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Primavera Sound est un festival de musique. Créé en 2001, il se tient à Barcelone, dans le Poble espanyol sur la montagne de Montjuïc, puis au Parc del Fòrum (« Parc du Forum ») à partir de 2005. Le festival, dans lequel se produisent de nombreuses stars du rock indépendant, a lieu au mois de juin. Depuis 2007, il comporte une scène dont la programmation est confiée au promoteur All Tomorrow's Parties.

Présentation
Le festival Primavera Sound est créé en 2001 par Alberto Guijarro, Gabi Ruiz et Pablo Soler. Après avoir travaillé pour le festival de Benicàssim, ils regrettent son gigantisme et souhaitent mettre sur pied un évènement aux dimensions plus humaines. À ses débuts, Primavera Sound se tient dans le Poble espanyol sur la montagne de Montjuïc. En , il accueille 70 groupes et  spectateurs. La  attire  visiteurs, une centaine d'artistes se produisent en l'espace de trois jours sur six scènes différentes. En 2005 l'évènement se déroule pour la première fois au Parc del Fòrum (« Parc du Forum »), où s'est tenue la première édition du Forum universel des cultures l'année précédente. Le parc est situé au nord du centre ville, face à la mer.

Programmation

Édition 2005
Art Brut, Maxïmo Park, Arcade Fire, Vitalic, Jesu, Max Tundra, Broken Social Scene, Iggy & The Stooges, New Order, The Human League, Ron Sexsmith, Brigitte Fontaine, American Music Club, Mercury Rev, Kristin Hersh, Micah P. Hinson, Sondre Lerche, Antony and the Johnsons, Josh Rouse, Steve Earle & The Dukes, Sonic Youth, Gang Of Four, The Wedding Present, They Might Be Giants, The Go! Team, The Futureheads, M83, Vic Chesnutt, Tortoise, Echo & the Bunnymen et autres.

Édition 2006
Akron/Family, Alexander Kowalski feat. Khan, Animal Collective, Babyshambles, Big Star, Centro-Matic, Constantines, Dinosaur Jr., DJ Rush, Drive-By Truckers, Ellen Allien, Erol Alkan, ESG, Ferenc, Final Fantasy, Flaming Lips, French Toast, Gang Gang Dance, Joris Voorn, José González, Justice, Killing Joke, La Buena Vida, Lambchop, LD & The New Criticism, Marko Nastic, Mick Harvey, Mogwai, Motörhead, No-Neck Blues Band, P:ANO, Rex The Dog, Richard Hawley, Shellac, Sisa, Sleater-Kinney, South San Gabriel, Stereolab, Stuart Staples, Surfin Bichos, Television Personalities, The Boredoms, The Deadly Snakes, The Drones, The MFA, The New Christs, The Robocop Krauss, Umek, Undertow Orchestra, Vashti Bunyan, Violent Femmes, Why?, Xiu Xiu, Yeah Yeah Yeahs, Yo La Tengo

Édition 2007
Band of Horses, Matt Elliott, , Explosions in the Sky, Mus, Alexander Tucker, Jay Reatard, Fennesz & Mike Patton, Nathan Fake, The Apples In Stereo, Ginferno, Oakley Hall, Apse, Girl Talk, Oliver Huntemann, Architecture In Helsinki, Girls Against Boys, Patti Smith, Grizzly Bear, Pelican, Barry Adamson, Grupo De Expertos Solynieve, Play Paul, Battles, Hell, The Rakes, Beirut, Herman Düne, Reinhard Voigt, Billy Bragg, Isis, Robyn Hitchcock And The Venues, Black Mountain, Ivan Smagghe, The Sadies, Blonde Redhead, Jonathan Richman, Shannon Wright, Bola, Justice, Slint, Bonde Do Role, Kid Koala, Smashing Pumpkins, Brightblack Morning Light, Kimya Dawson, Sonic Youth, Built to Spill, Klaxons, Spank Rock, Buzzcocks, Lisabö, Spiritualized acoustic mainlines, Centro-Matic, The Long Blondes, Standstill, Comets On Fire, Los Planetas, Technasia, David Carretta, Low, Ted Leo & The Pharmacists, David Thomas Broughton, Luke Slater, The Good The Bad & The Queen, Death Vessel, Luomo, Toktok, Diplo, Umek, Dirty Three, Maxïmo Park, Veracruz, DJ Yoda, Melvins, The White Stripes, Dominik Eulberg, Mijk Van Dijk, Wilco,The Durutti Column, Modest Mouse, X-Wife, Erol Alkan, Múm

Édition 2008
808 State, A Place to Bury Strangers, Alan Braxe, Animal Collective, Apparat Band, Dj Assault, Atlas Sound, Autolux, Awesome Color, Bill Callahan, Bishop Allen, Bob Mould Band, Bon Iver, Boris, British Sea Power, Buffalo Tom, Caribou, Cat Power, Clipse, The Cribs, De La Soul, Deerhunter, Digital Mystikz, Dinosaur Jr., Dirty Projectors, Dr. Octagon aka Kool Keith + Kutmasta Kurt, Edan & MC Dagha, El Guincho, Ellen Allien, Enon, Eric's Trip, Fanfarlo, The Felice Brothers, Fuck Buttons, Dj Funk, Gentle Music Men, The Go! Team, Grande-Marlaska, Health, Holly Golightly & The Brokeoffs, Holy Fuck, It's Not Not, Kavinsky, Kinski, Les Savy Fav, Lightspeed Champion, Madee, Man Man, The Mary Onettes, Mary Weiss, The Marzipan Man, Menomena, Messer Chups, Midnight Juggernauts, Mission Of Burma, Mixmaster Mike, Model 500, MV & EE with The Golden Road, Nick Lowe, No Age, The Notwist, Okkervil River, Om, Para One, Pissed Jeans, Polvo, Port O'Brien, Portishead, Prinzhorn Dance School, Public Enemy performing It Takes a Nation of Millions to Hold Us Back, Robert Hood, Rufus Wainwright, The Rumble Strips, Scout Niblett, Sebadoh, Shipping News, Silver Jews, Simian Mobile Disco, Six Organs of Admittance, Stephen Malkmus & The Jicks, The Strange Death Of Liberal England, Subterranean Kids, Supermayer, Surkin, The Swell Season, Tachenko, Tarántula, Thomas Brinkmann, Throbbing Gristle, Tiefschwarz, Tindersticks, Träd Gräs och Stenar, Vampire Weekend, Vórtice, Voxtrot, White Williams, Why?, Young Marble Giants, Yuri Landman (masterclass), McEnroe, Lidia Damunt, Tachenko + Abraham Boba, Russian Red + Havalina, The Right Ons, Holy Fuck, Aaron Thomas, Kinski, Lightspeed Champion, Stephen Malkmus, La Bien Querida, Manos De Topo, Cultural Solynieve

Édition 2009
A Certain Ratio, A-Track, Alela Diane, Andrew Bird, Angelo Spencer, Aphex Twin, Ariel Pink, Art Brut, Bat For Lashes, Black Lips, Bloc Party, Bowerbirds, Carsick Cars, Chad VanGaalen, Crystal Antlers, Crystal Stilts, Cuzo, Damien Jurado, Dan Deacon Ensemble, Deerhunter, Dj Mehdi, Ebony Bones, El-P, Extra Life, Extraperlo, Fucked Up, Gang Gang Dance, Ghostface Killah, Girl Talk, Girls, Jarvis Cocker, Jason Lytle, Jeremy Jay, Joe Crepúsculo, Joe Henry, John Maus, Karl Blau, Kimya Dawson, Kitty, Daisy and Lewis, Lemonade, Lightning Bolt, Magik Markers, Magnolia Electric Co., Mahjongg, Marnie Stern, Michael Mayer, Michael Nyman, My Bloody Valentine, Neil Young, Oneida, Phoenix, Plants & Animals, Ponytail, Rosvita, Shearwater, Shellac, Simian Mobile Disco, Skatebård, Sleepy Sun, Sonic Youth, Spectrum, Spiritualized, Squarepusher, Sunn O))), The Bad Plus, The Bug, The Drones, The Extraordinaires, The Jayhawks, The Jesus Lizard, The Lions Constellation, The Mae Shi, The New Year, The Pains of Being Pure at Heart, The Secret Society, The Soft Pack, The Tallest Man on Earth, The Vaselines, Throwing Muses, Uffie, Veracruz, Vivian Girls, Wavves, Women, Wooden Ships, Yo La Tengo, Zombie Zombie.

Édition 2010
Pixies, Pavement, Pet Shop Boys, CocoRosie, The xx, The Antlers, The Drums, Tortoise, Wilco, The Slits, The Bloody Beetroots Death Crew 77, The Fall, 3Mellizas, A Sunny Day in Glasgow, Almighty Defenders, Apse, Atlas Sound, Beach House, Beak, Ben Frost, Best Coast, Bigott, Bis, Biscuit, Bla, Black Lips, Black Math Horseman, Blackbird, Boy 8-Bit, Broken Social Scene, Built to Spill, Camaron, La Leyenda del Tiempo, Chrome Hoof, Circulatory System, Clare & the Reasons, Cohete, Cold Cave, Condo Fucks, Crocodiles, Delorean, Diplo, Diploide, Dr. Dog, Dum Dum Girls, Emilio José, Endless Boogie, Fake Blood, First Aid Kit, Florence and the Machine, Fuck Buttons, Ganglians, Gary Numan, Grizzly Bear, Half Foot Outside, Harlem, HEALTH, Here We Go Magic, Hope Sandoval & the Warm Inventions, Internet 2, Japandroids, Jeffrey Lewis and the Junkyard, Joker & MC Nomad, Junip, Lee Scratch Perry, Les Savy Fav, Lidia Damunt, Liquid Liquid, Los Campesinos! , Low performing The Great Destroyer, Major Lazer, Marc Almond, Matt & Kim, McEnroe, Mission of Burma, Moderat, Monotonix, Mujeres, Nana Grizol, No Age, Nueva Vulcano, ODDSAC, Orbital, Owen Pallett, Panda Bear, Peggy Sue, Polvo, Pony Bravo, Real Estate, Roddy Frame, Rother/Shelley/Mullan, Scout Niblett, Shellac, Sian Alice Group, Sic Alps, Sleigh Bells, Smith Westerns, Spoon, Standstill, Sunny Day Real Estate, Superchunk, Surfer Blood, The Big Head Troubled Boy, The Big Pink, The Books, The Charlatans performing Some Friendly, The Clean, The Field, The King Khan & BBQ Show, The New Pornographers, The Nu Niles, The Psychic Paramount, The Wave Pictures, Thee Oh Sees, Thelematicos, Titus Andronicus, Ui, Van Dyke Parks, Wild Beasts, Wild Honey, Wire, Yeasayer

Édition 2011
Pulp, PJ Harvey, Public Image Limited, Grinderman, Mercury Rev performing Deserter's Songs, The Flaming Lips, Fleet Foxes, DJ Shadow, Belle & Sebastian, Suicide, Aias, Animal Collective, Ariel Pink's Haunted Graffiti, Autolux, Avi Buffalo, Battles, Blank Dogs, BMX Bandits, Caribou, Cloud Nothings, Comet Gain, Cults, Dan Melchior und Das Menace, Das Racist, Deakin, Dean Wareham plays Galaxie 500, Echo & the Bunnymen performing Crocodiles and Heaven up Here, Eladio y Los Seres Queridos, Emeralds, Explosions in the Sky, Factory Floor, Field Music, Games, Gang Gang Dance, Girl Talk, Half Japanese, Interpol, Islet, John Cale and Band + Orchestra performing Paris 1919, Jon Spencer Blues Explosion, Julian Lynch, Las Robertas, Linchens, Low, Male Bonding, Me and the Bees, Mogwai, Money Mark, My Teenage Stride, Nisennenmondai, of Montreal, Oneohtrix Point Never, Papas Fritas, Phosphorescent, Pissed Jeans, Salem, Seefeel, Shellac, Sonny & the Sunsets, Sufjan Stevens, Swans, Tennis, The Album Leaf, The Fiery Furnaces, The Fresh and Onlys, The National, The Tallest Man on Earth, The Walkmen, Triángulo de Amor Bizarro, Twin Shadow, Warpaint, Wolf People, Yuck

Édition 2012
En 2012, le festival se dédouble. À côté de l'édition Barcelonaise du  au , se tient une autre édition du 7 au  à Porto au Portugal :

Barcelone
The Cure, Franz Ferdinand, The xx, Rufus Wainwright, Justice live, Yann Tiersen, Beirut, Wilco, Yo La Tengo, A$AP Rocky, A.A. Bondy, Afrocubism, AraabMUZIK, Archers Of Loaf, Atlas Sound, Baxter Dury, Beach House, Benga (Live), Big Star's Third, Black Lips, Bombino, Buffy Sainte-Marie, Chavez, Codeine, Danny Brown, Death Cab For Cutie, Death Grips, Death In Vegas, Demdike Stare, Dirty Three, Dominant Legs, Erol Alkan, Father John Misty, GirlsGodflesh, Grimes, Harvey Milk, Hype Williams, Iceage, Japandroids, Jeff Mangum (Neutral Milk Hotel), Josh T. Pearson, Kings of Convenience, Lee Ranaldo, Lisabö, Liturgy, Main, Matías Aguayo, Mayhem, Mazzy Star, Melvins, Michael Gira, Milk Music, Mudhoney, Napalm Death, Neon Indian, Nick Garrie plays The Nightmare Of J.B. Stanislas, Numbers showcase: Jackmaster, Oneman, Deadboy & Spencer, Redinho, Obits, OFF!, Orthodox, Other lives, Real Estate, Rebolledo, Refused, Richard Hawley, Rustie, Sandro Perri, SBTRKT, Scuba, Shellac, Siskiyou, Sleep, Sleepy Sun, Spiritualized, Saint Etienne, The Afghan Whigs, The Chameleons, The Drums, The Field, The Olivia Tremor Control, The Rapture, The War On Drugs, The Wedding Present plays Seamonsters, Thee Oh Sees, Trash Talk, Veronica Falls, Washed Out, Wavves, White Denim, White Denim, Wolves in the Throne Room

Porto
Björk (annulé), The xx, Wilco, Yo La Tengo, Beach House, Codeine, Death Cab For Cutie, Dirty Three, Explosions in the Sky, Jeff Mangum (de Neutral Milk Hotel), Neon Indian, Other Lives, Shellac, Siskiyou, Spiritualized, The Drums, The Olivia Tremor Control, The Walkmen, Veronica Falls, Washed Out

Édition 2013
En 2013, l'édition Barcelonaise du  au , celle de Porto au Portugal du  au  :

Barcelone
Adam Green and Binki Shapiro, Al and Felix, Aliment, Allah-Las, Animal Collective, Antònia Font, Apparat plays Krieg un Frieden, Band of Horses, Barry Hogan (DJ), Betunizer, Blue Willa, Blur, Bo Ningen, Bob Mould, Bored Spies, Camera Obscura, Cayucas, Cheatahs, , Christopher Owens, Come, , Crystal Castles, Dan Deacon, Daniel Johnston, Daphni, Daughn Gibson, Daughter, Dead Can Dance, Dead Skeletons, Death Grips, Deerhunter, Degreaser, Delorean, Dexys, DIIV, Dinosaur Jr., Disclosure, Dj Coco, Do Make Say Think, , , , Extraperlo, Fidlar, Fiona Apple, Foscor, Four Tet, Foxygen, , Fuck Buttons, , Ghostigital, Glass Candy, , Grizzly Bear, Guadalupe Plata, , Guards, Hal Flavin, , Honeybird and The Birdies, Hot Chip, Hot Snakes, , Jackmaster presents Tweak-A-Holic, James Blake, Jessie Ware, , Jozef van Wissem et Jim Jarmusch, Killer Mike, , Kurt Vile and The Violators, L'Hereu Escampa, La Bien Querida, , Liars, Local Natives, Los Planetas, Mac DeMarco, Manel, Matthew E. White, Meat Puppets, Melody's Echo Chamber, Menomena, Merchandise, Metz, , Mulatu Astatke, My Bloody Valentine, Neko Case, Neurosis, Nick Cave and the Bad Seeds, Nick Waterhouse, Nils Frahm, Nurse With Wound, Om, Omar Souleyman, Orchestre Poly-Rythmo de Cotonou, Pantha du Prince and The Bell Laboratory, Paus, Parquet Courts, , Phoenix, Pony Bravo, , Rodríguez, Roll the Dice, Savages, Sean Nicholas Savage, Shellac, Simian Mobile Disco, Solange Knowles, Spectrum, , Swans, Tame Impala, Tarántula, The 2 Bears, , The Bots, The Breeders performing Last Splash, The Free Fall Band, The Haxan Cloak, The Jesus and Mary Chain, The Knife, The Magician, , The Postal Service, The Sea and Cake, The Suicide of Western Culture, The Vaccines, Thee Oh Sees, Tinariwen, Titus Andronicus, Toundra, Vactor, Veronica Falls, White Fence, Wild Nothing, , Wu-Tang Clan

Porto
Blur

Edition 2017
En 2017, le festival se déroule du  au .

Barcelone
Arcade Fire, Mac Demarco, Local Natives, Glass Animals, Grandaddy, The XX, Bon Iver, Van Morrison, Frank Ocean, Run The Jewels, Skepta, Death Grips, Dixon, The Zombies, Slayer, Gojira...

Edition 2018
En 2018, le festival se déroule du  au .

Barcelone
The National, Migos, Arca, Charlotte Gainsbourg, Tyler, Nils Frahm, Björk, Lorde, Kelela, Johann Johannson, Madlib, Mount Kimbie...

Edition 2019
En 2019, le festival se déroule du  au .

Barcelone
Miley Cyrus, FUTURE, ROSALIA, Interpol, Janelle Monàe, Isa-Bel, Xols, Solange, Stereolab, Lizzo, Nathy Peluso, Mumdance, Ian Isiah, Izabel, RRUCCULLA...

Notes et références

Voir aussi

Lien externe

Musique à Barcelone
Festival de musique en Espagne
Festival de rock


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Material histories: Objects, people, histories, and the spaces in between
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How writing groups work
June 20, 2014 Bronwyn Labrum	Leave a comment
The reaction to my last post on writing retreats was so positive — thank you everyone for your likes, retweets and reads—I thought I would continue the vibe and focus on writing groups.
I have been part of a writing group for three and half years now and it is a key part of my strategy for keeping the writing going between retreats. Some of the same elements of a retreat are carried over: good company, good food, and work in progress. What's different is that it is disciplinary specific: we four are all historians. This provides a different kind of intensity and also a taken-for-granted understanding of what I am trying to do, which I really appreciate.
The group was initiated by another member who had a semester's sabbatical and had to complete her book manuscript in that time. We decided that it was a great idea for all of us and had an initial meeting. What's interesting for me about the constitution of the group is that it consists of a former colleague, my PhD supervisor and my MA supervisor, who are all now good friends. So we all knew each other and each other's work well.
We decided that we would meet roughly every six weeks on a Monday evening for dinner at a wonderful local restaurant, and that we would eat, drink and talk about what we are currently working on and our progress to date. At the beginning of the year we usually share an annual writing plan and then we do a stock take at the December meeting of what we have achieved (or not).
A typical meeting consists of brief updates from us all and then we focus on one member's work in particular. We might circulate abstracts and bits of drafts for reading beforehand, and the woman whose work is in focus might provide a fuller piece. We are meeting this Monday and I have part of a chapter to respond to in advance, from a larger book manuscript. Often we also talk about workplace issues or support we might want for thinking about our career. We try to keep moaning to a minimum! We also have a practice of bringing the artefacts, our publications, to the table, to be passed around and celebrated in person. Our collective productivity is really quite amazing.
For most of last year I felt as if I was always turning up with little to show for it. Yet it was always good to talk, to get reassurance and to get searching, productive, questions about what I was trying to do. Having to front up regularly was very good discipline. I also find that I learn as much from the other members and their wrestling with writing, as I do from what I am attempting to do. It is patently clear that I try to do too much and have a long, ambitious plan in February, when really I should just concentrate on the main thing on my list. So I have taken myself in hand. This year is much better in that respect.
In the first year we helped our colleague finish her book and she won two prizes for it. There has been one from another member since (gone to press due to be published in August) and the other two of us have nearly finished our ones. There have also been articles, chapters, online encyclopedia entries, and several conference papers each. In between meetings we text, email and phone encouragement (and empathy), and email new articles we have published to each other. It is just wonderful to know that my writing group members are always there for me.
Happily, I will be able to report on Monday that in the last six weeks or so I have delivered a keynote and an invited paper (in sequential weeks!). I have received feedback on my book manuscript from a good writer friend and the publisher, and completed the revision of the introduction, while at my writing retreat. I have also sorted out what I have to do to next on the book revisions and in what order. I have done lots of thinking and planning about my current and next projects. I have also commissioned the last contributor to an edited collection on material histories that I am preparing and received another abstract and paper in outline. Oh, and of course, I have started this blog!
editingkeeping the writing goingpublishingwork in focuswork in progresswritingwriting group
The bliss of writing retreats
June 16, 2014 Bronwyn Labrum	4 Comments
I am writing this from a desk looking over Lake Taupo, in the middle of the North Island of New Zealand. A well-stoked fire is roaring and six women are writing with me as we share space in a large hall. All is companionable silence.
This is the tenth year I have been coming to either a winter or spring retreat of 'Women Writing Away' at the Tauhara Retreat Centre. It has made all the difference to my productivity and also to my hopes and fears around writing. I would not have published as much scholarly work as I have, nor learned how to think, plan and organise around it, if I had not attended these retreats. They form precious bright spots in the year when I can leave everything else behind and focus. Yet, as other women have commented, at the same time it feels like a holiday because we have good company, good food, and as much sleep as we want to have!
The main building at Tauhara, image from website
The WWA retreats are organised by the incomparable Barbara Grant from Auckland University, who has written about them here. They follow a well-developed template of a mixture of writing time, work-in-progress sessions, group paragraph editing, optional workshops, and a collectively written murder mystery that often has a lot about university politics and bureaucracy thrown in for good measure!
The retreat centre at Tauhara is around the lake in Acacia Bay on semi-rural land. We supply our own breakfasts and coffee, and daily lunch and dinner, made from local produce, is provided for us. This takes the time and angst of meal preparation away and leaves ample time for writing.
The dining room, image from website
The aim of the week is to produce an article ready for publication or for a conference, or a chapter towards a book or PhD. We arrive for Sunday night for introductions, orientation, planning and decompression, followed by a shared dinner to which we all contribute. After the first, sometimes slow, day of writing on Monday night we do the mandatory group editing of a paragraph. This exercise is brilliant. We read a paragraph aloud sentence by sentence and respond to feedback on the appropriateness/accuracy of words and send, the rhythm and length. I always come away with a much punchier and convincing paragraph and it is amazing how reading aloud helps!
On Tuesday, Wednesday and Thursday nights we share work in progress. The idea is to bring an issue, a puzzle or a piece of draft writing to the group for reponses. Last time I got collective thinking about my schedule for finishing my book and we set up an email group that I agreed to check in with every two weeks. This time I am going to run an 'elevator pitch' for my book past the group so that my introduction has a consistent focus. At the moment it takes several goes at saying what the book is about!
My desk as I write this
After lunch most days there are optional workshops on getting writing going, first sentence exercises, writing book proposals, applying for grants or whatever someone nominates.
On Friday late afternoon we reconvene as a group to set some goals to keep the writing going when we return home. These are emailed to us afterwards so we can keep to our promises! Then on the last night we read aloud the Case of Missing Conclusion, our jointly written murder mystery.
I usually bring one main project and other subsidiary ones. When I first started attending, there was no WiFi, and we could really keep to the retreat nature of the week. Now I do a lot of (re)searching on line so I choose to pay for WiFi access for the week. I have managed in one week to draft out a whole article, but usually my aims are more modest. If find that I do as much research planning and strategising, as actual writing, as I have uninterrupted time to think. I find the week a useful stock-taking time.
I always make time to have an on-site massage. Self-care is a big part of the week.
Accommodation units, image from website
This year I plan to go in Spring as well, as my current large administrative role makes it more difficult for me to carve out writing time. This week it is revisions to my book manuscript, which has had more than one trip to this oasis on the edge of Lake Taupo. I'm optimistically hoping that it will be the last time I bring it!
editingpublishingresearchself careTauharaTaupoWomen Writing Awaywork in progressworkshopwriting retreat
The moving home front
I was delighted to be a keynote speaker at the recent Costume and Textile Assocation of New Zealand's annual conference. In a previous post, I reviewed the conference and asked whether it was time to rethink 'The Home Front'. In this post, I want to more directly write about the issues I raised in my keynote: 'The Moving Home Front: Thinking With and Through Domestic Textiles. I used the opportunity to attempt to use domestic textiles as both a resource and a theoretical tool, by reconsidering and extending the notion and theme of the conference – the Home Front. I developed the notion of the Home Front as moving in, through and beyond domestic spaces and used the case of domestic textiles at home, at school, and beyond.
When we think about this topic, we immediately thing of all those socks.
Her Excellency's Knitting Book, 1915 Warm socks Ticket, Te Papa
But there are other equally iconic objects, such as this Home Guard armband attributed to Donald Archibald McCurdy, who served in the Home Guard with C Company, Makara Battalion, in New Zealand, during the Second World War.
National Army Museum Te Mata Toa, Acc no: 2006.86
Then again, we might think of more prosaic home-knitted vests, jumpers and cardigans, of those who served in essential industries:
Photographer John Dobree Pascoe, Ref: 1/4-000619-F. Alexander Turnbull Library, Wellington, New Zealand.http://natlib.govt.nz/records/23056456
But where does the Home Front begin and end? Is it self-contained or rather something that shifts geography, function and meaning according to time and context? After all, men carried all sorts of bits and pieces, including textiles, with them to the battle front, in effect recreating their own personal part of the home front. They did this, as authors Kate Hunter and Kirsty Ross suggest in a wonderful new book Holding on to Home ,[1] in order to collapse time and space. Soldiers carried all sorts of objects beside their military garb and equipment, as the cover of their book suggests, to 'hold on to home':
That made me think that The Home Front is really more like a contact zone, to use Mary Louise Pratt's phrase which was enlarged upon usefully by James Clifford.[2] It is something geographical, and also cultural and conceptual. The term 'contact zone' was coined in the 1990s as an improvement on the familiar concept of the 'colonial frontier'. Rather than the predominantly linear European expansionist perspective implied in 'colonial frontier', the contact zone refers to a more holistic approach towards studying the spatial, temporal, geographic, economic, political and bodily interactions that exists between people of culturally diverse backgrounds during historic initial encounters with one another.[3] Clifford employs this theory in a museum context to suggest that the relations between the west and indigenous people are not one way and one sided but interactive. I spoke about transferring this way of thinking to interactions between people and objects, in this case domestic textiles at home and beyond the home.
Apart from the notion of contact zones, I was also interested in discussing the agency of these objects. After all, it is not just people who make the decisions or create opportunities. Using a material history lens also means thinking about the way that objects and textiles have agency, not just the people who make, wear or use them.
One way of defining agency in this sense means 'providing affordances and constraints for thoughts and actions'.[4] Through its qualities (tactile, visual, olfactory), and its properties (which may be shifting and changeable), an object affords certain responses and constrains others from being possible. Responses might go all the way from 'thoughts and actions' to include perceptions and possibly provoked memories. So that wearing certain garments creates the possibilities for particular interactions, effects and opportunities and constraints for certain actions. An obvious example here is the school uniform, or indeed any uniform, that creates and provokes certain actions and interactions, such as Khaki.
Young Ladies' Contingent' uniform, made by E. Osborn in Wellington in 1900, Bequest of the Edwin Family, 1966, PC001299, Museum of New Zealand Te Papa Tongarewa. It was worn by one of the Edwin sisters, both of whom were part of the 'Wellington Amazons' Ladies' Khaki Corps. Girls' and Ladies' Khaki Corps (or Contingents) were organised throughout the country during 1900 to raise funds for New Zealand's South African War effort.
Rationing and the shortages and accompanying practices of war time extended well into peacetime. Petrol was rationed right until 1950. The war cast a long shadow. The contact zones and agency of certain objects continued well into the next decades. Domestic textiles were, and are, often kept for a long time, reused or recycled, and, moreover, old and new sat side by side. I wanted to emphasise how home-made and domestic textiles, such as covers, tablecloths or doilies, while being made at home, might be carried out with a plate of food to an afternoon tea or function. A knitted or sewn garment is worn out into the world: at school, at work, at play. The elements that constitute a garment or textile – pattern, fabric, cotton, buttons, etc – were brought from the external world into the domestic arena and out again.
There are a range of domestic textiles at home and at school:
blankets; household linen; carpet; upholstery furnishings; and a peg apron.
school uniforms, particularly in an era when jerseys and cardigans at least, were home-made.
'manual training' or learning to sew at school
Blankets often went into the new cars bought in this period and to the park and beach long with picnics. Household linen, especially of the 'best' kind (which carried a particular kind go agency, affordances and constraints, might accompany food and other goodies to functions, be seen in the formal dining room or lounge, rather than just in the kitchen. And tea towels seem to accompany just about everything at this time! Carpets and domestic upholstery went from shop to home and might end up in churches, social halls, schools and other places beside the home. Peg aprons and all the paraphernalia that went with being at home 'outdoors' occupied quite liminal spaces. They were seen over the back fence or in the front garden. They were domestic, but not contained. Most girls were taught to sew by their mothers or women relations well into the late 20th century. Schools also instructed girls as part of 'manual training'. As with knitting, at times boys were also taught to sew. Aprons, rompers, skirts and later more adventurous and difficult garments were produced in their thousands and worn outside home or school.
But what about beyond home and school? What other zones are domestic textiles a part of and where else do they have agency?
Te Ara Encylopedia of New Zealand, photograph by Marguerite Hill
This visual representation of afternoon tea, reminds us that recreation and hobbies are where domestic textiles are to be found in abundance. And even on rations, women saved up coupons to make special dresses and other textiles during war-time. Sewing and knitting were the most common forms of domestic craft for women in the 1950s and 60s. Cardigans, jerseys, hats, scarves, baby clothes, and all manner of things have been produced in their thousands. Novice knitters, who would usually start with a scarf, spent many hours undoing knitting with baggy tension or incorrect stitching. Being able to sew and knit was viewed as a thrifty, sensible was of clothing families.
Smaller children were often dressed in garments which were made from the good parts of bigger clothes or in the same fabric as their mother's dresses. Young woman sewed dresses in the latest fashions from Simplicity, Butterick and Vogue paper patterns that were increasingly available. Mothers, aunts and grandmothers made doll clothes from the many knitting and sewing patterns available from dainty 1950s florals right through to 1960s retro brights. Not all girls and women had the aptitude and many tears were shed as garments turned out badly or were unwearable. Patterns, measuring tapes, cotton reels, pins, elastic, tailor's chalk, and sewing machines were all part of daily life, which were carried and used beyond the kitchen table.
Thinking with and through domestic textiles in the ways I have outlined is useful because it helps us move beyond a static interpretation. As well as helping us think further about materials and meanings, it helps us reinterpret historical periods, as well as historical activities and events. A moving Home Front brings into focus how domestic textiles move in and out of home, school and beyond.
[1] Kate Hunter and Kirstie Ross, Holding on to Home: New Zealand Stories and Objects of the First World War (Te Papa Press, 2014)
[2] Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation (Routledge, 2008); James Clifford, Routes: Travel and Translation in the Twentieth Century (Cambridge, 1997)
[3] Usefully glossed in Sabine Du Bourbannnais' webpage at threegoldbees.com, The Importance of Contact Zones in Studying History
[4] Christopher Tilley, 'Materiality in Materials', Archeological Dialogues, 14:1, 2007, pp. 16-20
afternoon teacontact zonesdomestic textileshousehold linenknittingmanual trainingobject agencythe home frontuniformsworld war oneworld war two
The importance of a name
June 8, 2014 Bronwyn Labrum	Leave a comment
Just as I was casually googling 'material histories' I saw it. How did this happen? I asked myself, dumbfounded. I had found another blog entitled Material Histories. To cut a long, agonising, story short, I have decided to rename my one, out of respect and courtesy.
Then the second hard part of this saga began. With so many good blogs on this subject (as my blog roll attests) what new, memorable, apt name could I conjure out of my consciousness? I finally decided on MATTER. It refers, of course, to the content of materiality, stuff, and material histories. But it also, I think, is a nice play on what matters, and the matter in hand. So I have changed the masthead as you can see.
MATTER was also the name of a short-lived but active, research cluster I directed in my former school in the College of Creative Arts at Massey University from 2009-2012. Now that the School of Visual and Material Culture has been restructured out of existence, and I shifted to the School of Design the cluster went into hibernation. The cluster was very productive. As well as running seminar series and housing postgraduate students it also produced:
Inaugural symposium and publication on 'Matter in Place: Aotearoa/South Pacific Forum for Social Matters'
Material Histories: Antipodean Perspectives, a two-day conference co-hosted with the Museum of New Zealand Te Papa Tongarewa
A delegate blogged on the Material Histories conference and I am in the process of editing some of the papers for publication.
I continue to be fascinated by, and to tussle in my research with, objects, people, histories and the spaces in between. They are an endless variety of forms of matter, they are the matter in hand and they are what matters to be in my research life.
blog namebloggingconferenceMassey University
Time to rethink 'The Home Front'?
What does 'The Home Front' really mean? I have been pondering this question after being at a lively gathering discussing this theme. Over Queen's Birthday weekend I attended the annual Costume and Textile Association of New Zealand symposium at the Auckland Museum. It had been several years since I had been to a meeting and it was just great to catch up with old friends and meet new ones. What I learned all over again, was that this was where historians of dress and textiles really gathered. There were museum professionals, artists, designers, sewers, students and academics all beavering away at their respective topics – some directly related to the conference theme and some more tangential. In such a small community of researchers, many of whom aren't linked up to the academy, these meetings are essential and precious.
Banner theme from the CTANZ website
The best panel was the first one of the first day, and the war didn't really get a look in. Jane Malthus and Moira White from the Otago Museum have been investigating a truly spectacular acquisition of textiles made by Frances Barker-Eames in Dunedin. During the 1950s and 60s she was often bed-ridden and her physiotherapist daughter looked after her while she made patchwork pieces and garments, all things that could be done in bed and by hand. Frances recycled garment fabric scraps and old sample book pieces into curtains, tablecloths, bedspreads, table cloths, toilet bags, skirts and dressing gowns. She also made hooked rugs and soft toys. Her home was literally furnished with patchwork and this made it a very therapeutic 'home front'.
Another patchwork dressing gown by Marjorie Hunter, PA2012.086, Puke Ariki
Dinah Vincent (my PhD student!) shared her research in the pages of the New Zealand Women's Weekly from 1945-65. She examined the extent to which readers were encouraged to practice thrift and economy in relation to textiles and clothing. She entertained us with the pattern service, handy hints pages, letters and questions pages. Throughout the 1950s readers were expected to make and remodel all kinds of garments, and to waterproof and dye fearlessly. By 1965 it was acknowledged that readers might be novices and basic techniques were offered.
The third panellist was Lizzie Wratislave. She took me back in time to Semco Art Needlework. They produced instruction books on smocking, embroidery transfers and ready-traced table covers, pillow shams and children's garments. Popular throughout Australasia in the first half of the twentieth century, theirs was a form of kit-set craft with an extensive range of products. They also ran hugely popular annual competitions. The Hawkes Bay Museum, where she works, has acquired an unfinished child's dress complete with transfer. The firm also contributed to the war effort.
I can't mention everyone but other speakers provided much food for thought about, amongst other things:
how samplers might speak to a daughter's attempt to connect vicariously with the memory of her father, killed during the First World War (Vivienne Caughley)
fundraising, knitting and sewing, and singing songs for those troops sent to the South African (Boer) War and the representation and memory of these in stunning contemporary textile artworks (Desi Liversage)
how a piupiu (woven flax skirt) ended up being worn by a captain of the Royal Navy as his ship went into action (Patricia Te Arapo Wallace)
contemporary crafting in a poorer community, including a wonderful tapestry about Whangarei made by the community on a proper loom! (Catherine Davies-Colley)
Auckland fabric artists and World of Wearable Arts winner Susan Holmes who also used what was at hand in terms of materials and skills as creative fuel (Cerys Davidson)
Dress made from 1941 parachute material, Susan Holmes, late1970s
On the second morning, Rosie Taylor-Davies gave a keynote with the intriguing title of 'Looking after Tommy or What to do with 9,650 nightingales?' She returned us to the First World War and spoke about the remarkable martialling work of Queen Mary's Needlework Guild in England, making comforts, paper patterns for woven garments, including bed slippers, and instructions for knitted essentials. She emphasised modification, innovation, and initiative with wonderful images.
There was some repetition between the papers as socks, knitting, mending and making do, uniforms, and the key role of civilian women, appeared in a number of papers. Yet, taken together, the papers said much that went beyond the conventional notion of 'The Home Front'. As we 'march' towards the centenary of the First World War and the many and varied commemorations and publication that are about to be unleashed, I am wondering why there is not more about the Home Front and its various incarnations, not least in terms of dress and textiles. There is a lot more to be said, seen, read, and pondered.
My keynote, which I will discuss in a separate post, was designed to shake things up along these lines. I used a range of domestic textiles to extend the notion of 'The Home Front' both conceptually, spatially and chronologically. I have nearly finished a book on living in the 1950s and 1960s and it seems to me that with rationing continuing and other shortages and privations, the Second World War cast a long shadow. Homes —and I would suggest 'Home Fronts'— meant then, and now, many different things to many different people.
I'm interested in your thoughts on 'The Home Front'. What interpretive tools would you bring to bear on the concept and usage?
Costume and Textile Association of New Zealandcraftembroideryflax skirt (piu piu)needleworkpatchworkrecyclingthriftwarwearable artwomen's magazines
More about the photo for this site
June 1, 2014 Bronwyn Labrum	2 Comments
This image combines two of my obsessions: fashion and museums. It is a from a photo shoot for New Zealand Vogue (yes there was one!) which took place in the Maori Hall of the Dominion Museum in Wellington, New Zealand in the October 1958 and was taken by the local newspaper photography. It is a rather strange and unsettling juxtaposition but quite common at the time. Here is the reference:
Three unidentified women modelling outfits including hats in the Dominion Museum, Wellington. Negatives of the Evening Post newspaper. Ref: EP/1958/3417F. Alexander Turnbull Library, Wellington, New Zealand. http://natlib.govt.nz/records/23258782.
Fashion shoots were also undertaken at the Auckland Museum as this photo shows:
Eph-C-RETAIL-Farmers-1956-01-front. Alexander Turnbull Library, Wellington, New Zealand. http://natlib.govt.nz/records/23143540
Auckland MuseumFarmers cataloguefashionNew Zealand Vogue
Hullo world!
In a few days I will post my first blog about the annual conference of the Costume and Textile Association of New Zealand, held at the Auckland Museum. I was a keynote speaker but there was so much more…. thanks to the organisers for a superb event. More to follow, including a review of the rest of the programme and an overview of my keynote.
Australian, Canadian, and New Zealand Studies Network (ACNZSN)
Landfall Review Online
New Zealand books in review
women, wardrobes and leadership
researching how wardrobe choices shape and are shaped by school leadership practices
New Zealand Women Historians' Forum
A place to connect, share and advance the work of women historians of Aotearoa New Zealand
The Vapour Trail
Ideas, reviews and research from a nineteenth-century cultural historian
nzwomenshistorycaucusnetwork
The New Zealand Historical Association
Promoting historical study, teaching and research.
Museums & International Touring Exhibitions
A research project on two interconnected, transnational touring exhibitions
The Museum in the Global Contemporary
Debating the Museum of Now
MyEatingPlace
eating local in unfamiliar places
The Maoriana Jones Chronicles
The adventures of a Maori Curator in the National Museum of New Zealand Te Papa Tongarewa
Dunedin Wears The Pants
What are you wearing and what are you doing?
chimaeraspeak
Jeni Little - sing | play | create | educate | music | textiles
Eithne Nightingale
Chirps from around the world
Museums Australia Costume Special Interest Group
Costume Australia
NZHistoryJock
The Culture of Enthusiasm
making space for enthusiastic ways of being and doing in the world
modernlettuce
The Institute of Modern Letters
Benjamin Wilkie
historywomble
'Making good use of the things that we find / Things that the everyday folk leave behind': ramblings of an early modern historian
Dr Jennifer McLaren
Dominique Marshall
Professor of History, Carleton University
Museum History, Theory and Practice
Thinking about museums in the past, present and future
object archives
reading and writing eccentric histories
CHPHMblog
Health History @ Huddersfield University
Photographic Histories
A blog by Dr Beatriz Pichel
Erik Champion
Interactive History & Digital Culture
Eureka Henrich
the blog of a UK-based Australian historian
Manicule
☛ Thoughts on the Eighteenth Century, Daniel Defoe, and Digital Humanities
consumerlawnz
jliedl.ca
Life, the universe and academia
Charlotte Clements
Red Door Ponderings
Travel | Food | Culture
Dr. Jessica M. Parr
Historian of the Early Modern British Atlantic
Those who cannot remember the past are condemned to repeat it
Selina Todd
Historian and writer
gothicdesires
An #eighteenth-century scholar's interdisciplinary research and musings on the #Gothic, #gender, #sexuality, the body, and authority.
University of Otago 1869-2019
writing a history
Helen Lehndorf
Victorian Domestic Dangers
An exploration of the hazardous objects and features found in the Victorian home
Joe Moran's blog
Signposts – a blog about Te Ara the Encyclopedia of New Zealand
Ciara Meehan
Historian, Author, Lecturer
the many-headed monster
the history of 'the unruly sort of clowns' and other early modern peculiarities
Untold lives blog
Family & Colonialism Research Network
connecting researchers interested in the history of the family in colonial contexts
Centre for Research on Colonial Culture
C19 Mad Men
Mental Health, Masculinities and Emotion in Victorian Literature and Culture, by Helen Goodman

redpajama_set_name: RedPajamaCommonCrawl


Michael Jackson's Kids Come Together for Family Dinner But Where's Grandma?
Michael Jackson's Kids Do Family Dinner, Where's Grandma?
Michael Jackson's sons, Prince and Blanket, got together with a few cousins for dinner in Bev Hills ... where Grandma Katherine had to be the hot topic.
Tito's son TJ Jackson, who's been legal guardian of MJ's kid, was at Honor Bar Saturday evening with the group -- and we know he's smack in the middle of Katherine's battle with Trent Jackson.
TMZ broke the story ... Trent's lawyers want TJ to sit down with Katherine and mediate her elder abuse claims against Trent. That could be difficult for TJ right now, because Katherine's been kept in hiding -- away from Michael's kids -- since she flew back to L.A. last week.
Paris was not at the Saturday dinner because she attended the GLAAD Awards, but this was our first glimpse at Prince's awesome MJ tattoo in public.


As you all know, I am a man who likes to go out and sample the many culinary offerings that London has available. Well I recently had the pleasure of trying out the relatively new Bocca di Lupo down in Soho. Did it have what it takes to impress my notoriously particular taste buds? Read on to find out.
I had a good feeling about this place from the moment I walked in there, not least of which because of the buzz I had been hearing about this place in the days preceding this birthday dinner (not mine, don't worry you didn't miss it). Warm atmosphere and friendly service are usually a sign that you have just walked into a quality restaurant, and in this case it did not disappoint.
Good bread is also a very positive sign, and the bread basket they brought us shows exactly how bread should be, achieving the perfect consistency; not too dry or brittle.
This is not on of your pretentious peddlers of haute cuisine, despite some of the ill advisedly poetic ramblings you may find on the website. What you get here is good authentic local dishes from various places around Italy, and they've done it well, as someone who heads down to Italy every summer I should know. This is one of those charming restaurants which almost lets you feel as if you are actually in Italy.
The menu is well chosen, and difficult to pick a single dish from. Featuring simple classics such as the buffalo mozzarella with rocket and oil, the fritto misto, and numerous delectable sounding pasta dishes such as spaghettini with lobster, mussels and ginger, and saffron risotto. However the real star of the starters was the sheep's milk ricotta gnudi with lamb ragu, basically a very thinly wrapped ravioli filled with sheep's milk ricotta, and absolutely scrumptious.
For your main course one can choose from various regional delights such as the grilled porcini, the sword fish and numerous roasts. However I chose to share an order of the tagliata of roast beef with parmesan. The portions were very generous (read: huge) and soon enough I found myself sitting in front of a lovely pile of sliced roast beef with shaved parmesan on top. Here is where I must make my first real criticism, personally for me the beef was undercooked in places, even after I asked to have it cooked a little further, though in fairness I know from experience that this is often how it is prepared locally. It was still delicious, tender and juicy and the added dryness of the parmesan was delightful.
The dessert menu is also attractive, featuring gelato, brioche and burnt almond granita. However no review of an Italian restaurant would be complete without mentioning the wine list. It is excellent, as one would expect, featuring many of the finer Italian reds that you don't often see sold in this country outside of import dealers. In the end we went for the Sangiovese di Romagna 2005 riserva, a hearty and fruity red, sangiovese is always a good choice.
Ultimately this is an excellent little restaurant. It doesn't achieve the levels of genius of a place like Hakkassan or Gallopapa, but then it doesn't even try, it just tries to be good, simple, authentic Italian cuisine, and for this, sir, I applaud you. It also helps that the prices are very reasonable here. For three people, a two course meal and decent bottle of wine came to under 100 pounds.


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text:
Claës-Axel Wersäll (* 26. Juni 1888  in Irsta, Västerås kommun; † 12. Februar 1951) war ein schwedischer Turner.

Leben
Claës-Axel Wersäll wurde 1888 als Sohn des Politikers Claës Wersäll und dessen Frau Charlotta (geborene Lewenhaupt) geboren. Er wuchs mit acht Brüdern und einer Schwester auf. Eine weitere Schwester starb kurz nach ihrer Geburt.

1912 nahm er an den Olympischen Sommerspielen 1912 in Stockholm teil. Mit der schwedischen Mannschaft gewann er im Geräteturnen die Goldmedaille im Wettkampf "Schwedisches System".  Sein Bruder Gustaf trat ebenfalls bei Olympischen Sommerspielen 1912 an. Des Weiteren beteiligten sich vier weitere seiner Brüder an dem Ablauf der Olympischen Sommerspiele, ein Bruder als Funktionär, sowie drei Brüder als Helfer.

Ein weiterer Bruder, Ture Wersäll, hatte bereits 1906 an den Olympischen Zwischenspielen in Athen teilgenommen und mit der schwedischen Mannschaft die Bronzemedaille im Tauziehen erreicht.

Weblinks

 Eintrag auf der Internetseite des Schwedischen Olympischen Komitees (schwedisch)

Einzelnachweise

Olympiateilnehmer (Schweden)
Teilnehmer der Olympischen Sommerspiele 1912
Turner (Schweden)
Schwede
Geboren 1888
Gestorben 1951
Mann

redpajama_set_name: RedPajamaWikipedia


The Captain just announced that we aren't leaving Barcelona tonight as the revised schedule to allow for the repairs called for. They "say" it isn't the repairs that is keeping us ashore, rather it is "swells in the Atlantic". Our port stop in Madeira is canceled (not a huge concern to us since we were just on this Portuguese island in March) though I do worry about having enough gas!


Adonis is one of those odd genuses of the family ranunculacaea that murkily sits amongst paeonia, anemone, and ranunculus. The only 2 we grow are A. amurensis, a species from Eastern Siberia, and A. vernalis, which has a wide, though limited distribution throughout Europe. Our original plants are from Czech origin seed (Moravia), and produced ~ 50 plants. These have been raised in an ordinary garden bed - rich, loamy soils (think wheat land) are favoured and soon the clumps of black, rather thick roots with relatively few smaller branches, developed. In early April, when the ground has thawed, large flower buds will boldly poke through the winter debris that still remains, and in the space of a week or 2, the large yellow cups of flowers will emerge on short stems - much welcome treat for the bees that are out foraging in the cold bright air. As the days lengthen and warm, the leaves and stems emerge growing eventually to ~ 20 cm in height and carrying the flowers with them upward - another kind of resurrection plant.
Planted thickly, as our group is, one can imagine them growing on a Czech hillside with pasturing cattle or sheep nearby, much like the photos of wild paeonia that grow in Chinese grasslands. One might ask, are they grazed? That I can't answer for sure, but suspect that since the plant is closely related to paeonia and contains alkaloids, probably not. The seeds which develop through June are held in the open in a tight cluster. Large like anemone seeds, they ripen and fall near the base of the plants. I have collected these and sown them, but find that the best germination is to leave them where they fall and dig the plants later as they mature. The seedlings resent transplanting - DO NOT DISTURB ! Plants go dormant in September and at this time can be dug and left bare-root much like peonies. Replanted anytime in the fall, they quickly re-establish and will bloom next spring. Propagating in pots is less successful and they resent disturbance when in active growth in the spring. An easy plant to grow, not so easy to acquire, as it resents extreme domestication.


µGUI is a free and open source graphic library for embedded systems. It is platform-independent and can be easily ported to almost any microcontroller system. As long as the display is capable of showing graphics, µGUI is not restricted to a certain display technology. Therefore, display technologies such as LCD, TFT, E-Paper, LED or OLED are supported. The whole module consists of two files: ugui.c and ugui.h.
a C-function which is able to control pixels of the target display.
integer types for the target platform have to be adjusted in ugui.h.
I've spent a lot of time writing µGUI. If you like this project, please support it!
I'm quite sure that there is something wrong with your mapping.
Have you selected monochrome mode or grayscale mode?
Maybe page 18/19 of the datasheet helps you?
Which display do you use?
Hi! Were you able to get 3 pixels per byte?
Hi! I have the same problem with the pixels. Could you show me a example about the use of the "Read Modify Write" function to write 3 pixels per byte?. I did not understand this command on the datasheet. When this command is enabled, is it necessary to do the algorithm on the diagram at page 37 of the datasheet every time when i want write data to the display? Or is it only necessary one time on the initialization process?
I find this library somewhat intriging. Do you have any working Arduino examples, and if it is not asking too much – something for a SSD1322 based display?
Is your youtube video https://www.youtube.com/watch?v=0aLbv2_fo08 using this library?
µGUI does not officially support Arduino so far.
I'll keep you updated regarding Arduino-related examples.
Can you provide code for the dsPic33 with the SSD1322 driver? That is the exact setup I am trying to run for a project of mine. I am using the Blue Display. Thank you so much!!!!
As we're already talking Microchip, what would be necessary to get a Pic32MZ2048ECH144 and HX8238-A based display to use µGUI?
Another significant improvement to the framework would be adding events from windows (you seem to do this according to a TODO comment in the code). If one want to extend window look he/she needs something like OnRender event to draw when window is updated.
I really like the design of your code. I was able to get it up and running on a PSOC5 with no problems on a 128×64 newhaven display in so little time I was surprised!
Your display has 128×64 pixels, right?
Just pretend it has 64×128, use UG_Init(…64,128…) and you get a rotation by 90 degree. Of course you have to swap x and y INSIDE your pset function.
Do you have a sample project you could share for PSoC5?
does this work with I2C interface? Can you post example code for PSOC?
I was wondering if you could please provide some example code interfacing with the Raspberry Pi and 1.5" OLED – SSD1351.
I'm also interested in getting a 1.5" OLED SSD1351 running on a Raspberry Pi 2 Model B. In fact, I want to run 3 displays from that Pi (without exhausting the GPIO either–it'll be running 3 sensors too).
I have some resources where I work, but any other help you can give would be much appreciated!
Interesting project – please share some more details on the forum!
I would use SPI for all OLEDs. µGUI is ideally suited to handle all of them in parallel!
At the forum you will find an example for the SSD1351!
However, i´m not a great GUI designer. I just have a RTOS project and i would like to disseminate the use of such a great tool for embedded software development. Even, i developed a demo based in your code using RTOS services. Doing that i realized a excessive CPU usage for the touch screen reading (like 10%). I just raised the I2C clock to 250khz, droping the CPU usage for less than 1%.
If you are interested, i can send you my modified project in order to you evaluate if its possible to implement such event handler mechanism.
Nice work with the library.
I see on the youtube channel that you used it with 7 inch tft (both uGUI and STemWin). Is there a chance to share the source code ?
I've got a problem with the refresh rate. Some times a flicker line appear on the middle of the screen. The flicker will occurs rarely if I lower the PCLK to 16MHz, but it still appears.
First, I want to thank you for this library. I've used 0.2 version successfully with an OLED with SSD1322 controller on PIC32. Are the window and button functions work on OLED? I haven't had success with the example code.
yes, µGUI v0.3 works perfectly fine on OLEDs!
Could you share some pictures and your source code on the forum?
before everything i want to thank you so much for the outstanding library!
I'm using an "ER-TFT070-4" from BuyDisplay 7" with OTA7001A Driver, no init code, just a DPI interface to be used with LTDC interface.
Starting with your example of uGFX 3.0 on Stm32f429-Discovery (embd LCD removed) i have changed only screen dimensions to the ltdc.h in order to make it all work and so on it's a really good result.
The problem is that i don't understand what THB, THS, THF, TVS, TVB, TVF means and what i have to use in order to optimize a little bit my code.. can you suggest me about that, or maybe a "programmers note" where it's all explained?
Thank you so much, and sorry but i'm nearly new to program things with this complexity.
PS. if you want i can send you my entire project, i'm aslo using Coocox IDE!!
Your Library is my best tutorial. Thank you.
I have some question about images.
1.If i want to use an images for a button.
2.Can i put an images on the button??
I'm glad that you like µGUI.
µGUI v0.4 will be able to do that!
I am having trouble setting the STM32F429 (discovery) to use a larger display.
Can you please send me your initialization code of your 800×480 display?
there will be soon a related topic on the forum.
Please also have a look at the example projects!
sure, which display do you use?
Please upload the spec on the forum.
Can I use ugui with STM32F4-Discovery + ssd1963 fsmc module? I have ssd1963 library. I can run the screen but do not know how I could combine seamlessly with ugui. Can you help with this?
please have a look at my example projects.
Can you provide code for the MSP430 with the SSD1322 driver? I can't understand how can i use your library. Pleas help me!
at the forum you will find an example for the SSD1322!
Would it be posisble to get the drivers you used for the demo of the SSD1322 chipset?
Hi there i am after a oled display for a pure evoke flow radio and have been told it is a pmo 19301 and is 2.7" diagonaly my question is do you know where i can buy one of these units.
please upload pictures of this OLED on the forum, so that we can have a look at it.
Do you have any plan to make uGui support unicode?
Nice job on the uGUI! I'm currently experimenting with it, I had an stm32f429 discovery board so could start right away with your example project in CoIDE.
I drew a window because I need some buttons. However I also need some rectangles so I drew 2 of them with the intention to draw them on top of my main window. This clearly does not work… What I try to do is have 2 measured values shown in those rectangles (voltage and current), all on top of the window.
So I need a window, with buttons to push but also 2 areas on the window to show some measured values. Can you give me a hint how to do it or do you have somewhere an example?
you could use a textbox and UG_TextboxSetText() function.
I hope this helps. Please post further questions on the forum.
How can I get the example code source on the youtube and the dirve library of the LCDs.
please refer to my examples on this website or have a look at the forum.
Would it be possible to get a copy of your low level driver for the ST75256 LCD Controller Chip, please?
I think I have an example.
Please have a look at the forum in a few days!
I'm sorry but I couldn't find them in the forum? Where should I be looking?
Could you possibly put all of your example PSET function up on GIT with the source code.
I am specifically looking for the ST75256 driver (there is a youtube video of this) and the uc1618T (I haven't seen any support for this chipset).
Thank you for your efforts, they are appreciated.
I was wondering if I can use this library to get SSD1322 work with xmegaA3AU ? Can you help with some sample code, that would be great! Looking forward to your reply.
I have added a example pset function for the SSD1322 driver on my forum!
Please use a correct initialization sequence for your display!
We are using Tiny6410 stamp module. It is restricted to using only friendlyarm display. We need to interface resistive touchscreen display of 5 inch & 7 inch of our choice. Please give steps how we can use your library.
The STMPE811 is ideally suited for resistive touchscreens. Please refer to the forum for further details.
Hi Achim, can you tell me what connector you use in your Board lcd 0.96 ssd1306.
I use a 0.5mm connector from OMRON. Please refer to the forum for further details.
µGUI has already been used on hundreds of displays (some examples: https://www.youtube.com/playlist?list=PLn9k3eL_sqV1Y1FwUu0qFC6u7m6rQe9_V).
Yes, it can be easily used for GLCD!
Nice work! So impressive!I am new to OLED and now working a project using a NHD-3.12-25664UCB2 OLED with PIC, can u give me an pic code example with the SSD1322 driver? Thanks a lot in advance!
Hi, have a look at the forum. There is an example Pset function for the SSD1322.
i really wonder about your gui. it is very simple to use. i want to draw a image on my lcd. i also done by using your library with given example image. now i want to convert image to header file. can you suggest any software to do that.
I have a small display with no touchscreen. However I want to use windows with GUI buttons and use up/down buttons (physical buttons) to select GUI buttons on the screen (and use an enter button to simulate pressing a GUI button). Is it possible to do this with ugui, to select GUI buttons and generate GUI button clicks programmatically without toutchscreen?
Is there a sample project for STM32f7xx-Discovery also available?
Is the display an touch screen of the STM32f7-Discovery supported?
Yes, uGUI supports any touch and any display.
well, this is my first time using STM. i'm using stm32f407 by the way. i really want to use ugui with my stm and ssd1289. do you have any project example that i can use as refrence? it would be really helpful. thanks!
I need to use your UGUI with ATMEGA AVR & 7" ER-TFT070-4 TFT LCD in 16it parallel mode.
Kindly share any example so that i can use your Ugui with my compiler. I am using CodevisionAVR.
Does uGUI support Anti-Aliasing? How to use Anti-Aliasing?
Super nice library. It's very well coded and easy to use. I've began developing on it a couple of days ago and will probably go with your library for the rest of my project.
1) Prepare peripherals for data transfer.
2) Setup X start, Y start, X end and Y end according to the bitmap size and position.
3) Use a pointer to the bitmap array and increment the pointer after each color sent.
This allows you to write the whole bitmap in one shot with all the right colors (you don't have to write it pixel by pixel).
With this in mind, I believe it would be fairly easy to add a supported hardware driver to be used by the drapBMP() function.
thank you very much for the feedback! Good idea! There will be some more new acceleration functions available in 0.4…Please post your project at the forum!
produces two prallel lines, while they should intersect.
Is there something I'm doing wrong, or it just doesn't work this way?
These conditions swaps the endpoints of a line.
yes, it's a bug! It will be removed in the next version!
Any chance this could be ported to the Teensy (3.2) with the ILI9341?
I could probably give it a go to see if I can get it working, but unsure how to do this exaclty as it's a bit out reach for me at the moment.
I am working on TI-AM4379 processor with Fema GM12864D-27-O3CY OLED which has SSD1325.
Can I use uGUI ?
hello. thanks for your good library . I want to use Farsi font . can you help me ?
Hi there, if this is a TrueType font, a font converter is available on GitHub.
I dont see them send data for LCD from microchip.
Will you please share source code for OTA7001A (7" lcd ER-TFT070-4 from buydisplay) Driver for Stm32f429-Discovery and uGFX 3.0. ?
Hello Achim Döbler, thank you very much for your library, how can i used your libary with st75256 controler ? do i need to write first the driver ? can you help me please about that ?
Thank you very much i'm waiting your help.
I need ssd1963 library for int070atft-TS for dsPIC33FJ256GP710-I/PF controller. Can some one provide me?
What is its license? Can I use it in commercial products, please?
Oh, I see. I will plan to test it in my prototype. Thank you for your great project!
I am trying working with uGui + arduino to set Graphic on my display. Do you have any example with arduino?
Just want to thank you for your effort and great framework that is easy to use but also very powerful. I am using it extensivly on STM32F429I-DISC1 board.
thanks for the feedback! Kindly share some pictures of your projects!
Hi, thanks for the library, but my buttons have no surrounding box. Can you tell me if there is a method I should call? Or is it something else?
1-High Right corner : shows the battery level.
3- In the middle : the main Menu, a dynamic Menu for configuration and showing the app features.
Is there a way to draw a slash line (/) using the UG_DrawLine function?
Is there any particular reason to keep this code?
We are using uGui Library with BuyDisplays ER-TFT050-3 800×480 with OTA7001A LCD controller and STM32F4 platform .
We are facing some flickering issues with current code. We think that the problem is with LTDC peripheral and SD-RAM configuration.
Please see if there is any reference code or information available for this combination. Please share.
I have converted your uGUI Demo for the STM32F4 Discovery board using the 407 with LCD and Touch using the OpenSTM32 Workbench. If you are interested I can also post the source so that your uGUI tool can be easily used on this platform. Your Graphics library is clean, and easy to understand. Thank you for all your hard work.
nice! Yes, please upload the project so that other guys in the forum can also use it.
Great library! Unbelievably quick time to get it up and running on my Cypress PSoC4. Any chance you're planning on or are working on variable width fonts?
uGUI actually supports variable width fonts via the "widths" array though there are no variable width fonts included with uGUI out the chute.
I will use ugui in my project, "stm32f103 + freertos + ugui + lcd12864"
Can you please provide source code?
thanks a lot for the positive feedback.
Just come back in a few days please.
Hello. Just found your library the other day. Love it due to the ease of porting and simplicity. Will likely never return to my old graphics library.
I just can't figure out how to make two windows show, and get one inactive and one active. Could you please respond here or email me?
thanks for your positive feedback! Can anybody please help him?
I am completely new to this embedded system.
I am trying to build a system that display the surrounding temperature in C or F , the user can select using a touch sensitive display.
Components i am using is MAX31855 thermocople for temperature sensing. I have a Raspberry Pi 2 Model B at home i'm using.
I have a C program to sense temperature from this chip. which i got from Github.
I want a 3.5 to 5 inch touch display with hdmi connectivity so that i can use GPIO pins later in future for other purpose.
I am getting confused as to how to proceed with this small project of mine.
Which display to select? How to proceed with GUI programming using UGUI? I saw the reference guide but i'm totally new to this i'm getting extermely confused.
could you please put up a demo video or a new page on the your website for beginners like me.
yes, there will be a tutorial. Just come back here in a few weeks.
I am using this GLCD(240×160) using st7586S driver. I have interfaced it via 4 wire SPI interface.
I am able to init the GLCD and able to run command All Pixel ON, All Pixel OFF. but when i am writing data to DDRAM i am not abl to get anything on the display could you please help.
could you please help in pointing out where i am doing wrong?
sorry, but I don't have the time to review your code right now. The only thing you need to do is to be able to toggle a single bit inside the display memory. After that the PSET-function will do the job.
It's a nice work and thanks for sharing.
I'd like to ask that is it possible to use uGUI with one of the Atmega ARM based MPUs that is AT91SAM9x35. It has own LCD controller and library but i did not figure out how to connect uGUI with this controller.
I'll be glad if you have an idea or suggestion on this issue.
it's basically just one function that you need: PSET(). Please have a look at the reference manual.
I use pic32mz with ili9341 and I would take advantage dma to accelerate.
I am not able to exploit the DMA module, how can I do?
I can have an example already tested?
the GUI looks very nice and its look easy to implement it!
Is the Projekt still allive ?
I am searching for a library for my home project and my question is: It is useful to start with when the project seems to go on nothing more ?
the project is still alive!
Can this library be used if there is not enough RAM to hold the framebuffer? I'm looking at using an LCD that has a 8080 interface. Thanks!
well, this depends on your display. The GRAM must be located either in the display or in the MCU. You can use µGUI in both cases.
First, I would like to thank you for making this library available and, most importantly, the pdf for each function.
Libraries for lcds, we have many online, more documented are few.
However I noticed in the compilation that there were significant changes between the documentation and the v0.30 library in UGUI-master, to the point that the compilation after some adjustments in the example "uGui_STM32F429_Discovery" was running fine, and compilation with substitution by the files UGUI-master, have made so many mistakes that you want to be able to track.
Whatever is possible, you could update your example with the files in UGUI-master, but keep the previous one so that you can understand the changes.
I need to do some updates regarding GitHub.
Will get back to you regarding this!
Hi, I'm trying to setup an ST75256 based LCD display to a Raspberry Pi as 240×160 X-Windows active display. Is this possible and can you help me please?
sorry, but I don't have much time right now. Can anybody please help here?
Very nice project. I've got an OLED display with SSD1322 controller and I was wondering if I can use your uGUI library on my STM32F407 connected to the LCD via the 8080 parallel interface through the FSMC peripheral.
Have there been any updates to this project lately?


Heartbeat is free software. It's both free as in liberty (libre) and free as in "free beer" (gratis).
And it's a community development, with lots and lots of opportunties to contribute to the project - more than anyone knows.
If you appreciate Heartbeat, then contributing back to the project is one of the best ways to show that appreciation.
You can contribute to heartbeat - and the community will be poorer for it if you don't.
Become our project PublicityCzar - and make heartbeat more visible. Help us grow our customers and contributors.
Procedure for updating the web site.
Find things that are R1 only (start with the ha.cf page) and mark them as R1 only, and vice versa.
Steal from others - like Firefox.
Test portions you have hardware to test with (e.g., STONITH modules).
learn a subsystem - CCM, Stonithd, etc., ask questions, and post improvements to the -dev list.


"The Forbidden Secret: Charting Your Rescue from the New World Order" by Jonathan Gray.
A murderous mob has seized control of our planet. They have chilling plans for you and your family. The elite have sworn to suppress the forbidden secret, discredit it, and keep it from the public. They have deceitfully manipulated every aspect of our society—mentally conditioning us to doubt, ignore, or reject the survival strategy offered in The Forbidden Secret. But a powerful figure is set to smash their agenda. Meanwhile, a rescue plan is in place, and simple steps will guarantee your survival.
This is about your most precious possession...YOUR LIFE!
Can you enjoy a fuller, happier life?
Will you survive the coming crisis?
The Forbidden Secret answers these questions and more. Some people are already reaping the benefits of its message and will survive. Don't be caught unaware! Join the ones who know about the secret rescue plan.


text:
Author anyAagesen, L. K.Aagesen, Larry KAagesen, L. K. et. al.Abeykoon, M. Abeykoon, Milinda al., et. Allison, John Alvarado, Judith Amatucci, G.G. Amatucci, G. G.Amatucci, Glenn GAraullo-Peters, Vicente Arroyo y de Dompablo, ME Aryanfar, A. Asta, M Asta, M. Aydinol, MK Aydinol, M.K. Aydinol, Mehmet KBadway, F. Bai, J. Bai, Jianming Banerjee, S. Barnard, L. Bartlett, B.M. Bartlett, Bart MBashian, N. H.Battaile, C.C. Battaile, CC Bechtel, J. S.Bechtel, J.S. Belak, A.A. Beyerlein, Irene J.Bhattacharya, J. Bickel, J.E. Bocarsly, J. D.Bozin, E.S. Bozin, Emil SBritto, Sylvia Britto, S. Bruce, L. Cabana, J. Cabana, Jordi Callahan, Patrick G.Carlier, D Casas-Cabanas, Montse Ceder, G. Ceder, Gerbrand Ceder, G Chabinyc, M.L. Chabinyc, Michael LChan, M.K.Y. Chan, MKY Chang, D. Chang, Donghee Chapman, K. W.Chapman, K.W. Chen, Liang Chen, L. Chen, M.H. Chernova, Natalya Chernova, N. Chi, H. Choudhury, S Choudhury, S. Chupas, P.J. Cooley, J. A.Cosandey, F. Dalton, A.S. de Dompablo, ME Arroyo-de Dompablo, M.E. Arroyo-Decolvenaere, Elizabeth Decolvenaere, E. Delmas, Claude Deng, Z. Devaraj, Arun Devaraj, A. DeWitt, Stephen Dodge, P.C. Dodge, Philip CDolin, P. Du, Xianfeng Du, X. Duan, Y. Duan, Yingwen Dunn, B. S.Duzik, A. Eggeler, Y. M.Emly, A. Enrique, R.A. Enrique, R. A.Etacheri, V. Evans, H.A. Evans, Hayden AFabini, D.H. Faenza, Nicholas V.Faenza, N. V.Falaras, Polycarpos Falaras, R. Falk, Michael LFalk, M.L. Fang, Chengcheng Feng, L. Foiles, S.M. Foiles, SM Garikipati, K Garikipati, K. Garikipati, Krishna Gianola, D. S.Goiri, J.G. Goiri, Jon GarbrielGoiri, J. G.Goiri, Jon GabrielGordon, Michael Gordon, M.J. Gordon, Michael JGraetz, J. Graetz, Jason Graham, G.W. Graham, George Graham, George WGrey, Clare P.Grey, C.P. Grey, Clare PGrey, C. P.Griffin, J.M. Griffin, John MGunda, NS HarshaGunda, N. S. HarshaGunda, N.S.H. Gunda, N. S. H.Hafner, J Hafner, J. Halajko, A. Halat, D. M.Han, BC Han, B.C. Hansen, C. J.Hao, Xiaoguang Hao, X. Hardwick, L.J. Hardwick, Laurence JHeinze, Stefan G.Hinuma, Y. Hinuma, Yoyo Howard, E. S.Huang, B. Huang, Baoling Huo, Hua Huo, H. Hwang, B.J. Hwang, Bing-Joe Hy, Sunny Hy, S. Janssen, Y. Janssen, Yuri Jiang, T. Johnston, K.E. Johnston, Karen EJokisaari, J.R. Jokisaari, Jacob RKaboudvand, F. Kanatzidis, Mercouri GKanatzidis, M.G. Katz, Michael BKatz, M.B. Kaufman, J. L.Kaufman, Jonas L.Kaviany, Massoud Kaviany, M. Kearley, G.J. Kearley, GJ Kim, S.J. Kim, Sung JooKim, C. Kim, Sung JooKim, S Kim, Chunjoong Kim, Jongsik Kim, S. Kim, H. Kioupakis, Emmanouil Kioupakis, E. Kitchaev, Daniil A.Kitchaev, D. A.Ko, J. S.Ko, Jonathan Ko, J. Kolli, Sanjeev KrishnaKolli, S. Kolli, S. K.Kontos, Athanassios GKontos, A.G. Kostecki, Robert Kostecki, R. Kresse, G Kresse, G. Krishna, Garikipati Kuo, Yenting Kuo, Y. Labram, John GLabram, J.G. Laurita, Geneva Laurita, G. Leben-Higgins, Z. W.Lebens-Higgins, Z. W.Lee, T. L.Lee, S.R. Lee, G. Lehner, A.J. Lehner, Anna JLeskes, Michal Leskes, M. Levi, Carlos G.Levin, E. E.Levin, E. Li, Q. Li, Y. Z.Li, Baihai Li, B. Li, Qiang Ling, C. Ling, C Liu, J. Liu, Y. Liu, Hao Liu, Haodong Liu, Yijin Liu, Haodong Liu, Hao Liu, H. Lv, D. Marian, J. Marian, Jaime Marianetti, C Marianetti, CA Marquis, E. A.Marquis, Emmanuelle AMarquis, E.A. Martinolich, A. J.Matthews, Peter DMatthews, P.D. Melot, B. C.Ménétrier, M. Ménétrier, Michel Meng, Ying ShirleyMeng, Shirley Meng, Y.S. Meng, Y. S.Milam-Guerrero, J. Mills, M.J. Mills, Michael JMillunchick, Joanna MireckiMillunchick, J.M. Millunchick, Joanna MMillunchick, Joanna MireckiModine, Normand AModine, N.A. Modine, NA Monconduit, Laure Monconduit, L. Morgan, D Morgan, D. Morris, A.J. Morris, Andrew JMukherjee, P. Mulder, Fokko MMulder, F.M. Mulder, FM Murray, Sean P.Nagase, Takeshi Nagase, T. Nam, K.W. Nam, Kyung-Wan Natarajan, A.R. Natarajan, Anirudh RajuNatarajan, Anirudh RajuNatarajan, A. R.Ong, S. P.othersPage, A. Palacin, Rosa Pan, Xiaoqing Pan, X. Pan, Xiaoqing Parikh, P. Parikh, Pritesh Pereira, N. Pereira, Nathalie Persson, K. Pier, L. F. J.Piper, L. F. J.Pollock, T.M. Pollock, Tresa MPollock, Tresa M.Pollock, T. M.Poudeu, P.F. Poudeu, P.F.P. Poudeu, PFP Poudeu, Pierre FerdinandPredith, A Preefer, M. B.Puchala, Brian Puchala, B. Qi, Y. Radin, Maxwell DRadin, M.D. Radin, M. Radin, M. D.Rana, J. Raptis, Yannis SRaptis, Y.S. Reed, J Reeves, P. J.Rhein, R. K.Rhein, Robert K.Rhein, R.K. Roy, Anindya Roy, A. M.Roy, A. Rudraraju, S. Rudraraju, Shiva Saber, M. Sallis, S. Saracibar, A. Schueller, E. C.See, K.A. See, K. A.Seshadri, R. Seshadri, Ram Sethuraman, Vijay ASethuraman, V.A. Seymour, Ieuan DSeymour, I.D. Shi, G. Shi, Xiaoya Shi, Xun Shi, Guangsha Shi, X. Sina, Mahsa Smithson, H Solomon, E. L. S.Solomon, E.L.S. Solomon, Ellen LSSrinivasan, Venkat Srinivasan, V. Stackhouse, Stephen Stackhouse, S. Stinville, Jean-Charles Stoumpos, Constantinos CStoumpos, C.C. Su, Xianli Su, X. Sun, Kai Sun, K. Sundararaghavan, V. Swoboda, B. Tang, Xinfeng Tang, X. Tang, H. Tang, Hairong Teichert, G.H. Teichert, G. H.Tepesch, P.D. Tepesch, PD Thomas, John CThomas, J. C.Thomas, John Thomas, J.C. Thomas, JC Thornton, K Thornton, Katsuyo Thornton, K. Titus, M. S.Titus, Michael S.Titus, M.S. Toriyama, M. Y.Trease, N.M. Trout, B.L. Trout, Bernhardt LTucker, JD Tucker, J.D. Uher, Ctirad Uher, C. Van der Van, A. Van der Ven, V. Van der Ven, Anton Van der Ven, A. Van der Ven, A Van der Ven, Anton Vincent, R. C.Vinckeviciute, J. Vinckeviciute, Julija Viswanathan, G.B. Viswanathan, Gopal BabuWagemaker, M. Wang, F. Wang, Yizhou Wang, Y. Wei, Q. Weker, J. N.Wells, P.B. Wells, Peter BWhitfield, P. Whitfield, Pamela Whittingham, M.S. Whittingham, Stanley Wiaderek, Kamila MWiaderek, K.M. Wilson, S. D.Wright, A.F. Wright, AF Wright, D.S. Wright, Dominic SWu, Lijun Wu, L. Wu, J. P.Wu, T. Wudl, F. Wudl, Fred Xu, Donghua Xu, D. Xu, Q. Yang, W. L.Yang, J. Yang, W. Yang, Jing Yeon, D.H. Yeon, Dong-Hee Yildiz, Bilge Yildiz, B. Young, GA Young, G.A. Youssef, Mostafa Youssef, M. Yu, Y.S. Yu, Young-Sang Yu, Xiqian Yu, H.C. Yu, X. Zak, J. J.Zhang, K. Zhang, Shuyi Zhang, Kui Zhang, W. Zhang, Minghao Zhang, S. Zhou, Y. Zhou, Yongning Zhu, Yimei Zhu, Y. Zuba, M. J.Zuo, J. L.
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H. Tang, A. Van der Ven, and B.L. Trout. "Phase diagram of oxygen adsorbed on platinum (111) by first-principles investigation." Physical Review B 70 (2004): 045420.
J.G. Goiri, and A. Van der Ven. "Phase and structural stability in Ni-Al systems from first principles." Physical Review B 94 (2016): 094111.
A. Page, A. Van der Ven, P.F.P. Poudeu, and C. Uher. "Origins of phase separation in thermoelectric (Ti, Zr, Hf) NiSn half-Heusler alloys from first principles." Journal of Materials Chemistry A 4 (2016): 13949-13956.
Kaufman, J. L., and A. Van der Ven. "Ordering and Structural Transformations in Layered KxCrO2 for K-Ion Batteries." Chemistry of Materials 32, no. 15 (2020).
Radin, M. D., J. C. Thomas, and A. Van der Ven. "Order-disorder versus displacive transitions in Jahn-Teller active layered materials." Physical Review Materials 4 (2020).
Thomas, J. C., and A. Van der Ven. "Order parameters for symmetry-breaking structural transitions: The tetragonal-monoclinic transition in ZrO 2." Physical Review B 96 (2017).
J.S. Bechtel, and A. Van der Ven. "Octahedral tilting instabilities in inorganic halide perovskites." Physical Review Materials 2 (2018).
Y.S. Yu, C. Kim, Y. Liu, A. Van der Ven, Y.S. Meng, R. Kostecki, and J. Cabana. "Nonequilibrium pathways during electrochemical phase transformations in single crystals revealed by dynamic chemical imaging at nanoscale resolution." Advanced Energy Materials 5 (2015).
A. Van der Ven, J.C. Thomas, Q. Xu, B. Swoboda, and D. Morgan. "Nondilute diffusion from first principles: Li diffusion in Li x TiS 2." Physical Review B 78 (2008): 104306.
Preefer, M. B., M. Saber, Q. Wei, N. H. Bashian, J. D. Bocarsly, W. Zhang, G. Lee, J. Milam-Guerrero, E. S. Howard, R. C. Vincent et al. "NEXT Multielectron Redox and Insulator-to-Metal Transition upon Lithium Insertion in the Fast-Charging, Wadsley-Roth Phase PNb9O25." Chemistry of Materials 32 (2020).
T. Jiang, S. Rudraraju, A. Roy, A. Van der Ven, K. Garikipati, and M.L. Falk. "Multiphysics Simulations of Lithiation-Induced Stress in Li1+ x Ti2O4 Electrode Particles." The Journal of Physical Chemistry C 120 (2016): 27871-27881.
Hansen, C. J., J. J. Zak, A. J. Martinolich, J. S. Ko, N. H. Bashian, F. Kaboudvand, A. Van der Ven, B. C. Melot, J. N. Weker, and K. A. See. "Multielectron, Cation and Anion Redox in Lithium-Rich Iron Sulfide Cathodes." Journal of the American Chemical Society 142, no. 14 (2020).
E. Decolvenaere, E. Levin, R. Seshadri, and A. Van der Ven. "Modeling magnetic evoluton and exchange hardening in disordered magnets: The example of Mn1-xFexRu2Sn Heusler alloys." Physical Review Materials 3 (2019).
A. Emly, and A. Van der Ven. "Mg Intercalation in Layered and Spinel Host Crystal Structures for Mg Batteries." Inorganic chemistry 54 (2015): 4394-4402.
V. Etacheri, Y. Kuo, A. Van der Ven, and B.M. Bartlett. "Mesoporous TiO 2–B microflowers composed of (1 1 [combining macron] 0) facet-exposed nanosheets for fast reversible lithium-ion storage." Journal of Materials Chemistry A 1 (2013): 12028-12032.
S. Rudraraju, A. Van der Ven, and K. Garikipati. "Mechanochemical spinodal decomposition: a phenomenological theory of phase transformations in multi-component, crystalline solids." npj Computational Materials 2 (2016): 16012.
J. Bhattacharya, and A. Van der Ven. "Mechanical instabilities and structural phase transitions: The cubic to tetragonal transformation." Acta Materialia 56 (2008): 4226-4232.
Kitchaev, D. A., E. C. Schueller, and A. Van der Ven. "Mapping skyrmion stability in uniaxial lacunar spinel magnets from first principles." Physical Review B 101 (2020).
M.D. Radin, J. Vinckeviciute, R. Seshadri, and A. Van der Ven. "Manganese oxidation as the origin of the anomalous capacity of Mn-containing Li-excess cathode materials." Nature Energy (2019).
D.H. Fabini, J.G. Labram, A.J. Lehner, J.S. Bechtel, H.A. Evans, A. Van der Ven, F. Wudl, M.L. Chabinyc, and R. Seshadri. "Main-Group Halide Semiconductors Derived from Perovskite: Distinguishing Chemical, Structural, and Electronic Aspects." Inorganic Chemistry 56 (2017): 11-25.
Natarajan, A. R., and A. Van der Ven. "Machine-learning the configurational energy of multicomponent crystalline solids." npj Computational Materials 4 (2018).
Thomas, J. C., J. S. Bechtel, A. R. Natarajan, and A. Van der Ven. "Machine learning the density functional theory potential energy surface for the inorganic halide perovskite CsPbBr3." Physical Review B 100 (2019).
Teichert, G. H., A. R. Natarajan, A. Van der Ven, and K. Garikipati. "Machine learning materials physics: Integrable deep neural networks enable scale bridging by learning free energy functions." Computer Methods in Applied Mechanics and Engineering 353, no. 15 (2019).


text:
looking back Charles Dickens' son still lies in an obscure grave in Kolkata!
Home / looking back Charles Dickens' son still lies in an obscure grave in Kolkata!
When Charles Dickens was penning down Oliver Twist or David Copperfield, he probably never thought his child protagonists, who loved playing in the mud, would find a link to the dusty rain drenched streets of distant Kolkata. The city's South Park Street cemetery still holds on to his memories. During monsoons a visit to the cemetery grounds will bring you face to face with a bunch of young boys having a splash with a football. They are all children of the guards of the cemetery or those who work there. But Dickens happens to have a bigger connect with the city, other than of course his books being read and re-read by most school children of Kolkata and being showcased in the city's leading bookstores, or he being a part of some literary festival.
However, the ghost of Dickens, if at all we are to believe the South Park Street cemetery is haunted, might hover at times over the tomb of Walter Landor Dickens, the second son of novelist Charles Dickens. Yes, does it surprise you to learn that Dickens' second son lies in an obscure grave of Kolkata? The tomb on his grave is covered with dust and mud, with absolutely none to clean it, lay flowers or light a candle. Even the name on the marble plaque is almost illegible. But how did Walter land up in old Calcutta?
Charles Dickens' second son was a lieutenant in the British Indian army and died at the age of only 22, in the year 1863. He was originally buried at the Bhowanipore cemetery. However, the grave had disappeared from public memory, until in 1911 a New York Times article titled 'Dickens' Soldier Son' threw some light on the monument. Bhowanipore cemetery in those days was known as Military Cemetery. This burial ground shut doors in 1790. In 1987, some students of Jadavpur University raised funds to move the tombstone of their favourite author's son – literally the only link of Dickens with Kolkata --- to a new location. And thus, the tombstone found place at the South Park Street Cemetery.
Named after his godfather, English poet Walter Savage Landor, Walter Dickens was asked by his father Charles to join the East India Company army in the year of the Sepoy Mutiny. That's when Walter reached India and was later stationed in Kolkata. However, his health failed, as he could not adjust to the climate of Kolkata. He suffered from hematemesis or vomiting of blood.
In a letter on his son's travel to India, Charles Dickens had once written: 'Having a direct appointment, he will probably be sent out soon after he has passed and so will fall into that strange life up the country, before he well knows that he is alive, or what life is – which indeed seems to be rather an advanced state of knowledge.' Along with this letter, that has probably missed the public eye, Dickens' only link to Kolkata also seems to be lying in neglect and oblivion.
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Home Rock Climbing Climbing Rope Safety 101: When to Change Your Ropes?
Climbing Rope Safety 101: When to Change Your Ropes?
A climbing rope is the strong nylon cord used by climbers for protection and safety while climbing. Ropes, the most basic piece of safety gear used by climbers, simply attach climbers to each other and the cliff as well as keep a climber from hitting the ground after a fall. Ropes are a climber's best friend and his literal lifeline.
Read here our review and buying guide for the best climbing ropes
Climbing ropes have an inner core of woven fibers and an outer sheath of woven fibers. They are very elastic and dynamic, allowing for the rope to stretch and absorb much of the energy of a fall. Climbing ropes are made from 7.5mm to 11mm in diameter, with the thicker ropes the strongest and best for climbing, but also the heaviest.
Thin light ropes are mostly used for alpine climbing in the high mountains where weight is paramount. Ropes under 9mm in diameter are also usually used in pairs. Climbing ropes come in two lengths: 165 feet (50 meters) and 200 feet (60 meters). The 200-foot climbing rope is increasingly become the standard length for American climbing, as it is in Europe. You should only buy and climb on ropes that are specifically designed for climbing activities and are approved and certified by the UIAA (International Union of Alpine Associations)—in other words, don't go into your local Home Depot to buy a climbing rope!
When to Change Your Ropes?
It's hard to determine the life of a climbing rope since it is subject to so many influences and variables, including how often it's used, how it's stored, what climate it's used in, and what kind of climbing it's used for.
The best guidelines are: How does your rope feel and look? And how often do you use your rope?
Less than One-Year Ropes
Ropes wear out fast if you use them all the time. In the summer when we guide at Front Range Climbing Company, we often log 400 client pitches on a rope in a month. Those ropes get trashed fast and retired right away. They're not subjected to a lot of falls since they're usually used for top-roping, but all the lowerings tend to wear the ropes quickly.
One-Year Ropes
If you climb a lot, even just a day a week, you can easily wear a rope out in a year. This is especially true if you do a lot of sport climbing with repeated falls and lots of lower offs, both of which take a lot of the stretch out of a rope, or regular weekend climbs and the occasional long route with rappels off.
Three- to Five-Year Ropes
Your rope will last from three to five years if you climb one to four or five times a month; don't log much air time, lower-offs, or rappels; usually, top-rope with loads on your rope of only body weight, and with climbing sessions of only short periods of time.
Using Old Ropes
You can keep ropes longer than five years, but it's usually not advisable to use them for climbing. They just age getting stiffer as the nylon degrades over time. If you only use your rope once or twice a year, then you can probably use it for top-roping. But first do visual and manual checks and verify that it's been stored properly in a cool dry environment and away from household chemicals and auto supplies and oil.


Sunnyland neighborhood staple serving beers from Kulshan's Small Batch Program alongside year-round offerings. Inviting, family-friendly taproom and dog-friendly outdoor beer garden, rotating food trucks, music, events and beer-to-go.
30-barrel brewhouse located in the Roosevelt neighborhood offering 20 taps of award-winning beers in a spacious, industrial setting. Rotating food trucks, outside patio, keg sales, beer-to-go and TVs for sports. Great for large groups and events and available for rent. This location is 21+.
Copyright 2018 Kulshan Brewing Company. All Rights Reserved.


The buzzword for this episode of The Great British Bake Off was... patience, for it was Bread Week. Who can knead like a boss, who can prolong their proofing long enough and who can rise above them all to be crowned Star Baker?
The first challenge was simple enough; bake twelve identical rye rolls. As ever, Norman decided to keep it simple by only incorporating caraway seeds and sultanas. By his own admission, he's no Heston Blumenthal but that may well lead to his downfall. On the other hand, Luis was going all out with his ambitious 'Opposites Attract' effort which married parsnip and pale fennels with carrots, coffee and chocolate. A daunting set of ingredients which earned a handshake from Paul Hollywood no less for proving his doubts wrong.
For once, Richard came up a cropper when he suggested his Pumpernickel was American before Paul shot him down by asserting it was, in fact, German. Whatever it was turned out to be under-cooked. Knowledge is power, as many would learn later on. Diana's rolls involved baking with cheese which, for someone who admits that they do not bake bread often, seems a step too far. Thankfully she seemed to get away with it, as did Kate when the two second rule came to her rescue when she dropped one of her beloved Orange and Cardamom rolls.
The technical challenge was Ciabatta which brought looks of absolute abject terror from the group. Still, Paul came up with some reassuring words of wisdom; "Be patient" with all the requisite gravitas. For many, ciabatta might as well have been brought down from Mars as it appeared so alien to so many. Some left it to proof in the proofing drawer because that is what it is for, right? RIGHT? DOES ANYONE KNOW? Only if they had checked the instructions they would have known to leave it at room temperature.
Having waited long enough, each plops out their bubbly blobs and gets to work. Only when they had to move it onto the baking tray did problems really occur. In a task akin to a team-building exercise there were the logistics of moving a semi-liquid form onto a tray. Only Norman suggested using semolina on top and bottom to roll it on, rather like the Egyptians using logs to move massive pieces of stone. Knowledge is power. By judging time Mary Berry and Paul become 'Good cop, Bad cop' with Paul admonishing those on the proofing, or lack thereof with some ciabattas having resembled pitta breads, while Mary complimented many on the fact that they actually tasted nice.
The final Showstopper round was to make a centre-piece out of a filled loaf, which is tricky enough for a cake let alone a loaf. Still, Jordan appeared to have missed the brief as he had gone for a Strawberry and Raspberry cheesecake Brioche. If he was going out, he was going out in a blaze of glory with sticky jam fingers. He asserted that he'd had enough recent practice on it yet with doubt swirling like his brioche Sue asked "How many times has it worked?" Luis was going for it again but in a more showy, sensible, saffron-stained stylee with his Spanish 'Roscón de reyes' which roughly translates to 'King's ring' (no sniggering at the back).
Unsurprisingly, Norman had gone for a white bread loaf, then fooled us all by stuffing it with chicken, pesto, roasted vegetables and sundried tomatoes though suspiciously it appeared more like a pie. Weirdly, Diana's pinwheel was outshone by her Air Max trainers, who'd have thought it? Ever the exhibitionist, Martha created a stuffed sunflower loaf which was to be cut open to reveal a Epoisses fondue which seemed a little dangerous, especially with the pinhead covering of sunflower seeds.
Another one opting for a social centre-piece was Iain who had 'risen to the challenge' with his olive bread and tagine dip while Chetna accompanied her showstopper with a mango chutney, of course. Then there were the optimists, Nancy's Full English Stromboli always appeared over-ambitious and, as ever, the tomato was a step too far as it left a tragic hole.
If anyone was running away with the title of Star Baker this week it was Kate, her Orange and Cardamom rolls seemed too much yet hit the spot then Paul had to rip her heart out by declaring her coriander coated showstopper as raw. The dreaded 'r-word' has haunted cooking shows and even Norman's loaf/pie had a soggy bottom.
That final gaffe by Kate undoubtedly threw away her chances at nabbing the Star Baker award as Luis deservedly stole in. The harder decision was who was to leave; 'safety first Norman' or 'Captain Chaos Jordan'? In the end, experience won out and Jordan was sent home, knowledge is indeed power.


FM 753 is a heavy duty expansion anchor which is used for Higher tension loading applications.
It is also called with different names like stud anchor, expansion anchor, wedge anchor.
FM 753 comes with three different type of materials.
1) Stainless Steel A4 Grade - Stainless steel threaded rod with A4-70 Grade.
2) 5.8 grade Carbon Steel with Nautilus Coating - Higher grade carbon steel with a special Nautilus coating of 10 microns which can withstand 1000 hours of salt spray test.
3) 5.8 grade carbon steel with Zinc Coating - Higher grade carbon steel with minimum 5 microns of zinc coating applied through electro plating to prevent from corrosion.
(1)Anchors with reduced embedment depths. (2)Sizes not covered by CE certification. ★50 for Stainless steel A4.