selections from Marais, LeClair and Forqueray. The line-up features Daniel Stepner, Laura Jeppesen, Catherine Liddell and Michael Sponseller as this concert features instruments of high fashion including the harpsichord, theorbo and baroque violins. You can log on to this show at approximately 7 pm.
SATURDAY, JULY 10TH: "An Evening With Monteverdi" features vocal performances by Aaron Sheehan and Jason McStoots. Adam Pearl and Cameron Welke join in on the fun plus Daniel Stepner and Laura Jeppesen also contribute their talents for this 7 pm performance.
SATURDAY, JULY 17TH: "Songs and Sonatas of Henry Purcell" will be spotlighted as the 7 o'clock show features an array of local talent including Soprano Kristen Watson, and baritone David McFerrin. Daniel Stepner, Julie Leven, Laura Jeppesen and Catherine Liddell will also provide instrumental accompaniment.
SATURDAY, JULY 24TH: A year ago, the milestone event to honor one of classical music's best was postponed as performers will honor Ludwig Von Beethoven on his 251 st birthday. The cast includes a quartet of fine talent including Daniel Stepner, Jason fisher, Julie Leven and Jacques Lee Wood as they will favor their audience with Beethoen's "Eyeglass Duo" in C Minor with selected movements which includes The Grosse Fuge.
Keep in mind, there is no cost to view these concerts as on-line audience members should make a nominal donation with ALL proceeds to assist in the underwriting of these recordings that will present future performances of this caliber. For more details, call (413) 528-3595.
Filed Under: Aston Magna Foundation, classical music, local performers., Mahaiwe Performing Arts Center, summer series, virtual events, Zoom