text:
Francoise Olivas Drops Out of District 59 Senate Race, Endorses Crowley
Francoise Olivas (L) and Elizabeth Crowley (R). Olivas announced Monday that she has dropped out of the District 59 senate race and is endorsing Crowley (Photos: campaigns)
July 25, 2022 By Christian Murray
Francoise Olivas, a left-leaning community organizer from Greenpoint, announced Monday that she is dropping out of the race to represent the newly created district 59 senate seat and has decided to endorse Elizabeth Crowley.
Olivas, who is a small business owner and has a sizable following in north Brooklyn, ran on a platform that called for universal childcare, the passage of the New York Health Act, protecting the environment and other progressive policies. She announced this morning that her campaign had ended, and she is backing Crowley.
"I proudly endorse Elizabeth Crowley," Olivas said. "Today we stand united for the greater good of our community."
The endorsement will go a long way for Crowley, whose strength is in Queens. Olivas who is well known in north Brooklyn is expected to bolster her campaign.
"I gratefully and warmly accept the endorsement of Françoise, a fellow mother who understands the true stakes in this race," Crowley said. "Support from community leaders like Françoise shows that our campaign continues to gain momentum in the final weeks before the Democratic primary."
The race to represent Senate District 59, the newly created seat that covers Long Island City, Astoria, Greenpoint, Williamsburg and a portion of Manhattan, is now being fought among Crowley, Kristen Gonzalez, Nomiki Konst and Mike Corbett.
The race has not been without controversy, with Gonzalez taking to Twitter to accuse Konst of racism and Konst also using Twitter to accuse the Gonzalez campaign of harassment. A nasty stream of comments by their respective supporters were posted on Twitter.
Olivas said she felt good about the race that she ran. "I entered this race with a pure heart and good intentions, to solve problems in our community. I entered this race to bring progressive ideas and solutions to the table. I am proud of the campaign we have run," she said.
Crowley, who has raised more than $500,000 in her bid for the seat, is believed to be a frontrunner along with Gonzalez who raised more than $150,000.
Crowley has been backed by several large unions, including the United Federation of Teachers, New York state AFL-CIO, District Council 37 and Communications Workers of America. Among her supporters are Rep. Gregory Meeks, several moderate Democrats, and the Queens County Democratic Organization.
"This campaign is about supporting working families and making New York more affordable," Crowley said. "We have to fix the affordable housing crisis, invest in smart transit solutions and cut the cost of childcare. We need to build new schools and make CUNY and SUNY free for all. Right now Albany needs experienced leaders in office more than ever."
Gonzalez is supported by the Democratic Socialists of America and Working Families Party, as well as Congresswomen Alexandria Ocasio-Cortez and Nydia Velázquez; State Senators Michael Gianaris and Julia Salazar are among her many supporters.
The primary is scheduled for Aug. 23.

redpajama_set_name: RedPajamaCommonCrawl


Watermarks: Part I: unidentified monogram buried in gutter. Parts II and III: similar in design to Piccard Buchstabe P XVI.301-29.
Script: Part I (ff. 1-154): Copied by one person in a poorly formed, abbreviated gothic cursive. Part II (ff. 155-202): Written by two scribes: 1) ff. 155r-196r in hybrida; 2) ff. 196v-199v in hybrida. Part III (ff. 203-248): Written in neat gothic cursive by a single scribe. Part IV (ff. 249-256): f. 249r-252r (first column) written in small neat gothic textura; ff. 252r (col. b) - 255r written in gothic cursive.
Part I: Small knobby initials, 3- to 2-line, in red. Underlining, paragraph marks, initial strokes, and circles enclosing marginal annotations by the scribe, in red, throughout. Part II: Scribe 1) Incipits, knobby initials (3-line), strokes on initials, in red; 2) Crudely drawn initials (2-line), paragraph marks, strokes on initials, and underlining for headings, in red. Part III: Many plain initials, 2- to 1-line, headings, initial strokes, and lines drawn through the names of authors cited, in red. Notes to rubricator, many perpendicular to text along outer edge of leaf. Part IV: Small plain initial (f. 249r) in red.
The patterns of water damage and stains indicate that the codex originally consisted of several booklets.
Binding: Fifteenth century. Bound in the Charterhouse of St. Barbara in Cologne. Vellum stays in the center of the gatherings and their backs cut in about 3 mm. at each sewing station. Sewn on four, double, vegetable fiber supports laced into oak boards and pegged as are the plain, wound endbands. Covered in light brown calf with very narrow corner tongues and defined supports. Blind-tooled with intersecting diagonal fillets with roses, two-headed eagles, crowned swans and fleurs-de-lis in the compartments, inside an outer frame. Trace of a catch on the upper board; edge of the lower one cut in for a strap. Rebacked and clasp wanting. Front and back flyleaves, formerly pastedowns, from a liturgical manuscript (Germany, 12th-13th centuries) containing Office of the Dead. Responses to the first five lessons are Qui lazarum, Heu michi, Ne recorderis, Domine quando, Peccantem me cottidie.
Collection of Sir Thomas Phillipps in 1824 (no. 509) and of S. Harrison Thomson (no. 4). Acquired from Thomson in 1968 with the Edwin J. and Frederick W. Beinecke Rare Book Endowment Fund.
Several blank leaves not digitized.
Manuscript on paper (heavy, rough) composed of four parts. Part I: Excerpts (divided into three parts) from the Malogranatum of Gallus, abbot of the Cistercian abbey of Koenigssaal, Bohemia. Part II: 3) Thomas a Kempis, Tractatus de imitatione Christi et contemptu omnium vanitatum mundi, Book I only. 4) Unidentified Fasiculus florum or Fasiculus morum. 5) Brief excerpts from Augustine and Jerome. 6) Unidentified excerpts dealing primarily with defects in the performance of the mass. Part III: 7) Unidentified extracts on virtues and vices. 8) Series of exempla of virtues and vices perhaps intended as illustrations for the selections quoted in art. 7. 9) Exemplum of Udo, Abp. of Magdeburg. Part IV (parchment): Unidentified text.
ff. 256 : paper and parchment ; ca. 215 x 145 mm.


text:
Bricks made of glass will build these Tribeca homes
By amNY Posted on February 19, 2009
By Julie Shapiro
Joseph Pell Lombardi's design for a new six-story building in Tribeca has all the hallmarks of the historic neighborhood: brick arches, tall windows and fine detailing on the cornice and storefront.
But unlike the neighborhood's centuries-old buildings, the new building Lombardi designed for 401-403 Greenwich St. will be made entirely of glass. That means glass bricks stacked to form the facade; glass bricks fanned to form arches; glass columns dividing glass windows; stippled glass trim; and even glass doorknobs.
"We want you to see through it, to see structurally how it all works," Lombardi told Community Board 1's Landmarks Committee Thursday night.
Lombardi designed the building between Hubert and Beach Sts. for a British developer he declined to name. The Glass Atelier, as Lombardi calls it, will offer a clear view not only of the building's structure but also of its occupants.
"If I want privacy…I would pull the drapes," Lombardi said.
The project is not a sure thing yet, as Lombardi needs the approval of the city Landmarks Preservation Commission, because he plans to demolish a building in the Tribeca West Historic District. Lombardi presented his plan to C.B. 1's Landmarks Committee this week, seeking their advisory approval.
The committee was split on the project, concerned about everything from the modern design to the practicality of building with glass.
"I'm nervous," said Roger Byrom, chairperson of the committee. "Are there other examples where people have built in this form, Joe, so we know that the doors are going to hang and the windows are going to open?"
"As far as we can do in our research," Lombardi replied, "it is unique unto the world."
Lombardi worked with engineers at Owens Corning for six months to figure out how the building will, as Byrom put it, "stick together." The building will be made of steel beams, which along with the mechanicals will be coated in concrete so as to appear ghost-like behind the glass exterior. A thin layer of mortar, lightly tinted blue, will join the solid glass bricks. Even the window sashes and frames will be a transparent acrylic, while the sides of the building will be a frosted glass.
The project's English developer intends to put two retail stores on the ground floor and eight rental apartments above, but the building may house all offices at first because new residential units are not allowed in northern Tribeca. The city is looking rezone the neighborhood to allow residential uses as of right. If the rezoning falls through or takes too long, Lombardi may apply for a variance.
Lombardi hopes to begin construction this summer and finish a year later. He would not give a price tag but said, "There's no question the financing is there." While condo prices have fallen, Lombardi pointed out that Manhattan's rental market has stayed steadier, indicating the project's viability.
The unnamed English developer, 102 Green Street L.L.C., is working with Lombardi on two other projects: Converting the former Dia Museum on W. 22nd St. into a nonprofit display space called COG, and restoring a landmarked building at 102 Greene St. that was heavily damaged in a 1950s fire.
The site where Lombardi wants to build his Glass Atelier currently houses a recent six-story loft building at 401 Greenwich, which he would strip to its steel beams and mechanicals, and an older two-story building at 403 Greenwich that he would demolish. The older building was built as a four-story row house in the 19th century, then reduced to a two-story building with a loading dock in 1947. In the 1960s, the building changed again, with the loading dock replaced by a glass storefront.
Lombardi has developed and designed many historic restorations in Tribeca including the Mohawk Atelier at Hudson and Duane Sts.
Members of C.B. 1's Landmarks Committee disagreed over whether 403 Greenwich St. is worth preserving.
"[It] is not something I think should be easily torn down," said Bruce Ehrmann, co-chairperson of the committee. "It is not a completely incontextual building."
Michael Connolly, a committee member, said the building was not historically significant.
"In fact, I think it's worth tearing it down and putting something else up — it's just a question of what," Connolly said.
Connolly liked the design of the new glass building, which looks a bit like a sparkling ice sculpture, but others were less enthusiastic.
"I see a really thin line between really artistic and really cute, and I'm not quite sure where it fits in," said Brian Lutz, a public member. "I'm not quite sure I'm ready to see an all-glass building in Tribeca."
Ehrmann, the committee co-chairperson, called the design clever, but he had a deeper "socio-aesthetic" concern, which he admitted went beyond the committee's purview.
The concern, he said, is "the notion of an all-glass building…with people totally visible inside and out and everyone looking in and everyone looking out, while a whole raft of homeless people are on the street in a depression. I find it rather 2007 for the current era."
In the committee's final vote, two people were against the project, one was for it and one abstained.
Lombardi, speaking by phone after the meeting, said the all-glass structure isn't as luxuriously expensive as it might sound. Glass bricks and columns are not much more expensive than their quotidian counterparts, and while the extra engineering costs more, it doesn't cost anywhere near as much as the custom curtain walls at other new buildings in the city. Glass bricks also have a higher fire rating and better sound insulation than glass curtain walls, he said.
"I don't really see that homeless bankers from the recession would be in a turmoil because they saw a beautiful building," Lombardi said.
Lombardi will present the design at Community Board 1's full board meeting Feb. 24 and at the Landmarks Preservation Commission March 3.
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Also by martyb
17/06/28/2110236 story
Blue Origin Will Build its Rocket Engine in Alabama
posted by martyb on Thursday June 29 2017, @02:48AM
from the job-growth-in-3...2...1... dept.
Fnord666 writes:
Today, private spaceflight venture Blue Origin announced its plans to manufacture the company's new rocket engine, the BE-4, at a state-of-the-art facility in Huntsville, Alabama. It's an interesting move for the company, which has been mostly developing the engine at its headquarters in Kent, Washington, and testing the hardware in Texas. But the benefits for Blue Origin are both practical and political.
On the surface, it's a seemingly innocuous decision meant to capitalize on Huntsville's decades-long history of rocket development. The city is home to NASA's Marshall Space Flight Center, where the Saturn V rocket was developed and where NASA's future massive deep-space rocket, the Space Launch System, will also be worked on. Plus, many private space contractors are based in Huntsville, making spaceflight a key part of the city's economy and a huge jobs creator. It's why Huntsville has been nicknamed Rocket City.
"Alabama is a great state for aerospace manufacturing and we are proud to produce America's next rocket engine right here in Rocket City," Robert Meyerson, president of Blue Origin, said in a statement.
[...] Of course, Blue Origin probably also had some nice economic incentives to move to the state that factored into the decision. And the company will definitely have a good support system there. Blue Origin's move to Huntsville is supposed to generate 342 jobs at the new facility, located in Cummings Research Park, with salaries averaging $75,000. And given the city's history, Blue Origin should have no problem finding aerospace experts in the area. Phil Larson, a former science advisor to the Obama administration and a former SpaceX spokesperson, pointed out that SpaceX, in part, moved to Los Angeles because it had the largest concentration of aerospace engineers in the country at the time. "Alabama has that same sort of strong technical work force," he tells The Verge.
Aerojet Rocketdyne Seeks More U.S. Air Force Funding for AR1 Rocket Engine 7 comments
Aerojet Rocketdyne wants the U.S. Air Force to contribute more funding for the development of its AR1 rocket engine. But that may be a hard sell when the mostly privately funded BE-4 from Blue Origin is close to being ready to fly:
In recent years, Aerojet has sought funding from the US Air Force to design and build the AR1, which has approximately 20 percent more thrust than a space shuttle main engine. The Air Force, in turn, has pledged as much as $536 million in development costs provided that Aerojet puts its own skin in the game—about one-third of research and development expenses.
According to a new report in Space News, Aerojet is now saying that even this modest investment is too much, and the company is seeking to reduce its share of the development costs from one-third to one-sixth. "As we look to the next phase of this contract, we are working with the Air Force on a smart and equitable cost-share," Aerojet spokesman Steve Warren told the publication. "We are committed to delivering an engine in 2019."
According to the report, the Air Force is not inclined to renegotiate the agreement. The Air Force's hesitation to increase its investment is probably because the military may not really need the AR1 rocket engine any more due to the emergence of Blue Origin, the rocket company founded by Amazon founder Jeff Bezos.
Related: Blue Origin Will Build its Rocket Engine in Alabama
NASA Opens Door to Possibly Lowering SLS Cost Using Blue Origin's Engines
After the Falcon Heavy Launch, Time to Defund the Space Launch System?
Blue Origin Wins Contract to Supply United Launch Alliance With BE-4 Rocket Engines 5 comments
Jeff Bezos's rocket company beats out spaceflight veteran for engine contract
Jeff Bezos's Blue Origin rocket company just scored a major contract. His company's BE-4 engines will power United Launch Alliance's Vulcan Centaur, a new suite of rockets that will aim to better compete with Elon Musk's SpaceX on price. Its first launch is slated for 2020. The contract award with ULA marks a high-profile vote of confidence for Bezos's space startup.
"We are very glad to have our BE-4 engine selected by United Launch Alliance. United Launch Alliance is the premier launch service provider for national security missions, and we're thrilled to be part of their team and that mission," Blue Origin CEO Bob Smith said in a statement announcing the award on Thursday.
[...] Blue Origin's win does not come as a huge surprise. The BE-4 is further along in development than the comparable Aerojet engine, dubbed the AR1, and is expected to be less expensive to make. [ULA CEO Tory] Bruno previously expressed his preference for Blue's BE-4 over Aerojet's AR1.
BE-4.
Also at Ars Technica.
Aerojet Rocketdyne Seeks More U.S. Air Force Funding for AR1 Rocket Engine
SpaceX BFR vs. ULA Vulcan Showdown in the 2020s
Blue Origin to Compete to Launch U.S. Military Payloads
Blue Origin Starts Construction of Rocket Engine Factory in Alabama 6 comments
Blue Origin starts building the factory for New Glenn's engines
Blue Origin's New Glenn rocket just became more tangible. The company has officially started construction on a factory in Huntsville, Alabama that will produce the BE-4 engines powering both New Glenn and United Launch Alliance's Vulcan Centaur. It'll also make the BE-3U engines used for New Glenn's second stage. While it's not clear when the factory will start making rockets, Blue Origin expects to complete development later in 2019.
Both New Glenn and Vulcan Centaur are expected to launch in 2021.
Previously: Blue Origin Will Build its Rocket Engine in Alabama
Blue Origin Wins Contract to Supply United Launch Alliance With BE-4 Rocket Engines
Blue Origin Completes Construction of Rocket Engine Factory in Alabama 6 comments
Blue Origin opens rocket engine factory
Blue Origin formally opened a factory Feb. 17 that the company plans to use to produce engines both for its vehicles and for United Launch Alliance's Vulcan rocket.
A ribbon-cutting ceremony marked the completion of a 350,000-square-foot factory [in Huntsville, Alabama] that will produce BE-4 and BE-3U engines. The factory, built in a little more than a year, will host more than 300 employees and produce up to 42 engines a year.
[...] While the building is complete, Blue Origin is not yet ready to start producing engines there. Employees will start moving into the factory this week, company officials said, with tooling and other equipment to start arriving in the coming weeks. The factory should be ready to start building BE-4 engines this summer, starting with a "site certification" engine that will be fired at both at Blue Origin's West Texas test site and a test stand at NASA's Marshall Space Flight Center that the company is refurbishing.
Blue Origin is currently building BE-4 engines at its headquarters in Kent, Washington. That work includes a series of engines used in testing and two "flight readiness" engines that Smith said in his remarks will be delivered to United Launch Alliance in May for integration on that company's Vulcan rocket for testing. The first engines intended for flight will also be produced there.
The company plans to transition production over a couple of years from Kent to Huntsville. Once the BE-4 production line is stabilized, Huntsville staff will be trained in Kent and then return to ramp up engine production in Huntsville. Ultimately the factory will be able to produce 42 engines a year, split roughly evenly between the BE-4 and the BE-3U engine that will power the upper stage of New Glenn. The company expects to take two to three years to reach that production rate.
SpaceX is planning to return to the Port of Los Angeles after previously abandoning plans for a Starship factory there.
Blue Origin Starts Construction of Rocket Engine Factory in Alabama
Blue Origin Will Build its Rocket Engine in Alabama | Log In/Create an Account | Top | 8 comments | Search Discussion
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Not Surprising Not Surprising (Score: 3, Funny) by Nerdfest on Thursday June 29 2017, @04:05AM (6 children)
by Nerdfest (80) on Thursday June 29 2017, @04:05AM (#532806)
It's not really surprising. Alabama has long been popular with the science crowd. They even mention it in the theme song for the "Big Bang Theory":
Our whole universe was in a hot dense state
Re:Not Surprising Re:Not Surprising (Score: 2, Touché) by Azuma Hazuki on Thursday June 29 2017, @04:44AM (4 children)
by Azuma Hazuki (5086) on Thursday June 29 2017, @04:44AM (#532815) Journal
More to the point, everyone's already so inbred and mutated that a leak of some of those horrible rocket fuels won't make much of a difference.
Re:Not Surprising Re:Not Surprising (Score: 0) by Anonymous Coward on Thursday June 29 2017, @06:44AM (2 children)
by Anonymous Coward on Thursday June 29 2017, @06:44AM (#532847)
Hey - I have a lot of kinfolk in Alabama! All farmers. God fearing folks.
A lot of 'em are way too superstitious though, and often mis-led by folks with a suit and microphone. If it isn't beggaring preacher-men, its snake oil salesmen. One followed by the other. Constantly.
Get on the good side of them, and they will take care of you, get on their bad side and they will run you out of town.
A BMW doesn't mean a thing to them, however you better know your red tractors from the green ones.
Re:Not Surprising Re:Not Surprising (Score: 1, Funny) by Anonymous Coward on Thursday June 29 2017, @11:25AM (1 child)
The Matrix would have been very different if it had been based in Alamaba. Just swap "Red Tractor" for "Red Pill" and "Green Tractor" for "Blue Pill".
Re:Not Surprising (Score: 2) by KGIII on Thursday June 29 2017, @10:29PM
by KGIII (5261) on Thursday June 29 2017, @10:29PM (#533135) Journal
I took the road less traveled by. I have an L6060. It is orange.
"So long and thanks for all the fish."
Re:Not Surprising (Score: 0) by Anonymous Coward on Thursday June 29 2017, @10:56AM
[singing]
I hope Azuma Hazuki will remember
a southern man don't need him around anyhow.
Sweet home Alabama...
Re:Not Surprising (Score: 1) by mayo2y on Thursday June 29 2017, @01:12PM
by mayo2y (6520) on Thursday June 29 2017, @01:12PM (#532937)
There are a lot of Russian and Eastern European science and computer engineering students there. Many stay after their schooling is complete. It's not your northern fantasy of a barbaric, redneck, hick state.
Lived there in the 90s (Score: 2) by VLM on Thursday June 29 2017, @11:27AM
by VLM (445) on Thursday June 29 2017, @11:27AM (#532907)
I lived in Huntsville in the 90s for a summer courtesy of uncle sam, and its a pretty nice place. It has a Roman Empire feel of PHDs and engineers and "civilization" in general surrounded by barbarians. I was attending a couple on base classes. The weird thing about Hunstville was no one on base was from Huntsville.
As for the locals you'd meet off base at the mall, the odds were not 75:25 that they've got a PHD like on base. The male locals are ridiculously nice people and the young female locals were ridiculously hot. They serve grits at breakfast which are a kind of natural less artifically flavored malto-meal and they're pretty good. They don't seem to have a unique food culture (like New Orleans, or KC-style BBQ, or Wisconsin cheeses and beers) unless you count sweetened iced tea with so much dissolved sucrose it resembles straight corn syrup.
This is long before 9/11 so base security was layered in depth. Most of the base, such as the on base Burger King or the PX was essentially unguarded although there were areas I was at, inside the base, surrounded by barbed wire with 24x7 guards. For example they had a shuttle bus going from barracks and on base destinations right to off base destinations like the mall, and you could take a date home with you for example. Now with eternal war until empire collapse, I would imagine the base gates are actually armed, etc.
Elliptic paraboloids for sale.


text:
Damage-plasticity model for FRP-confined normal-strength and high-strength concrete
Togay Ozbakkaloglu, Aliakbar Gholampour, Jian C. Lim
This paper presents a modified damage-plasticity model for fiber-reinforced polymer (FRP)-confined normal-strength and high-strength concrete (NSC and HSC). The proposed model is based on a concrete damage-plasticity model from the literature, which is improved through accurate incorporation of the effects of the confinement level, concrete strength, and nonlinear dilation behavior of FRP-confined concrete. The proposed model uses a new and accurate failure surface and flow rule that were established using a comprehensive and up-to-date experimental test database and it incorporates an analytical rupture strain model for the FRP jacket. Finite-element (FE) models incorporating the proposed damage-plasticity model are developed and validated for concretes having up to 110-MPa compressive strength confined by different types of FRP under a wide range of confining pressures. Comparisons with experimental results show that the model's predictions of (1) axial stress-axial strain, (2) lateral strain-axial strain, (3) axial stress-volumetric strain, (4) plastic volumetric strain-axial plastic strain, and (5) plastic dilation angle-axial plastic strain relations are in good agreement with the test results of FRP-confined NSC and HSC. The accurate predictions of the compressive strength and ultimate axial strain of FRP-confined concrete were achieved by establishing the hardening/softening rule and flow rule based on the level of confining pressure and modeling the failure surface of the confined concrete by incorporating the effect of unconfined concrete strength.
JOURNAL OF COMPOSITES FOR CONSTRUCTION
https://doi.org/10.1061/(ASCE)CC.1943-5614.0000712
Axial compression
FRP-confined concrete
Finite-element (FE) modeling
High-strength concrete (HSC)
Plastic dilation
Stress-strain relations
10.1061/(ASCE)CC.1943-5614.0000712Licence: In Copyright
Dive into the research topics of 'Damage-plasticity model for FRP-confined normal-strength and high-strength concrete'. Together they form a unique fingerprint.
Plasticity Engineering & Materials Science 100%
Strain Chemical Compounds 74%
Fibers Engineering & Materials Science 72%
Concretes Engineering & Materials Science 72%
Reinforced Plastic Chemical Compounds 55%
Compression Strength Chemical Compounds 32%
Plastic deformation Engineering & Materials Science 23%
Ozbakkaloglu, T., Gholampour, A., & Lim, J. C. (2016). Damage-plasticity model for FRP-confined normal-strength and high-strength concrete. JOURNAL OF COMPOSITES FOR CONSTRUCTION, 20(6), [04016053]. https://doi.org/10.1061/(ASCE)CC.1943-5614.0000712
Ozbakkaloglu, Togay ; Gholampour, Aliakbar ; Lim, Jian C. / Damage-plasticity model for FRP-confined normal-strength and high-strength concrete. In: JOURNAL OF COMPOSITES FOR CONSTRUCTION. 2016 ; Vol. 20, No. 6.
@article{bc7bd80a94624e3eb8e16702c7410432,
title = "Damage-plasticity model for FRP-confined normal-strength and high-strength concrete",
abstract = "This paper presents a modified damage-plasticity model for fiber-reinforced polymer (FRP)-confined normal-strength and high-strength concrete (NSC and HSC). The proposed model is based on a concrete damage-plasticity model from the literature, which is improved through accurate incorporation of the effects of the confinement level, concrete strength, and nonlinear dilation behavior of FRP-confined concrete. The proposed model uses a new and accurate failure surface and flow rule that were established using a comprehensive and up-to-date experimental test database and it incorporates an analytical rupture strain model for the FRP jacket. Finite-element (FE) models incorporating the proposed damage-plasticity model are developed and validated for concretes having up to 110-MPa compressive strength confined by different types of FRP under a wide range of confining pressures. Comparisons with experimental results show that the model's predictions of (1) axial stress-axial strain, (2) lateral strain-axial strain, (3) axial stress-volumetric strain, (4) plastic volumetric strain-axial plastic strain, and (5) plastic dilation angle-axial plastic strain relations are in good agreement with the test results of FRP-confined NSC and HSC. The accurate predictions of the compressive strength and ultimate axial strain of FRP-confined concrete were achieved by establishing the hardening/softening rule and flow rule based on the level of confining pressure and modeling the failure surface of the confined concrete by incorporating the effect of unconfined concrete strength.",
keywords = "Axial compression, FRP-confined concrete, Finite-element (FE) modeling, High-strength concrete (HSC), Plastic dilation, Plasticity, Stress-strain relations",
author = "Togay Ozbakkaloglu and Aliakbar Gholampour and Lim, {Jian C.}",
doi = "10.1061/(ASCE)CC.1943-5614.0000712",
journal = "JOURNAL OF COMPOSITES FOR CONSTRUCTION",
Ozbakkaloglu, T, Gholampour, A & Lim, JC 2016, 'Damage-plasticity model for FRP-confined normal-strength and high-strength concrete', JOURNAL OF COMPOSITES FOR CONSTRUCTION, vol. 20, no. 6, 04016053. https://doi.org/10.1061/(ASCE)CC.1943-5614.0000712
Damage-plasticity model for FRP-confined normal-strength and high-strength concrete. / Ozbakkaloglu, Togay; Gholampour, Aliakbar; Lim, Jian C.
In: JOURNAL OF COMPOSITES FOR CONSTRUCTION, Vol. 20, No. 6, 04016053, 12.2016.
T1 - Damage-plasticity model for FRP-confined normal-strength and high-strength concrete
AU - Ozbakkaloglu, Togay
AU - Gholampour, Aliakbar
AU - Lim, Jian C.
N2 - This paper presents a modified damage-plasticity model for fiber-reinforced polymer (FRP)-confined normal-strength and high-strength concrete (NSC and HSC). The proposed model is based on a concrete damage-plasticity model from the literature, which is improved through accurate incorporation of the effects of the confinement level, concrete strength, and nonlinear dilation behavior of FRP-confined concrete. The proposed model uses a new and accurate failure surface and flow rule that were established using a comprehensive and up-to-date experimental test database and it incorporates an analytical rupture strain model for the FRP jacket. Finite-element (FE) models incorporating the proposed damage-plasticity model are developed and validated for concretes having up to 110-MPa compressive strength confined by different types of FRP under a wide range of confining pressures. Comparisons with experimental results show that the model's predictions of (1) axial stress-axial strain, (2) lateral strain-axial strain, (3) axial stress-volumetric strain, (4) plastic volumetric strain-axial plastic strain, and (5) plastic dilation angle-axial plastic strain relations are in good agreement with the test results of FRP-confined NSC and HSC. The accurate predictions of the compressive strength and ultimate axial strain of FRP-confined concrete were achieved by establishing the hardening/softening rule and flow rule based on the level of confining pressure and modeling the failure surface of the confined concrete by incorporating the effect of unconfined concrete strength.
AB - This paper presents a modified damage-plasticity model for fiber-reinforced polymer (FRP)-confined normal-strength and high-strength concrete (NSC and HSC). The proposed model is based on a concrete damage-plasticity model from the literature, which is improved through accurate incorporation of the effects of the confinement level, concrete strength, and nonlinear dilation behavior of FRP-confined concrete. The proposed model uses a new and accurate failure surface and flow rule that were established using a comprehensive and up-to-date experimental test database and it incorporates an analytical rupture strain model for the FRP jacket. Finite-element (FE) models incorporating the proposed damage-plasticity model are developed and validated for concretes having up to 110-MPa compressive strength confined by different types of FRP under a wide range of confining pressures. Comparisons with experimental results show that the model's predictions of (1) axial stress-axial strain, (2) lateral strain-axial strain, (3) axial stress-volumetric strain, (4) plastic volumetric strain-axial plastic strain, and (5) plastic dilation angle-axial plastic strain relations are in good agreement with the test results of FRP-confined NSC and HSC. The accurate predictions of the compressive strength and ultimate axial strain of FRP-confined concrete were achieved by establishing the hardening/softening rule and flow rule based on the level of confining pressure and modeling the failure surface of the confined concrete by incorporating the effect of unconfined concrete strength.
KW - Axial compression
KW - FRP-confined concrete
KW - Finite-element (FE) modeling
KW - High-strength concrete (HSC)
KW - Plastic dilation
KW - Plasticity
KW - Stress-strain relations
U2 - 10.1061/(ASCE)CC.1943-5614.0000712
DO - 10.1061/(ASCE)CC.1943-5614.0000712
JO - JOURNAL OF COMPOSITES FOR CONSTRUCTION
JF - JOURNAL OF COMPOSITES FOR CONSTRUCTION
Ozbakkaloglu T, Gholampour A, Lim JC. Damage-plasticity model for FRP-confined normal-strength and high-strength concrete. JOURNAL OF COMPOSITES FOR CONSTRUCTION. 2016 Dec;20(6). 04016053. https://doi.org/10.1061/(ASCE)CC.1943-5614.0000712


When one thinks of high-end products that are bought as gifts; wine, chocolates and truffles usually makes the list. But Le Jardin de Rabelais, a French grower of cherry tomatoes, is hoping that, going forward, high-end tomatoes will also be included in that list.
"The idea is for the consumer to buy a box of our tomatoes the same way he'd buy chocolates or flowers," said Aurélien Serrault. "So we present our tomatoes in a way where we add value." They hope to target high-income customers who make purchases based on value rather than price, and to that end, their tomatoes can be found in specialty shops and high-end produce retailers in France. But in order to get premium prices, Serrault noted that they have to offer a premium product.
"We have a very good variety that only a few growers in Europe are able to provide," he said. "Our main focus is taste, and we think that if we maintain that good taste we'll be able to continue to sell our tomatoes as a premium product." He added that they choose the best of their tomatoes to put in their premium 300g box, and that every vine has to have at least 10 cherry tomatoes to make the cut. That kind of quality is achieved, in turn, with careful attention to the growing process which takes place on 11.5 hectares spread out across five greenhouses.
"We grow tomatoes year-round," said Serrault. "The climate is really good for growing tomatoes here." In addition to being situated in an area conducive to growing high-quality produce, Serrault said they've retrofitted their greenhouses with several features that cut down on costs and waste, like using the excess heat from a nearby power plant to heat their greenhouses.
Le Jardin de Rabelais will also build a biogas plant in early 2014: "We will recycle organic waste and harness the gas that's produced to power an engine that creates electricity and heat," said Serrault. "We will use the heat for our greenhouse and sell the electricity to electric network providers." The project will recycle about 36,000 tons of organic waste a year that will be used as fertilizer. Serrault noted that things like that help with the efficiency of their operation, and it makes it easier to grow their high-quality tomatoes.
Mob: +33 6 14 39 98 42.


..:::Natural Family Weight Control at Healing Intent - Infuse Yourself with Vitality and Power! - Family Weight:::..
The USDA Food Guide Pyramid offers an excellent guide for eating a wholesome, well-rounded diet without starving yourself. If families follow the guidelines in the Pyramid, and combine it with regular enjoyable activity and exercise, obesity would become a rarity.
This week's feature focuses on natural weight control, based on good nutrition and wise food choices. Nutritionists and health care professionals often write about the alarming amount of overweight and obese people in all age groups.
Any trip to the store, or evening of television will expose you to a myriad of advertisements related to weight loss products and super diets.
It is true that about 40 per cent of the population in North America weighs more than 20 per cent over the recommended body weight. But are all these diets and weight loss products necessary? Experts all say a resounding "NO!"
There is a simple solution to the problem of being overweight in people of all age groups, from children to the elderly. The USDA Food Guide Pyramid offers an excellent guide for eating a wholesome, well-rounded diet without starving yourself. If families follow the guidelines in the Pyramid, and combine it with regular enjoyable activity and exercise, obesity would become a rarity.
The most important point to remember in weight control is to follow the Food Pyramid and incorporate regular activity - individually and as a family. Some fun activities are listed below, many of which can be shared as a family event.
A well-rounded approach to fitness is recommended to cultivate all three areas.
You can download a 126 page guide, entitled the Navy Nutrition and Weight Control Self-Study Guide , a very detailed, useful document to help you plan natural ways to control your family's weight.
The American Heart Association presents Dietary Guidelines for Healthy Children , with tips for adequate nutrition, weight control, and health maintenance.
Karen's Kid's Kitchen is an interesting site with tips on feeding kids well, meeting their growth needs and preventing obesity. Also features a Women's and Men's Nutrition section, plus recipes.
Are you overweight? The BMI Calculatoroffers an easy to use Body Mass Indicator form to quickly assess your BMI.
Weight Loss and Fitness offers an exercise calorie calculator to check how many calories you are burning with each exercise session, plus articles, tips, recipes, chats, and more.


text:
A Poetic Spring: Five Upstate Poets To Read From Their Work at the Arts Center of the Capital Region
Tracey Leibach2015-04-02T19:28:12-04:00March 19, 2015|
In an ode to the first weekend of spring, the Arts Center of the Capital Region will host an event titled "A Poetic Spring: Five Upstate Artists Read From Their Work." Shira Dentz, lecturer in the creative writing program in the School of Humanities, Arts, and Social Sciences (HASS), will participate. The reading will take place on Sunday, March 22, beginning at 2 p.m.
Dentz is the author of two books: black seeds on a white dish and door of thin skins (CavanKerry), as well as Leaf Weather (Shearsman), and Sisyphusina (forthcoming, Red Glass Books).
Shira Dentz
"My interest in language itself as a series of shapes is reflected in my experimentation with form," Dentz said. "For instance, door of thin skins attempts to deconstruct the nature of psychological power through the deconstruction of language and traditional narrative. In black seeds on a white dish, shapes themselves, including punctuation, become a language."
Dentz says that her passion for writing, literature, and interdisciplinary inquiry inform her teaching. Her areas of specialty are creative writing, 20th and 21st century American literature, European and American Modernism, and an interdisciplinary focus on the relation between word and image. Dentz's background as a visual artist influences her approach to form. Her writing students read and experiment with hybrid writing (poetic and narrative) and visual writing, and she encourages fluidity between genres and artistic mediums. Her current work-in-progress is a hybrid of poetry, fiction, and nonfiction centered on female aging.
Dentz's books have been favorably reviewed in many venues including American Book Review and Rain Taxi, and her work has appeared in The American Poetry Review, The Iowa Review, New American Writing, et al, and also has been featured in The Academy of American Poets' Poem-a-Day series, NPR, Poetry Daily, and Verse Daily. Her awards include an Academy of American Poets' Prize, the Poetry Society of America's Lyric Poem and Cecil Hemley Memorial Awards, Electronic Poetry Review's Discovery Award, and Painted Bride Quarterly's Poetry Prize.
Dentz is a graduate of the Iowa Writers' Workshop. She received her doctorate in creative writing and literature from the University of Utah, and currently serves as the editor for the Drunken Boat's Reviews.
Other participating poets include: Celia Bland, Matthew Klane, Daniel Nester, and Gretchen Primack.
More information about Poetic Spring: Five Upstate Artists Read From Their Work.


text:
D!NG
Miami art week
The Cultivist is the world's only global arts club offering uniquely privileged access to every aspect of the art world, ensuring your journey through art is always effortless and enriching.
The visual identity for Art Basel Miami, Annual lunch comprises a holistic design for a new brochure, printed materials, and unique artist collaborations, all brought together under an energetic colour palette and rich imagery. Throughout all the design elements, duality is key, and the identity circles around a play on contrasts.
Miami art week - printed and images by Lunch Press | 2018
Architecture Initiative
As a brand name, Architecture Initiative is equally and metaphorical, guiding client perceptions from the outset, i.e. architects who solve problems and get things done. The key message when re-branding the logo was to create a brand clients could trust and representing that we are always one step ahead of our competitors.
The concept is based on finding flexibility. With the idea that flexibility moves away from being static, and represents a dynamic organisation that is forward-thinking and fast moving.
Concept design and photography by Jolien Dirix
Mini Cultivist
For The Mini Cultivist we created a new logo, graphic elements to emphasize the character of the brand: is a space with a friendly atmosphere welcoming every child and their parents.
Charlotte Lagro
D!NG had the pleasure of interviewing Charlotte at artist studio in Maastricht, Netherlands.
Charlotte Lagro (°1989), born in Maastricht, makes video installations in which various works have a reciprocal relationship. They are multimedia installations, but start from video or photography. When Charlotte was fifteen her parents gave her a two megapixel camera. Immediately she was sold to photography, she did not want anything else. Charlotte comes from a family of artists so art has always been a prominent aspect of her life. "It's a language with which I grew up with. So for me it's a natural language to work with." However, when Charlotte was younger, she wanted to study psychology. "In retrospect it actually makes sense, because in a certain way my work is about psychology and human behavior, and about how people think."
Charlotte's work shows her interest in the people surrounding her. "I always try to include people into my work. As such I ask people to perform in my work, preferably people without experience in performance whatsoever." Charlotte's work is inquisitive in the sense that she makes use of interviews or a recorded monologue that functions as a voice-over. But sometimes there is no speech at all. "I want to show a human face behind abstract ideas and abstract knowledge. Sometimes I take that literally by putting someone in front of the camera and film that person. It then may look like a documentary, but it is more free form, more performative."
An example of this is a video in which we see a mime artist perform in Auschwitz. It is about how we deal with our history and about what is appropriate to show and what not and how it is bound to a certain time period. The mime artist, who is of Hungarian-Jewish descent, is a friend of Charlotte. "We had talked a lot about his own and his family's past. I had also blended images of the making-of of Jerry Lewis' film with the images of the mime artist. In 1972, Jerry Lewis, an American comedian, made the film The Day the Clown Cried. The film is about a clown who is arrested during the Nazi regime in the second World War after he had made a joke about Hitler. He was sent to a concentration camp. However, the film was never released because of the criticism it got for dealing with such a loaded subject from the perspective of a clown. It was a display of poor taste. Now, the film lies in some safe, while a lot of film enthusiasts would love to see it."
In 2015 Charlotte was invited for Skowhegan, a prestigious residency in Maine, in the United States of America. Yearly they invite 65 artists of which are approximately two third Americans, and one third international artists. "There were maybe six or seven European artists. The residency covers a period of nine weeks and focuses on mutual exchange of knowledge and experiences. It is not a priority to make artwork, however you do have a studio where you go to every day." Part of the program were visits to different studios with known artists, lectures, film screenings, performances and the so-called group crits, which is when a group visits your studio to criticize your work and to help you. "All at once you get so many different understandings of and new perspectives on your own work. In this sense Skowhegan is unique. I learned about the subjects and issues of my generation, such as identity politics, commentary on contemporary culture, dealing with family history in a post-colonial world, sense of community, cultural differences between Europe and America, among others. We also talked about the emotional dimension of art and how you could use irony in your work. I found it inspiring and I am still in contact with the other participants, I even work with them. A few months ago Annesofie Sandal invited me for an exhibition in Copenhagen and not so long ago Mathilde Ganancia and I organized a video night together in the context of my exhibition during BIP Liège."
"Sometimes my work can be read as a statement, like my armpit hair shaved in a triangle, put right in front of the camera. But I actually always search for a multi-layered narrative." Charlotte views her work as discussions in which multiple perspectives are brought forward and in which she consciously seeks openness without giving a definite answer. An example of this is the video The Art-shaped Hole In My Heart in which Charlotte's focus of attention is a special refrigerator standing in an old farm in Skowhegan. She invited artists and art critics to examine the fridge with her. One by one they appear in the scene to look at the fridge from all sides and they wonder out loud. The actual subject of the video is not the fridge but the individual approaches and interpretations of the fridge by the participants. As such the refrigerator becomes an analogy for art in itself. The fridge transcends its status as an ordinary object and becomes the central subject of a layered and in some ways comic reflection on aesthetics. It is also not about Charlotte even though she is the one who set up the work. "I try to let the work receive as many influences as possible, more than I can give it myself." In creating and capturing her subject Charlotte searches for insights that transcend the here and now and herself. "Anne-Françoise Lesuisse (artistic director BIP Liège) described it beautifully in the catalogue of BIP: The work of Charlotte Lagro functions as a setup of a network that continually evolves, in which dimensions are added to each other and tunnels created between different places, times and contexts."
Text by Astrid Van Gilse.
Photography by Jolien Dirix.
Eleanor Duffin
D!NG represented Elenor's work in our three-year anneversary issue and had the pleassure of interview her at her artist studio in Anwerp, Belgium.
Eleanor Duffin comes from a small town in the southeast of Ireland called Wexford. After teaching English in Japan for a few years, a trip to Australia and moving back to Ireland for a while, she ended up in our little country, Belgium. Now she lives and works in Antwerp. Eleanor has a background in sculpture, but for a long time she worked with digital media. "I used a lot of video and a little bit of photography. Then strangely, a period after my MA, I didn't really make any art. I taught English in Japan for a few years. I came back and began making videos again and actually started to go in the direction of sculpture installations. I think it was because I got excited to try out different materials."
Eleanor loves to work with different materials, which is why she often searches for new materials. "I suppose, in the last four to five years, my work has been materially driven." Furthermore, Eleanor is interested in the history of the materials she works with, and how these materials change or evolve. She researches the materials, finds out what their qualities are and how they are used in different contexts. "This research becomes part of the work. I'm also really interested in the physics of a material as to how it operates and what it can do. Usually, when I find a material, I look it up on the periodic table to try and see the characteristics of it. However as much as you can research and look at the characteristics, it also does unexpected things when you try to work with it. So I try to find that unexpectedness."
You could say Julie is one of D!NG's all-time favourite artist. Since the start, we've worked closely and are now good friends. We had the pleasure of interviewing her before her exhibition in CIAP, in 2016, and represented her work at our first exhibition.
Julie van der Vaart (°1988) was born in Maastricht, the Netherlands, but now lives in Lanaken, Belgium. She completed her master's degree in Photography at Luca School of Arts (previously Media, Arts & Design Faculty) in Genk. She recently started as a participant at the Jan van Eyck Academy in Maastricht. 44 Gallery represents her work.
In secondary school Julie studied Maths and Science. She always thought that she would further pursue a career in sciences. But then she decided she would rather learn how to make something than to learn by memorizing. "I had several magazines and I would collect all kinds of photographs. I really enjoyed doing that although I knew nothing about photography. So I started my studies in Photography at Luca on intuition. Of course the first year was a disaster, because I didn't know how to handle a camera and everything I tried failed." Eventually Julie made a beautiful portrait of her grandmother after which her teacher said "This is either a lucky shot or you have a talent for portrait photography". Julie transferred schools from Brussels to Genk and continued her project there. After a few years Julie was done with making portraits, despite her teacher's breathe down her neck. "I was more excited to experiment with my work, but a lot of experiments failed. When you try things you have never done before it often results in something bad. In the end I graduated with a bad graduation project. I still got good results, but I didn't think the project was any good."
After graduation Julie decided that photography should be something of herself, something personal, instead of something to please others. Thus she started to photograph for her. "It resulted in fragmented images, like a journal. It was about holding on to what I hold dear, and creating memories for myself. It ended up as a series which would evolve trough time. Especially nature and bodies were prominent in the photographs, but also death though very subtle, because I don't think of my photos as something depressing." Julie likes to photograph in black and white to capture the essence of things. "I do like colors very much, but they give too much information which is a distraction. Furthermore, pictures in black and white create a more melancholic and gray atmosphere."
Again, Julie's work is very personal and so were her portraits. The portraits she used to make were not just any portraits. Julie tried to capture emptiness in the gaze of the person portrayed. She did so by letting the person stare at a certain point for a very long time allowing them to enter their own mental world. "I had read a lot about that. It is linked to psychology and meditation." The portraits she made were also self-portraits. "I tried to express a feeling of my own through the persons portrayed."
D!NG represented the work of Buren at 'The way we look at the other space' at Contemporary Art Centre Z33.
The collective buren is founded by and exists of Melissa Mabesoone and Oshin Albrecht. In their work they observe subcutaneous sensations and desires of themselves and others. They further observe the way people deal with goods and properties. They explore the promise of happiness and welfare next to exploring unique identities. In their performance – which carries the same name as their collective – buren combines various media. Videos of women carrying out daily activities are shown which reflect the way women are depicted within art history, contemporary art and our society. This results in an installation that refers to domestic architecture that continually changes the space around us. It is a performance in which the audience takes place in the performing space. As such the audience is steered and moved around by the performers' actions. Buren decided to perform in English to underline the universal character of the artistic content.
Text by Astrid van Gilse
Photography by Jolien Dirix & Leen Hoogmartens
Philip Cornett
We had the pleasure of meeting Philip for the first time in Cambridge and have been representing his work at our annual exhibition 'The way we look at the other space' and three-year anniversay issue.
Ongoing project LOTUSLAND by Philip Cornett is a continuation of a project that revolves around queer world building and notions of utopia through the medium of video installation art. LOTUSLAND III aims to expand further on José Esteban Muñoz's book Cruising Utopia, in which queerness is more than just sexuality. Cornett's installation explores the temporal and physical manifestation of stages as spaces for a utopian queer ideality. The spectator will be able to experience queerness through a refusal of physical presence, but replaced with a digital one. The structure/stage will nurture the opportunity for a dialogue with the spectator that enables them to wonder what a queer ideal could mean, how it is rehearsed within society or also how it is marginalized. For the digital aspect of the work, Cornett was deeply inspired by the video work of Paul Kindersley and Ryan Trecartin. Kindersley's creative irony mixed with dark humour, and a strong refusal of normative artistic production techniques as well as Trecartin's frenetic editing style and non-linear narratives have found their way into Cornett's own practice.
Jorden Boulet
D!NG represented Jorden's work at our anual exhibition 'The way we look at the other space' and in our three-year anniversary issue.
Jorden Boulet investigates manners of sampling in social media and he investigates the identity and role of the artist. In social media banality, marginality, kitsch and decadence are strengths to obtain superficial attention and temporal individual recognition. Boulet deliberately uses that same strategy to attract the attention of the spectator. By using an extremely colourful palette he furthermore adds a personal and contradictory aspect to his work: his colour blindness. With this painting, which is a caricature, Boulet offers us a critical reflection of our behaviour. But he also researches ways of how the digital medium and the medium of painting can influence each other. Not only are past and art history echoed in Boulet's work, but also the present and maybe even the future.
Back to D!NG


text:
K2-33b Is the Youngest Exoplanet Ever Discovered
By Kelly Dickerson
Astronomers just found the youngest exoplanet ever detected.
Dubbed K2-33b, the planet is just 5 to 10 million years old, according to NASA. To put that into perspective, the Earth is about 4.5 billion years old. Its age makes K2-33b one of just a handful of newborn exoplanets we've discovered.
"The newborn planet will help us better understand how planets form, which is important for understanding the processes that led to the formation of Earth," Erik Petigura, co-author on the new study describing the planet, said in a statement.
Astronomers estimate the planet is a little larger than Neptune, and it's locked into a tight orbit around its star. It only takes about five days for the planet to complete a lap. That's about 10 times closer than Mercury is to the sun.
How the K2-33 system compares to our solar system. NASA
Astronomers aren't sure how planets end up so close to their stars. Some think it takes millions of years for them to migrate into such a tight orbit. But K2-33b's young age is proof that can't always be the case.
"The question we are answering is: Did those planets take a long time to get into those hot orbits, or could they have been there from a very early stage?" Trevor David, lead author on the study, said in the statement. "We are saying, at least in this one case, that they can indeed be there at a very early stage."


Published minutes reflect all WYSA Board of Directors General Session meetings.
With minor exceptions, typically the WYSA Board of Directors meet on the first Sunday of every month (except July and where otherwise noted) at 6 p.m. at the Fourth of July Building. This meeting is open to the WYSA membership.
Please check the calendar page for information on the upcoming meetings.


When you enter a home, an office, or even a garage where organization reigns, you simply feel better. What's more, when everything has a place, you're more productive and less stressed. Our decorative and adjustable wall-mounted shelving will help you securely store, organize or showcase all the items that keep your life moving, from the bikes, tools, and pet food in your garage—to the collectibles and art work in your living room.
Our standard and bracket shelving, built-in shelving, decorative kits, utility brackets, racks, hangers and organization solutions have represented the industry standard in quality and performance for more than a century. Smart engineering. Solid value. And constructed to stand up to every purpose. You'll also find Knape & Vogt storage know-how in brands like John Sterling™, Closet-Pro™, Closet-Pro HD™ and Hyloft® available at hardware chains and major home centers everywhere.
Get more information about all KV shelving products and brands.


Step back in time and experience "Old Florida". Crystal River is named one of the top small towns in America on the Travel Channel.
18 renovated efficiency suites with modern kitchenettes featuring a full size refrigerator, microwave, range, coffeemaker, daily housekeeping and free WiFi.
Convenient parking is just outside your door. All rooms are ground floor.
Floating boat docks and a fish cleaning station for registered guests.
Feel the beauty of the Nature Coast. Swim with gentle manatees, scalloping, fishing, paddling, biking etc. Close to Three Sister Springs.
Located in the heart of the Historic District on the Riverwalk. You can walk to parks,adventure tours, bars, restaurants and local shops.
Now accepting one night stays!
Special discounted rates apply for weekly stays when available.
All rooms are non-smoking. Sorry, we cannot accommodate pets.
Kings Bay Lodge is a sanctuary on the waterfront, away from the hustle and bustle of everyday life. We look forward to arranging your stay. Please call us at 352-795-2850 for a more personalized service.


Plymouth State: 2B - Cynthia Barata. RBI - Nicole Abreu 2. CS - Bekah Jackson.
Western Connecticut: E - Jessica Caturano; Kristen Sliman. 2B - Nina Wojtkiewicz; Jessica Caturano. RBI - Jessica Caturano 2; Erin Weber. Sac - Erin Weber. SB - Kayla Sliger.
Plymouth State: Batters Faced - Whitney Roberts 38.
Western Connecticut: Batters Faced - Alle Sabith 20; Emily Cintorino 17.


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text:
Not in My Name campaign's protest against CAB
Saturday, 14 December |3 -5 PM| Jantar Mantar, New Delhi
WHAT IS THE CAB?
The Citizenship Amendment Bill proposes to offer Indian citizenship to Hindu, Sikh, Jain, Buddhist and Christian refugees from Afghanistan, Bangladesh and Pakistan. Muslims have been excluded. It is the Government's argument that minorities of these three countries face persecution on the basis of religion.
WHAT DOES THE INDIAN CONSTITUTION SAY?
Those who framed our Constitution made sure that religion and citizenship were delinked. Put together in the immediate aftermath of Partition, which witnessed the barbaric killing of lakhs of people and the uprooting of millions, the Constitution of India chose to strike out in a direction that surprised the world: our constitution guarantees citizenship irrespective of religion or any other identity. India was to be a country that belonged to all who were born here – irrespective of their other identities. It is this sense of belonging that has kept India together.
WHY IS CAB DANGEROUS?
In the next few days Parliament will decide whether we continue to be an India that belongs to all. CAB is a direct constitutional assault on Muslims with the aim of ultimately disenfranchising the community. With the CAB, we are being dragged back by more than seventy years, to follow the path of nations with a narrow minded view of citizenship, with the inevitable consequence of further divisions, partitions, enmity and violence. To link the idea of citizenship with religion will open the floodgates for competing national aspirations based on religion, language, ethnicity and myriad other identities. The Bill will ensure that India is broken into pieces and India will not survive this assault.
WHAT IS THE JUSTIFICATION BEING MADE FOR CAB?
The argument that the Bill protects minorities who face religious persecution in our neighbourhood is bogus. If this was the sole basis for offering citizenship then this should be extended to Ahmadiyas and Shia Muslims from Pakistan, Rohingya Muslims from Myanmar, Uighur Muslims from China and Tamil Hindus and Muslims from Sri Lanka. Why are they being excluded? We know why. The NRC process in Assam has left the BJP red faced because approximately 12 lakh Hindus, most of them poor, have been excluded from the registry. A process that cost thousands of crores and left many hundreds of thousands pauperised is being set aside by a government that until yesterday was claiming the implementation of NRC as an achievement. The CAB is a desperate attempt to ensure that the 12 lakh Hindus identified as foreigners can still get Indian citizenship. The BJP government has time and again declared its intent to extend the NRC process over the entire country. The CAB aims to assure Hindus that their citizenship will not be under question: Muslims receive no such assurance because the RSS/BJP sees them as "foreign" to India.
The Hindutva regime of hatred survives on creating differences, divisions and enmities. At a time when we should be unitedly dealing with an unprecedented economic crisis, growing unemployment, and the roll back of support for public funded education, we will be spending many more thousands of crores in a process that is once again bound to fail. It will create unimaginable hardships for the poor who will be scrambling for documents to ensure that their names appear in the NRC. The intent of the CAB and NRC is to target Muslims, but eventually the suffering will be borne by all Indians, irrespective of religion.
WHY SHOULD WE RESIST THE IMPLEMENTATION OF CAB AND NRC?
The fight against CAB and NRC is the fight for a united India and the Indian constitution. If this country has to survive then both these processes have to be STOPPED. If we don't come out today and say that CAB and NRC are #NotInMyName, there may not be a tomorrow. It has to be now or never!
The campaign to STOP CAB and NRC kick starts with a protest from Jantar Mantar on Saturday 14 December at 3.00 PM. Please be there to defend the Indian Constitution.
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Which of the following is the best description of the event of anaphase I?
Which of the following is the best description of the events of anaphase 1?
What happens in the anaphase 1?
Which of the following best describes the events of anaphase I of meiosis?
Which of the following occurs during anaphase I?
Which is the best description of events that take place during anaphase ll?
Which is the best description of the events of anaphase 2?
What is anaphase2?
What is Interkinesis in meiosis?
What is anaphase in cell cycle?
Which of the following best describes what occurs during metaphase?
Which statement best describes the events taking place during the anaphase stage of mitosis?
Which of the following best describes anaphase II of meiosis quizlet?
Which of the following events occur during anaphase I quizlet?
Which of the following events occurs in prophase 1?
Which of the following does occur during anaphase 1 of meiosis quizlet?
Which of the following is the best description of the events of anaphase I? Homologous chromosomes randomly separate and migrate to opposite poles. Which of the following occurs during prophase?
In anaphase I, the homologues are pulled apart and move apart to opposite ends of the cell. The sister chromatids of each chromosome, however, remain attached to one another and don't come apart. Finally, in telophase I, the chromosomes arrive at opposite poles of the cell.
Which of the following best describes the events of anaphase I of meiosis? The two pairs of sister chromatids migrate to the same pole. Each homologous pair of sister chromatids migrates to opposite poles.
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Homologs separate and migrate toward opposite poles. Sister chromatids separate and migrate toward opposite poles. Nuclei re-form. Chromosomes line up in one plane.
Homologous chromosomes travel to opposite sides of the cell. Sister chromatids are pulled apart at the centromere. Which is the best description of the events that take place during anaphase II? The replicated chromosomes become visible.
Anaphase II is the stage when sister chromatids of every chromosome separate and begin to move towards the opposite ends of the cell. The separation and the movement is due to the shortening of the kinetochore microtubules. Anaphase II precedes telophase II. Meiotic anaphase II is similar to the anaphase in mitosis.
Anaphase II: The chromatids split at the centromere and migrate along the spindle fibers to opposite poles. Telophase II: The cells pinch in the center and divide again. The final outcome is four cells, each with half of the genetic material found in the original. In the case of males, each cell becomes a sperm.
Interkinesis or interphase II is a period of rest that cells of some species enter during meiosis between meiosis I and meiosis II. No DNA replication occurs during interkinesis; however, replication does occur during the interphase I stage of meiosis (See meiosis I).
Anaphase is the fourth phase of mitosis, the process that separates the duplicated genetic material carried in the nucleus of a parent cell into two identical daughter cells. … The separated chromosomes are then pulled by the spindle to opposite poles of the cell.
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Metaphase is a stage in the cell cycle where all the genetic material is condensing into chromosomes. These chromosomes then become visible. During this stage, the nucleus disappears and the chromosomes appear in the cytoplasm of the cell. … As metaphase continues, the cells partition into the two daughter cells.
In anaphase, the sister chromatids separate from each other and are pulled towards opposite ends of the cell. The protein "glue" that holds the sister chromatids together is broken down, allowing them to separate. Each is now its own chromosome. The chromosomes of each pair are pulled towards opposite ends of the cell.
Which of the following best describes anaphase II of meiosis? Sister chromatids are pulled apart.
During anaphase I, the homologous chromosomes (paired bivalents) separate from each other. Homologues reach their respective poles during telophase I, the nuclear membrane re-forms to produce two separate nuclei.
The main events of prophase are: the condensation of chromosomes, the movement of the centrosomes, the formation of the mitotic spindle, and the beginning of nucleoli break down.
Which of the following DOES occur during anaphase I of meiosis? The chromosomes move toward the poles. A potential disadvantage of asexual reproduction is that: it produces genetically uniform populations.
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As an uninsured patient, there may be times that you find yourself having difficulty locating appropriate medical treatment at an affordable cost. As you can imagine, health insurance coverage helps balance the costs making the decision easier on whether and when to receive necessary medical care. Unfortunately, patients without insurance are more likely to delay or forego preventive and routine medical care which may result in poorer health outcomes.
— Utilize state and federal programs for free screening. Each state offers free annual pap smears and mammograms through the National Breast and Cervical Cancer Early Detection Program (NBCCEDP). Some states also offer screening for various other types of cancer as well. If you've been screened prior to a diagnosis, some of these programs offer covered care. To inquire about free screening and diagnostic programs, contact your local Department of Health.
— Apply for county medical assistance programs. These programs are not available in every county; however, when available, the program is a coordinated system for the low-income, uninsured residents of the county to access needed medical care on a sliding scale or no cost. Contact your local Department of Health for more information.
— Use free clinics or income-based sliding scale clinics for preventative, routine and primary care.
— Search for a clinical trial that is specific to your diagnosis. Clinical trials provide an avenue to care for the uninsured. Trials frequently absorb most or all of the treatment cost and can be an affordable way to access care. The National Institute of Health (NIH) and National Cancer Institute (NCI) offer a broad range of clinical trials. In order to be pre-screened for these trials, you must call the NCI and NIH to determine if you meet their criteria.
— If you are a suffering from a severe, chronic disease and are seeking major or long-term treatment, check with the closest university or teaching hospital to find out if they have a charity care program. Some larger hospitals will pre-qualify a patient for free or reduced care to decrease the financial burden of treatment.
— For access to physical therapy, rehabilitative and occupational therapy, treatment for speech, hearing and language related disorders, you can contact local universities or specialty training centers to see if they offer free/reduced care services. Dental schools, for example, often have clinics where services are offered for free or for a fraction of the cost that a private dentist would charge. As with other access to care needs, you can contact clinics and hospitals and inquire about charity care, prompt pay discounts, and payment plans. You may also want to apply for Medicaid should you meet certain eligibility criteria.


Heat olive oil in a saucepan over medium heat. Stir in quinoa and allow to toast for 2 to 3 minutes, then add chicken broth, soy sauce, ginger and garlic. Increase heat and bring to a boil. Cover and reduce heat to low. Simmer until all liquid has been absorbed, 25 to 30 minutes. Fluff quinoa with fork and top with green onions before serving.


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Fauci: Pfizer, Moderna coronavirus vaccine efficacy on level of measles vaccine
The White House held its first coronavirus task force briefing in months Thursday, offering an upbeat assessment amid the latest surge in cases.
Author: TEGNA, Associated Press
Published: 1:58 PM EST November 19, 2020
Updated: 8:52 PM EST November 19, 2020
WASHINGTON — As COVID-19 cases spike all across the country, members of the White House coronavirus task force are addressing the public Thursday afternoon.
Vice President Mike Pence is offering an upbeat assessment of the status of the coronavirus in the U.S., despite a surge in cases, hospitalizations and more than a quarter of a million deaths. And Dr. Anthony Fauci tried to allay fears some have about taking a quickly-produced vaccine.
Pence says President Donald Trump directed that Thursday's briefing be held. Trump did not attend.
Pence says America "has never been more prepared to combat this virus than we are today." The vice president said Trump had called for the briefing so they could describe the ongoing work of the coronavirus task force and partnerships with states and private partnerships. Pence said that vaccines will be able to be shipped out from manufacturers on the day after a vaccine is approved.
Fauci, the nation's top infectious disease official, said the efficacy of vaccines by Pfizer and Moderna which have completed clinical trials is "extraordinary" -- 94.5% to 95%.
"That is almost to the level of what we see with measles, which is 98% effective," said Fauci, the director of the National Institute of Allergy and Infectious Diseases.
But Fauci said the only way to truly know how effective it will be in curbing the spread of coronavirus on a large scale will depend on how many people take the vaccine.
"The process of the speed did not compromise, at all, safety nor did it compromise scientific integrity," Fauci said, trying to allay fears for people reluctant to take the vaccine once it is rolled out. "It was a reflection of the extraordinary scientific advances in these types of which allowed us to do things in months that actually took years before."
The press briefing is the first with task force members in months. Online records from the White House show that members of the coronavirus task force were last involved in a press briefing in mid-July in Baton Rouge, Louisiana.
Trump, himself, has been silent on the recent spread of the virus after falsely saying during the campaign that "we are rounding the turn" and that the virus would be little discussed after the Nov. 3 election.
Coronavirus cases have been increasing again, leading several states to bring back restrictions meant to stop the spread. With the outbreak worsening, the Centers for Disease Control and Prevention has urged Americans against traveling for Thanksgiving.
On Wednesday, the U.S. passed 250,000 COVID-19 deaths, according to a tally by Johns Hopkins University. The total number of U.S. cases approached 11.7 million Thursday. Both numbers are the highest in the world.
Dr. Robert Redfield, director of the CDC, defended the use of masks, social distancing, handwashing and staying away from large groups as ways people can mitigate the spread of the virus now.
Redfield also said K-12 schools can operate with face-to-face learning safey and responsibly, saying that view is based on looking at the data.
"The infections that we've identified in the schools, when they've been evaluated, were not acquired in schools. They were actually acquired in the community and in the household," Redfield said. He added that small, family gatherings where people are comfortable and remove their face masks is where a lot of the spread happens.
"It's not intra-school transmission. The truth is, for kids K-12, one of the safest places they can be, from our perspective, is to remain in school," Redfield said.
More than two weeks after the Nov. 3 election, the Trump administration is refusing to let President-elect Joe Biden receive detailed briefings on national security and pandemic planning that leaders in both parties say are vital to ensure Biden can govern effectively on Day One.
Pence and the task force took no questions from reporters, but some started shouting them at the end of the briefing -- asking not only about not working with Biden's team but also the ongoing efforts by the Trump campaign to reverse the results of the election.
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Get your stinking hands off that book, you damned dirty ape. That's a Rod Serling original. The Twilight Zone and Night Gallery creator's original screenplay for Planet of the Apes was never produced, but it will not stay half-buried like the Statue of Liberty. BOOM! Studios and 20th Century Fox Consumer Products will adapt the script into comic book format as Planet Of The Apes: Visionaries.
The graphic novel Planet Of The Apes: Visionaries is from Dana Gould (The Simpsons) and Chad Lewis (Avengers Origins).
The new original graphic novel will drop in August 2018 as part of the 20th Century Fox Uncovered collection in celebration of the 50th anniversary celebration of Planet of the Apes.
The science fiction classic starring Charlton Heston is an adaptation of the French novel La Planète des singes by French novelist Pierre Boulle, who also wrote the novel The Bridge over the River Kwai. Serling was commission to adapt the book by 20th Century Fox. Serling's first draft was revised before shooting started. The final version was radically different from what wound up on celluloid.
Planet Of The Apes: Visionaries used the original 1966 makeup test and concept art as a jumping off point. The cover art was designed by Paolo Rivera, the Eisner award-winning artist behind Daredevil.
Print copies of Planet Of The Apes: Visionaries will be available for sale in August 2018 at local comic book shops. Digital copies can be purchased from content providers, including comiXology, iBooks, Google Play, and the BOOM! Studios app.


Karen Archey: You've mentioned that DIS was a project borne out of being underemployed because of the stock market crash and recession in 2008. This seems to be prevalent with many cultural producers in our generation—people who graduated college around the time of the recession couldn't get jobs so they freelanced. How do you think the historical moment of the market crash changed the landscape of cultural production given that, like, many of us that have stayed freelance now are, kind of, gaining more authority as cultural producers? As younger millennials are getting full-time jobs straight out of college again, what do you think cultural production looks like in a younger generation?
DIS (Solomon): They're going straight for jobs because they know it's really hard to get one, but there's also the whole idea that you don't need to go to college. The tech industry movement towards entrepreneurship was very influential to a younger generation, I think, and it has been growing a lot since 2010. For us when we graduated, it was just a mythical thing.
KA: Yes, taking this entrepreneurial tech route was not really presented as a real option to us at all.
DIS (Lauren): No, not at all. Also, I think when we graduated it was all about connections and networking, and having multiple jobs was better than one job. I think the idea of self-representation goes into that idea. As far as being an artist, designer, or someone in the creative industry goes, there are so many ways to represent and brand yourself. That's another thing that these millennials are really, really good at––and one that we weren't bred for. We were born right before that. So, we have a distorted perspective of that and that's how DIS came to be.
DIS (Solomon): We had this background going to art school or liberal arts school which didn't lead to any sort of career. You can become an artist but you're not going to jump into your studio right after college, necessarily. Then there are career options in the commercial world in New York that are undesirable. We've always been really interested in the, you know, titles people invent for themselves: Curator of eBay, or Brand Angel.
DIS (Lauren): We never saw this as a setback in a way. It's good to have something other than the art bubble, you know, to balance your life with. I think we made the conscious decision to live in New York rather than live in Philadelphia and be a painter or something. DIS was always based around this idea of working collaboratively and collectively. Working in teams was more important than having any solo thing and we adopted the magazine format because that's the easiest way of putting it all together.
KA: Building on your earlier thoughts about consciously taking other industries as inspiration for your work, how is this reflected in the theme of the Biennale? From what I've read from the preliminary statements that the Biennale seems to be somewhat about the debt economy and burgeoning technology industry and how these are coalescing to create a new lived reality—the experience of our generation, really. Would you say that the content of the Biennale reflects a post-2008 ideology?
DIS (Lauren): I think there's a pushback against this kind of hyper individuality that we've been seeing. This is against the backdrop of the individuated wellness regime, the customizable sneaker, and all of these kinds of things that are all about, me and the self. That's the way that the marketing industry is now—selling you to yourself. There's a kind of reaction to that in the Biennale.
DIS (Solomon): Well, it's also a very visceral clash, in which everything is more niche and individualized and more targeted at you and set against the hyper-complexity of big data. At the same time global concerns are more difficult to perceive as an individual and are more important than ever. Take the climate, for example. The Biennale looks at the polarizing tension between these two things.
DIS (Lauren): As individuals, we're rendered completely obsolete when we look at these big issues, yet everything is telling you how in fashion the self is. I think the theme that runs through the Biennale is that there's no longer a clear path forward, the direction is not clear.
DIS (Marco): We were inspired by Adam Curtis's documentary, Bitter Lake, that brings up Putin's longtime advisor Vladislav Surkov and his mass-confusion tactic called non-linear war, and interested in the tools of persuasion in messaging and communication and how they manifest conflicting ideologies.
DIS (Lauren): Like the KKK is going through a rebranding.
KA: They can do that?
DIS (Marco): The fascinating thing about Surkov is that he used to write essays on conceptual art and later on imported ideas from it into Russian politics.
DIS (Solomon): Yes, he was an art critic.
DIS (Lauren): The other thing is that we're not weighed down and fatigued by all this. It's more, like, we're hyper-energized by the complexities and mysteries of today.
DIS (Solomon): But we also wanted to make the audience feel like we're all implicated in it.
KA: Going back to the idea of the hyper-individualized self, it's interesting that you're looking at how companies project that hyper-individualization onto people. My immediate association with the term "hyper-individuality" was with Twitter, and how I've seen our friends and colleagues evolve from shy social outliers to incredibly strong individual voices. So, I feel like as much as this individualism is precipitated by capitalism, you can also see it as reflected back in actual people that are very intelligent and very smart.
DIS (Lauren): Amazon knows what you want more than you do, you know?
KA: So do you feel like, as DIS, you guys are pointing to that and you're not criticizing it or do you have a cynical relationship to this?
DIS, in unison: No (general agreement).
DIS (Lauren): It's always a mix. It's always a critique and celebration. It's not about choosing good and bad, or evil. It's not a binary approach.
DIS (Solomon): We're also really interested in internal conflict. You know, when you're having a critical conversation but you're still taking an Uber. We wanted to, kind of, keep it there, you know? It's these sort of situations where you recognize that you're a part of the problem.
DIS (Marco): Yes, it's about all these paradoxes that we live in.
KA: Regarding these paradoxes, you've described DIS as a 21st century finale to counter-culture. This makes me think of artistic collaborations like the trend forecasting group K-Hole, which has one foot in advertising and fashion, and another in the art world. I get the feeling the main critique of K-Hole from an art world perspective is that change or critique cannot happen within the institutions of capitalism but, rather, that all change will inevitably be subsumed by it and make it stronger. It seems like the theme of the biennale, to look at how debt and corporate culture are framing our lives, is almost expertise of DIS. Is this inevitably to be subsumed by capitalism? Is this something that DIS embraces? Would you consider this framing positive or cynical?
DIS (Solomon): I think what you describe is a condition, and we're interested in moving beyond that. We've been interested in artistic strategies that seem to do that in very different ways.
DIS (Lauren): There's also not just one position, you know? There are many, many positions.
KA: I remember seeing someone on social media saying that the biggest blind spot of artists of our generation is that we shouldn't have to utilize the tools of capitalism, advertising and branding in order to critique or dismantle them, and that embodying them can be violent.
DIS (Solomon): I think that's not a bad thing, for that to be violent. I think that it's actually the point.
DIS (Lauren): It's not a refuge.
DIS (Solomon): We're working with people who don't just work within art but actually work at Google. We're not just talking about Google but actually trying to bring them to the table. One participant in the Biennale is a Google employee. Her work is about social justice through technology, and I think it's interesting to get her perspective on these issues because she is so deeply embroiled within this tech world that no one can avoid.
KA: I think, I mean, in hindsight, like, when I say this hearing you say it, it's kind of funny that a comment like that is being made on Twitter. We are really all so embroiled in this.


Company's double-digit state footprint now includes Arizona, Maryland, Massachusetts, Minnesota, Nevada, New Mexico, New York, Ohio, Pennsylvania, and Rhode Island.
MINNEAPOLIS – April 11, 2019 – Vireo Health International, Inc. ("Vireo" or the "Company") (CSE: VREO), America's leading science-focused, multi-state cannabis company, today announced the acquisition of two medical cannabis licenses in the State of Nevada. The licenses, which are conditionally approved for adult-use cannabis, will enable Vireo to cultivate, manufacture, and wholesale cannabis-based products to Nevada's licensed dispensaries. This acquisition marks the tenth state in which Vireo is licensed – a milestone achieved by only a select group of multi-state operators (MSO).
On November 8, 2016, voters in Nevada passed the Regulation and Taxation of Marijuana Act (Ballot Question 2) to allow for the sale, possession, and consumption of recreational marijuana in the state for adults 21 and older. Over $250 million dollars in cannabis-based products were sold in 2018 in Nevada, according to the State's Department of Taxation.
This transaction, which was previously disclosed in the Company's CSE listing statement, was financed through a combination of cash and stock and represents Vireo Health's fourth acquisition since it began trading on the Canadian Securities Exchange under the ticker symbol "VREO." Vireo Health now has more than 300 employees in ten states including Arizona, Maryland, Massachusetts, Minnesota, Nevada, New Mexico, New York, Ohio, Pennsylvania, and Rhode Island.
Vireo Health International, Inc.'s mission is to build the cannabis company of the future by bringing the best of medicine, engineering and science to the cannabis industry. Vireo's physician-led team of more than 300 employees provides best-in-class cannabis products and customer experience. Vireo cultivates cannabis in environmentally-friendly greenhouses, manufactures pharmaceutical-grade cannabis extracts, and sells its products at both company-owned and third-party dispensaries. The Company currently is licensed in ten states including Arizona, Maryland, Massachusetts, Minnesota, New Mexico, New York, Ohio, Pennsylvania, and Rhode Island. For more information about the company, please visit www.vireohealth.com.
This news release contains forward-looking information within the meaning of applicable securities laws, based on current expectations. Generally, any statements that are not historical facts may contain forward-looking information, and forward-looking information can be identified by the use of forward-looking terminology such as "plans", "expects" or "does not expect", "is expected", "look forward to", "budget" "scheduled", "estimates", "forecasts", "will continue", "intends", "anticipates" or "does not anticipate", or "believes", or variations of such words and phrases or indicates that certain actions, events or results "may", "could", "would", "might" or "will be" taken, "occur" or "be achieved." Forward looking information may include, without limitation, statements regarding the operations, business, financial condition, expected financial results, performance, prospects, opportunities, priorities, targets, goals, ongoing objectives, milestones, strategies and outlook of Vireo, and includes statements about, among other things, future developments, the future operations, potential market opportunities, strengths and strategy of the Company. Forward-looking information is provided for the purpose of presenting information about management's current expectations and plans relating to the future and readers are cautioned that such statements may not be appropriate for other purposes. These statements should not be read as guarantees of future performance or results. These statements are based upon certain material factors, assumptions and analyses that were applied in drawing a conclusion or making a forecast or projection, including Vireo's experience and perceptions of historical trends, current conditions and expected future developments, as well as other factors that are believed to be reasonable in the circumstances.
Although such statements are based on management's reasonable assumptions at the date such statements are made, there can be no assurance that it will be completed on the terms described above and that such forward-looking information will prove to be accurate, as actual results and future events could differ materially from those anticipated in such forward-looking information. Accordingly, readers should not place undue reliance on the forward-looking information. Vireo assumes no responsibility to update or revise forward-looking information to reflect new events or circumstances unless required by applicable law.