Join us on Saturday, September 22nd from 11:00 PM to 1:30 AM for a radical 80's night in Richmond! That's right, Richmond 40 Bowl is hosting a Totally Awesome '80s Bowling Party. Admission is just $10 per person, and includes your entry, shoe rental, and unlimited bowling!
In addition to unlimited bowling, we'll also be playing heart-pounding '80s music videos, hosting an '80s trivia contest, and serving '80s-themed cocktails! But of course we couldn't forget about the most important element of any self-respecting 80s night – the fashion!
Come dressed to impress in your best 1980s fashion and enter our Best Dressed photo contest for a chance to win a party of your own. Even if you don't win one of our prizes for best dressed, you can still give our prize wheel a spin!
Make sure to let your friends and family know about this event, because we'll be livestreaming on Facebook! Even if they can't join us for the party, they can vote on the winner, and we'll also use the stream to announce the contest winner.
Aren't you, like, totally ready to party? Head over to the Totally Awesome '80s Bowling Party Facebook event page for more information! Be sure to RSVP and invite your '80s loving friends. And be sure to check out our Richmond 40 Bowl Facebook page for a chance to win free tickets!
We look forward to seeing you at our epic retro bowling party on September 22nd!


Back In March, Marg gave a talk to the Alice Springs Field Naturalists Club, which she called "Where did they come from and how did they get here? Examining the evidence for some familiar weeds of arid central Australia". As part of her rummaging in the records of Australia's Virtual Herbarium (AVH), and lots of follow-up reading and discussion, she found evidence for camel harness being the source of a surprising number of invasive plant species.
Not so surprising was the evidence for Buffel Grass (Cenchrus ciliaris), which was first recorded in AVH south of Wyndham in 1897, near the Ord River. Camels were in use, supplying the goldfields at Hall's Creek, and the cameleers commonly rested at waterholes and creeks. From the 1880s, camels were sourced from India to modern Afghanistan and were brought into Western Australia via Fremantle predominantly, as well as Geraldton, Port Hedland and Albany. They serviced the pastoral industry and mines both inland and along the WA coast. Joe Moore, storekeeper at Port Headland, persuaded school children to collect the seeds from buffel grass growing around the town from about 1910, and distributed it to stations in the district.
Buffel Grass at Nicker Creek WA, 2014, from 1930s Michael Terry expedition (Image M. Friedel).
Buffel grass also came with camels via Port Augusta from the 1860s, and camel trains and Ghan towns were a feature of much of inland South Australia, Northern Territory and New South Wales, as well as WA. The first herbarium record for NT is Woodforde Well in 1931, but we know from Walter Smith that cameleers were deliberately spreading buffel grass well before that.
Fountain Grass (Cenchrus setaceus) first appears in AVH in 1903 at Eurelia, near Orroroo, South Australia. Cloncurry Buffel (Cenchrus pennisetiformis), supposedly introduced by General Birdwood after WWI, appears in 1915 in the Geraldton-Greenough area. Birdwood Grass (Cenchrus setigera), appears at Roebourne in 1932, in keeping with its introduction by General Birdwood. Hence it's likely that three of the Cenchrus species, including buffel grass, came with camels initially, and that subsequently there were deliberate introductions.
Rosy Dock (Acetosa vesicaria) was first collected by naturalist Richard Helms in Perth in 1892, after he left the Lindsay expedition in the Murchison district. Rosy dock is native to north Africa, southwestern Asia and the Indian sub-continent, so it's a likely accidental inclusion in camel harness arriving in Fremantle.
Rosy Dock (Acetosa vesicaria) in Palmer Valley, 1979 (Image M. Friedel).
Kapok Bush (Aerva javanica) was found in 1937 on the de Grey River and Roy Hill Station in 1938, according to AVH. The Ord River Regeneration Project was undertaken from the 1960s, using seed sourced from existing populations on Anna Plains station in the Pilbara and Fitzroy Crossing in the West Kimberley. These populations were understood at the time to have come from camel harness, and kapok bush was known to be used historically by Arabian people for cushion and saddle padding.
Kapok Bush (Aerva javanica) at Alice Springs, 2017 (Image Weed Management Branch, NTG).
Perhaps more surprisingly Rubber Bush (Calotropis procera) is likely to have arrived with the camels that serviced the railhead at Mungana, in Queensland, for the nearby copper mines. A railway operated from Mareeba to Mungana from about 1900, and Mungana was the focus for camel teams for about six years. Rubber bush was first reported in AVH in 1935 at Mungana.
Rubber Bush (Calotropis procera) on Barkly Tablelands, 2004 (Weed Management Branch, NTG).
And of course the date palm (Phoenix dactylifera) was distributed by cameleers, all up giving us quite a substantial list of species likely to have arrived with cameleers and their camels.
Marg would like to hear from anyone with any additional information – whether in support or counter to her story.


text:
101 Alumni Hall Oxford, OH 45056 United States
B.S. Architecture
Post-professional or non-professional Architecture (Graduate)
Ph.D. Architecture
Department of Architecture & Interior Design
http://miamioh.edu/cca/academics/departments/arch-id/
Founded in 1809, Miami University is nationally recognized for its high quality of undergraduate teaching and its select programs of graduate study. With 20,000 students on three campuses, Miami has the character of a college but the advantages of a university. A strong honors program, the Center for American and World Cultures, the renowned Scripps Gerontology Center, and a full branch campus in Luxembourg are only a few of Miami's resources. The Architecture major is listed in the Fiske Guide to Colleges as one of eight "strongest programs" at Miami.
The emphasis of the undergraduate program is to provide students with a broad understanding of architecture as a humanistic, technical, artistic, and professional endeavor. The program is decidedly interdisciplinary and exploratory. The Master of Architecture program has a principal goal of balanced professional preparation that integrates technical and material concerns with aesthetic and theoretical issues. Studios, lectures, seminars, and research require students to develop an overarching philosophical framework for design. A variety of studio experiences (some off-campus), and a rich array of scientific, computer mediated, and independent study options help students explore personal interests within the general curricular structure.
Graduate Program The mission of the Master of Architecture is to conduct architectural inquiry in the pursuit of new forms of knowledge and, through rigorous professional preparation, construct critical practices that empower students to interpret, engage and give form to the ideas and forces that impact their world. A centerpiece of the graduate program(s) is the thesis, which requires both a written document that is vetted in the form of a peer-reviewed conference paper, and a design thesis that explores ideas generated in the written paper. The Master of Architecture thus takes the intellectual lead in the department, while also benefiting from the array of undergraduate programming, including off-campus study, interdisciplinary partnerships, and research opportunities. Undergraduate Program The undergraduate program provides students with a broad understanding of architecture as a humanistic, technical, artistic, and professional endeavor. The first two years comprise a comprehensive interdisciplinary approach that introduces students to design, graphics, computer studies, history and theory, tectonics, urbanism, and landscape issues. The last two years encourage a more focused exploration of areas such as urban, landscape, interior, tectonic, or digital practices, as well as the development of deeper interests within the broader spectrum of architecture as a practice. Students are encouraged to study off campus for at least a semester or summer as a way of enhancing their educational experience and deepening their understanding of national and global community. Individually assigned faculty members counsel and advise students in the process of making all academic, curricular, programmatic, advanced degree, and career decisions. Supplemented by a concurrent professional major in Interior Design, by interdepartmental minors in urban design, and art and architectural history, by research opportunities, and by summer internships in architectural firms throughout the country and around the world, the four-year program in design provides a strong foundation for subsequent professional degrees at the graduate level in architecture, related design professions, or in areas of social, economic, business, and political process.
1. Design/Build
3.Interior Design
24 Hour Workshop
A limited number of design studio spaces are available each year to students entering the Department of Architecture + Interior Design. In addition, some students decide they would like to change majors after they have been in college for a semester or a year. Besides the normal admission process, there are alternative routes by which students may seek admission to a major in Architecture or Interior Design.
All transfers to the Department of Architecture + Interior Design are decided in the spring term for admission in the fall of the following academic year. Normally, transfer students begin at the first-year studio level. However, students with sufficient background may be admitted to the program as second-year students. Transfer students who begin first-year studio in their second year of college study may, in some cases, be able to accelerate the date of their graduation by one semester.
For more details, click here: (http://miamioh.edu/cca/academics/departments/arch-id/admission/undergrad-admission/apply-transfer-student/index.html)
Contact Miami University

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NAVO-L2P-AVHRR17_L_1
PODAAC-GH17L-2PN01
A regional Group for High Resolution Sea Surface Temperature (GHRSST) Level 2P dataset based on multi-channel sea surface temperature (SST) retrievals generated in real-time from the Advanced Very High Resolution Radiometer (AVHRR) on the NOAA-17 platform (launched 24 June 2002) produced and used operationally in oceanographic analyses and forecasts by the US Naval Oceanographic Office (NAVO). The AVHRR is a space-borne scanning sensor on the National Oceanic and Atmospheric Administration (NOAA) family of Polar Orbiting Environmental Satellites (POES) having a operational legacy that traces back to the Television Infrared Observation Satellite-N (TIROS-N) launched in 1978. AVHRR instruments measure the radiance of the Earth in 5 (or 6) relatively wide spectral bands. The first two are centered around the red (0.6 micrometer) and near-infrared (0.9 micrometer) regions, the third one is located around 3.5 micrometer, and the last two sample the emitted thermal radiation, around 11 and 12 micrometers, respectively. The legacy 5 band instrument is known as AVHRR/2 while the more recent version, the AVHRR/3 (first carried on the NOAA-15 platform), acquires data in a 6th channel located at 1.6 micrometer. Typically the 11 and 12 micron channels are used to derive SST sometimes in combination with the 3.5 micron channel. The NOAA platforms are sun synchronous generally viewing the same earth location twice a day (latitude dependent) due to the relatively large AVHRR swath of approximately 2400 km. The highest ground resolution that can be obtained from the current AVHRR instruments is 1.1 km at nadir. AVHRR data are acquired in three formats: High Resolution Picture Transmission (HRPT), Local Area Coverage (LAC), and Global Area Coverage (GAC). HRPT data are full resolution image data transmitted to a ground stations as they are collected. LAC are also full resolution data, but the acquisition is prescheduled and recorded with an on-board tape recorder for subsequent transmission during a station overpass. GAC data provide daily subsampled global coverage recorded on tape recorders and then transmitted to a ground station. This particular dataset is derived from LAC data. Further binning and averaging of the 1.1 km LAC pixels results in a final dataset resolution of 2.2 km. The coverage of the LAC data can vary but generally contains scenes over the oceans adjacent to Australia and the North Indian Ocean.
The HTTP location for the collection.
https://data.nodc.noaa.gov/ghrsst/L2P/AVHRR17_L/NAVO
JPL Physical Oceanography Data Active Archive Centre (PO.DAAC)
http://podaac.jpl.nasa.gov:2031/DATASET_DOCS/avhrr_navoceano.html
General Documentation
(Search Granule)
https://podaac.jpl.nasa.gov/ws/search/granule/?datasetId=PODAAC-GH17L-2PN01
Portal to the GHRSST Global Data Assembly Center and data access
http://ghrsst.jpl.nasa.gov
Bulk Sea Surface Temperature
NOAA-17
AVHRR-3
Coverage Type
Zone Identifier
Granule Representation
HORIZONTAL CARTESIAN CARTESIAN
Naval Oceanographic Office
PO.DAAC
Naval Oceanographic Office (NAVOCEANO)
Doug May
This contact does not have any addresses listed.
This contact does not have any contact mechanisms listed.
NETCDF


text:
The Passionists of Holy Cross Province
The Love that Compels
Making Room: Lent Reflection Series
Celebrating the Season of Creation
Passion of the Earth, Wisdom of the Cross
Ways to Live Laudato Siˊ
Small Grants to Implement Laudato Siˊ
Statement on Texas Elementary School Tragedy
Sunday Homily
Passionist Spirituality and Prayer
Video: Stations of the Cross
Prayer and Seasonal Cards
The Passionist Way
Passionist Magazine
Proclaiming Our Passionist Story (POPS)
Passionist Solidarity Network
Journey into the Mystery of Christ Crucified
Celebrating the Feast of St. Paul of the Cross
Passionist Ministries
Earth and Spirit Center
Fr. Cedric Pisegna, CP, Live with Passion!
Vision Fulfillment Newsletters
Sacred Heart Monastery
History of Sacred Heart Monastery
A Day in the Life of Senior Passionists
"Pillars" of the Community
Vocation Resources
Father Phillip Donlan, CP, Ordination
Are You Being Called?
Passionist Brothers
The Life of St. Paul of the Cross
Discerning Your Call
Passionist Vocation Directors
Lay Partnerships
Find a Passionist
Passionist Websites
Passionist Alumni Association
St. Gemma Circle of Giving Intentions
Giving Matters
The Letters of St. Paul of the Cross
The Diary of St. Paul of the Cross
Mission and Charism
Saints and Blesseds
STUDIES IN PASSIONIST HISTORY AND SPIRITUALITY
Safe Environments
Daily Scripture, December 4, 2014
Matthew 7:21, 24-27
Beyond the beauty of Advent and Christmas
It's early December and the season is increasingly filled with some beautiful, classic Christmas music – it's Christmas 2014. The inspirational carols and instrumentals we hear these days help put us in a special holiday mood, stirring up the Christmas spirit in these early days of Advent. However, a funny thing happens on December 26 (or even late on December 25): abruptly all the carols and holiday music come to an end! And like the "used" Christmas tree tossed to the curb, so too does the Christmas spirit come to an end…it's back to the everyday realities of life.
Jesus says in today's Gospel selection: "Not everyone who says to me, 'Lord, Lord' will enter the Kingdom of heaven, but only the one who does the will of my Father in heaven." Perhaps, just perhaps…our singing of Christmas songs is all too like crying out "Lord, Lord", without any ongoing effort to carry out God's will in our lives. Jesus comes to proclaim to us that God's will is that we live together as brothers and sisters in God's family, with love and concern for each other, with patience and acceptance. The holiday feelings we have leading up to Christmas Day are good for us, but not good enough: emotions change, and God wants us to live together as His children all the time — not just when we're in the mood or "feel" like it. Every day, we're invited, encouraged to be unselfish and loving, more like Christ himself.
During this time of Advent we will grow as we reflect on how we treat others. With the help of these Advent days and the special Scripture selections, we can get serious about putting our faith and love into practice…devoting time and energy to our prayer that God will be present to us and help us live as true children of God. Perhaps…if we have a change of heart and act upon it…we can have the experience of Christmas every day of the year.
Fr. John Schork, C.P. is the local leader of the Passionist community in Louisville, Kentucky.
Support the Passionists
Contact the Passionists
660 Busse Highway | Park Ridge, IL 60068
Tel: 847.518.8844 | Toll-free: 800.295.9048 | Fax: 847.518.0461
Safe Environments | Board Member Portal | Copyright © 2023 | Log in
On March 2, the Church celebrates Ash Wednesday.
Most of us learned early in our Catholic lives that Ash Wednesday is the beginning of Lent, and that is a time of special sacrifice in preparation for the Easter celebration of Jesus' Resurrection.
Dear brothers and sisters, every moment of our lives is a time for believing, hoping and loving…. These words of Pope Francis, taken from his Lenten Message of last year, 2021, and echoing the virtues of Faith, Hope and Charity, can still inspire our answer to the question: "What am I giving up for Lent?"
We can draw our Lenten sacrifices out of our daily life:
Share our faith in God's presence by sharing in prayer with our family or with those in our parish community.
Share our hope in God's promises by encouraging positive and respectful dialogue in our family circle and among our friends.
Share the charity God has bestowed on us in the Passion of Jesus, with those whose sufferings are ignored or aggravated.
Let us pray for one another as we enter the season of Lent. Our Passionist "motto" can be our daily prayer during Lent, "May the Passion of Jesus Christ be always in our hearts."


We are the boutique that has the unique feel of shopping in the city, without having to cross the water! Lower Lonsdale Is home to many local businesses from contemporary cafe's, eateries and salons and we are proud to call this thriving community our home. Online shopping is offered through our website.


text:
namespace MPACK
{
	namespace Sound
	{
		class SeekController
		{
		public:
			SeekController(SLObjectItf object);
			~SeekController();

			bool IsSupported() const;

			Core::ReturnValue SetPosition(SLmillisecond position);

			bool IsLoopingEnabled() const;
			Core::ReturnValue EnableLooping();
			Core::ReturnValue DisableLooping();
			Core::ReturnValue ToggleLooping();
			Core::ReturnValue SetEnabledLooping(bool enabled);

			static SeekController* GetSentinel();

		private:
			SeekController();

			SLSeekItf m_interface;
			bool m_looping;

			static SeekController s_sentinel;
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	}
}

#endif

#endif


text:
Hit Master 3D
Hit Master 3D APK 1.7.9
Want to become a hero defending the weak? Become a spy and defeat enemies who dare hurt civilians. In Hit Master 3D: Knife Assassin, you can do that and more!
1 Become a Knife Master2 6 Reasons You'll Love Hit Master 3D: Knife Assassin3 Download Hit Master 3D: Knife Assassin APK – Latest version
CASUAL AZUR GAMES
com.hit.master
Who doesn't like action games? There are a lot of action games available to play right now. Yet, most of them are redundant or rehashed games based on popular existing ones. So, if you want to experience something unique and new, you should download and play Hit Master 3D: Knife Assassin!
Published by Casual Azur Games, this one has hit more than 5 million installs! Not only is it an exciting game but it's extremely simple as well. As a savior, your job is to save hostages by defeating all the bad guys. If you're fond of watching spy and action movies, you'd love every minute of playing this game. There will be a lot of levels to finish, plenty of bad guys to fight and a whole lot of unimaginable scenarios waiting for you!
Become a Knife Master
Not everyone can become a skilled knife master. This is true when you think about it. It takes a lot of time, effort and skills just to become a spy that would save the world from the bad guys. But even so, a lot of people want to become the savior of the world so badly that they're willing to go through any obstacles.
If you're one of those guys, then it's your time to shine on Hit Master 3D: Knife Assassin! Become the ultimate assassin as you annihilate bad guys using just your knives! Throw knives at enemies and make them pay for their evil deeds. Save plenty of lives as you go through harsh levels. There are different stages you'll need to conquer to show off your worth. Are you prepared to work yourself to the death just to save people? If so, then this game is the right one for you!
6 Reasons You'll Love Hit Master 3D: Knife Assassin
In the world we live in, we encounter many bad guys throughout many places. They take many forms such as kidnappers, murderers, stealers and more. In Hit Master 3D: Knife Assassin, it's your job to annihilate all the bad guys standing in your way of saving the civilians! With that said, here are 6 reasons we thing you'll love about this game.
It has a smooth and incredible gameplay – In Hit Master 3D: Knife Assassin, you'll be able to play it just like any other game. But you don't need to move forward as the game does it for you automatically when you eliminate the bad guys. Here, you just need to throw knives accurately at all the bad guys standing in your way. But be careful not to injure the hostages! The 3D graphics of this game are beautiful to look at and you will not get bored of the game even when playing it for a long time.
You can unlock a lot of powerful knives – Part of being an assassin is the weapons you get! There are 3 knives classes in Hit Master 3D: Knife Assassin: Common, Rare and Epic. Obviously the higher the class, the stronger the weapon. At the start, you'll get a common knife. But as you complete more stages, you can unlock more powerful weapons such as swords, katanas, hammers, and so on. The more powerful the weapon you have, the less time it will take to take care of bad guys!
There are so many levels to finish – The game has so many stages prepared for you that it will take a while to finish them all. Each stage is progressively difficult so you need to bring your best every time. Try to hit every enemy with pin-point accuracy so you don't need to repeat any stages!
The controls are easy – The controls here are so easy that you only need to tap on the screen. Tap on the bad guys so you can throw knives at them. Depending on the opponent, you may need to throw multiple knives to take them down.
You can receive many rewards – There are rewards waiting for you after you finish each stage! You can then use your money to unlock more powerful weapons to prepare for harder stages later on.
Play for free - The best thing about this game is it's completely free. There are no in-game purchases unlike most popular games today. This means you can play without worries!
Download Hit Master 3D: Knife Assassin APK – Latest version
Play Hit Master 3D: Knife Assassin now and get a chance to become the ultimate assassin. Download the latest version to prove your worth as a knife wielder!
Download Hit Master 3D [107.15 Mb]


text:
LONDON CULTURAL ROUNDUP
STREET HAUNTING
"Painter Working, Reflection," 1993, is considered to be Lucian Freud's greatest self-portrait. It is part of the exhibition "Lucian Freud: The Self-Portraits," which will be at London's Royal Academy of Arts starting Oct. 27.Credit…The Lucian Freud Archive/Royal Academy of Arts
I recently spent a month in London. I find myself in a kind of cultural mania while there – seeing lots and lots of theatre and ballet and opera, and meandering with a peering purposefulness through museums. Here are some of my impressions, the bits of the mania that remain pentimento in my mind as I canvas my memory, the purposefulness more playful now as I recall it for sometimes while I'm in the midst of the mania over there I think I should maybe recoil at the roll-call of culture that I assemble in my schedule instead of just steeping myself further in it each day. It does not tire me however; it enlivens me. There is something akin to love in the heady way it makes me feel.
Dr. Freud is not around to ask his opinion about such mania, so let's turn to his grandson as an example of what I can suss out when I am in it. I was completely absorbed by the "Lucien Freud: The Self-Portraits" show at the Royal Academy of Arts. It runs through January 26th and then moves to the Museum of Fine Arts in Boston on March 1. I was moved by the Freud exhibition in direct proportion to how unmoved I was earlier by the Antony Gormley show, which closed on December 3, on another floor of the Royal Academy back in November when I visited. The Gormley show was all about the juxtaposition of his art in those Royal Academy rooms. Indeed, "the art" was more in that juxtaposition than in the art itself. I am not sure that Gormley would even disagree with that since so much of his art is based on conceptualization and the cold-eyed execution of the concept. He leaves me and my own eye cold.
As I began my day in the Royal Academy of Arts in the Antony Gormley exhibition that took London by storm this past fall but left me as cold as an autumnal wind tired of teasing the Thames. Hell, the whole Gormley show was a tease to me. But that is Gormley's schtick. He's an art-tease.
When I finished viewing the Freud exhibition afterward, I began viewing it immediately again in a more fractured time frame than the linear way it had been assembled. I felt that was more in keeping with how Freud saw himself: in fractured time in the last glorious paintings that revel in the hideous beauty of human flesh that he rendered in a incongruously considered slapdash, slack-wristed way as he shoveled on the paint. The work is deeply carnal yet has the heightened spiritual realm of art as it captures light's elemental magnificence to carve out a more tactile image for human perception. It is a kind of calling: to see the light in such a way and render it.
"Man With a Feather (Self-Portrait)", 1943, by Lucien Freud. He was 21 at the time but saw himself as someone who maybe could pass for 12. Freud had earlier, at 17, joined the East Anglian School of Painting and Drawing founded in 1937 by artist Cedric Morris and his lover, Arthur Lett-Haines. The school was described in a prospectus as "an oasis of decency for artists outside the system." It was run on very idiosyncratic lines based upon the "free rein" approach that was then current in French academies.
A self-portrait by Cedric Morris. It marries the self-portrait of the Freud at 21 with the later Freud self-portraits when his hand became heavier atop the canvas, less light-hearted. The young Freud was so greatly influenced by Morris that his work wed himself to himself in a kind of homoerotic autoerotic way – the only way that the heterosexual Freud could internalize the seminal homosexual who influenced him and his art. Not to "grandfather in" a theory about it all.
"Portrait at the Opera (Elizabeth)" by Elizabeth Peyton, on view at the National Portrait Gallery in London as part of her "Aire and Angels" exhibition. I had never noticed this before until I began to compose this page. There is a through-line from 1930s Morris to the Freud for the 1930s and 1940s to 1990s Peyton to Freud in the final years of his life. A delineation that dug deeper down into a magnificent muddiness. The dare of desire. The direness of it. Its defeat.
The portrait of poet John Donne that opens the Elizabeth Peyton exhibition at London's National Portrait Gallery which she named for his poem "Aire and Angels." Peyton has said of this portrait painted by an unknown hand in 1595, "there is some captured human beauty or humanity in it that I would like to always be near." Her paintings are the proxy for such proximity. The last lines of Donne's poem "Aire and Angels": Then, as an angel, face, and wings Of air, not pure as it, yet pure, doth wear, So thy love may be my love's sphere; Just such disparity As is 'twixt air and angels' purity, 'Twixt women's love, and men's, will ever be.
One of my favorite places to meander about is the National Portrait Galley in London. It became even more so because of the Elizabeth Peyton exhibit there during my trip (see above). I have been fascinated but not quite appreciative of her work since 1993 when she held a solo show of drawings in room 828 of the Chelsea Hotel. Maybe my interest in her portraiture of celebrities and beautiful youth is the way she prettifies them even as she appeals to what is not pretty in the viewer. It was sort of the way I approached my own celebrity portraits for which I was known during my Vanity Fair days. I have described portrait writing as sculpting and knowing about the negative space needed within them as one instinctively senses when to claw the clay away. The jeunesse dorée who inhabit much of Peyton's own singular portraiture are less golden to her pastelist eye yet still gilded with a preternatural guile that gives them an earthbound beauty that plays gloriously against the airy pastels that flit about her small canvases in a fleshy fever, a flick of a smoldering eye, a smooth cheek that balances out a churlish grin, a tossed-in toss of a bang that de-centers the whir of a famous face. There is negative space in her paintings where no color exists as if that is where the ennui of longing has come to rest for that is finally the portrait she paints over and over and over: the trenchant weariness of not only being perceived as attractive but also, alas, just being fucking perceived.
It is this aspect of her work that works so brilliantly as it is hung in tandem with the portraiture of the historical figures in the Tudor and Victorian rooms at the National Portrait Gallery. A pas de deux results. A partnering. Idolatry in a dichotomistic dance of eras, styles, brush strokes, and artistic strategies. And yet the stratifying of beauty is still there. Exaltation is all, and all that is left. It is the negative space between her work and the storied art by which it hangs in this show. It is the clay that has been clawed away and which ironically – for an ironic willfulness limns her work as she concentrates on painting all these seemingly free spirits confined now to the claustrophobic confines of her small canvasses to be held as they are beheld – that holds it all together in its juxtapositions. We may behold them. But they in their beauty are our judges and our jury as they behold us beholding them. We are seen by the seen.
Left, "Alizarin Kurt, "1995 by Elizabeth Peyton. Photograph: Courtesy the Brant Foundation, Greenwich, CT. USA. Right, Queen Elizabeth I by unknown continental artist, oil on panel, circa 1575. National Portrait Gallery, London.
Left, Claire Foy. Right, Matt Smith.
I saw a couple of two-handers – pas de deux of a different sort – while in London that were, okay, middlebrow yet also quite good within the parameters they set for themselves. They also gave each pair of actors a nice opportunity to exercise their keen talents as they keyed into the characters. Indeed, it was the acting in each production that was what finally made me grateful for having seen the plays more than the plays themselves. Yet my writing that previous sentence proves that the dramatic machinery was gleaming, top-notch, every working part in place in order for the actors to have made it all hum along so smoothly. I like my road a bit rougher though. I like feeling the pavement beneath the chassis instead of focusing on the sleekness of the chassis itself. There is a reason such plays are called "star vehicles." There is a reason that Shakespeare made mechanicals the actors in A Midsummer Night's Dream. His were rude ones. These four actors possess a highly-honed impertinence which matches their (well)-mannered plays.
The stars of Lungs at the Old Vic were Claire Foy and Matt Smith who gained worldwide attention as Queen Elizabeth and Prince Phillip in the first two seasons of the Netflix series, The Crown. Their characters in this – played on a basically bare stage instead of the ornate trappings of their royal roles – are dressed frumpily in jeans and sweaters and t-shirts and yet their seeming to have walked in from their own apartments after having thrown on the first thing they saw in their closets and then loped right onto the stage doesn't diminish their star power. In fact, it proves just how much they have because it doesn't need to be costumed by Netflix to dazzle us.
Foy and Smith portrayed rather bratty lovers who batted about their dialogue – which centered on their debate about whether to have a child or not – with an almost athletic aplomb. Smith is a bit hangdog in his doggedness. Foy – she even looks as if refusing to shampoo and brush her hair was built into her contract for the play – fumbles about with a kind of silent inner debate simultaneously with the frantic and fearful and witty one she is having with Smith. It is dizzying and downright mesmerizing.
Lungs, written by Duncan Macmillan and directed by the Old Vic's Artistic Director Matthew Warchus, was an intermission-less 90 minutes. Foy's character was an academic. Smith's was a musician. They talked about climate change. They shopped at Ikea. That cared too much and yet oddly I cared not a lot about them. I used the actor's own names because their characters are nameless and, moreover, as good as they are we are never not aware that we have come to see this couple who played Elizabeth and Phillip fill up the stage in very un-Elizabeth and un-Phillip ways.
Smith and Foy in a rehearsal hall at the Old Vic working on scene from "Lungs." Photo by Manuel Harlan.
A friend of mine hated this play as much as he loved them in it. His argument seemed to be that he was almost offended by the Old Vic wasting its resources on this play about an upper-middle-class cisgender straight couple debating the merits of having a baby when there were so many other issues and characters to explore. I didn't feel that kind of disdain for the play. Cisgender straight couples wondering if they should have children also go to the theatre and I'm sure they often wonder why they gave to be so damn woke as they force themselves to stay awake at plays that speak not a whit to them. This play did not speak to my life as a gay man of a certain age who struggles with almost every issue that this play ignores, but I still enjoyed myself until the rather hoary denouement that hurries through the years of the characters lives.
Lindsay Duncan and Alex Jennings in a rehearsal hall at The National working on a scene in "Hansard." Photo by Catherine Ashmore.
At The National Theatre two other British stars, Lindsay Duncan and Alex Jennings, were masterful in Hansard, another 90-minute intermission-less play, the title of which is the British term for the official report of all parliamentary debate. Jennings played a Tory member of Parliament. Duncan was his left-wing wife. It was the 1980s and Maggie Thatcher was Prime Minister. Jennings' MP arrived at their country home in the Cotswolds for the weekend and found Duncan's character still in her nightgown and robe. The walls were free of art and the refrigerator was in need of groceries. There was gin though, and the smell of it and Blenheim Bouquet by Penhaligon's seemed to waft through the house's rooms along with the Weltschmerz that settled into the unfolding 90 minutes. There was much discussion of 1980s politics, specifically to the MP's having voted with Thatcher's homophobic fear-mongering manifested in the despicable Section 28 law. That law and their debate about it was imbued with their own personal history because of their lone child: a gay son.
Hansard is the first play written by actor Simon Woods. It was directed by Simon Godwin. It reminded me of a shorter, more polite Who's Afraid of Virginia Woolf. I would love to see Duncan and Jennings in that at some point. This seemed like their warmup act.
Thusitha Jayasundera
There could not have been play more different than these two two-handers than [BLANK] at the Donmar Warehouse, one of my favorite theatres in London. Written by Alice Birch, the text consists of a series of more than 100 scenes about adults and children impacted by the criminal justice system. It was written in conjunction with Clean Break which is a theatre company that works with women affected by the criminal justice system. The concept is for a director to curate a play from the 100 scenes, and Birch has stated that the cast can range from 10 to 50. Director Maria Berg curated 30 of them into her production for the Donmar. The cast consisted of 16 actresses. The standout to me was Thusitha Jayasundera who played both a mother of a drug addict and a lesbian restaurant owner who loved her own lines of coke.
Here is a rundown of other performances that moved me during my theatre-going pilgrimage in London.
Sirine Saba
(1) Sirine Saba in Botticelli in the Fire written by Jordan Tannahill and directed by Blanche McIntyre at the Hampstead Theatre. Saba played both Clarice Orsini and Venus herself in a Tableau Vivant scene of Botticelli's "The Birth of Venus," the creation of which is at the center of the purposefully anachronistic play that is teeming with issues and allusions. It is an unruly, riotous, troubling mess of a play that is finally maddeningly moving. But it did seem to need a few more workshops. I also enjoyed McIntyre's reimagining of Tartuffe at The National – also purposefully anachronistic – earlier in the year which starred a menacingly mincing Denis O'Hare. I'll keep looking for her work. I love her, yes, teeming mind. I just wish as a director she herself were a bit less unruly although manifesting unruliness seems to be her brand, her trademark, her comment on these times we are navigating as she looks at them in a rather timeless and even classical way.
London has become part of the narrative of my life so it only seems fitting that I saw so many plays which focused not on narrative as the form and function of drama but as the subject of the plays themselves in different ways. It began – to take a detour back to New York for a moment – even before I got to London when I saw an early preview of Adam Rapp's remarkable play The Sound Inside, yet another a two-hander but one made remarkable by the director David Cromer and his actors, Mary-Louise Parker and Will Hochman. It is ostensibly about a New England college professor and a student in her writing class but it is more deeply about how we not only navigate our lives by searching out other narratives to give us signals and signposts as we meander rather mapless and alone toward whatever destination that will have us, but also, if we are blessed with the curse of creativity, how we make instead a map of our own narrative and became cartographers of human cargo. Writers alas don't just write; they – we – perceive life as being written in real time. To see in such a way takes the closeness of distancing – and the need, as the last two sentences have pointed out, to exist in an exalted incongruity, which is where this moving, keenly delineated production exists. I runs through January 12th.
Parker always sort of gives the same performance but her genius is that within that performance she fits into it a completely different character each time we witness her artistry. Yes, a kind of exalted incongruity is her own artistic calling card. There is a distancing technique to her acting that invites us to stand just outside her character and join her in observing the person she is conjuring. Hochman is more than a sorceress's assistant however. He is also doing something rare, putting the reality of his work in service to the exalted incongruity of a play about creating narrative and not just representing real life. It is in that sense that the lives these actors are bringing into existence are real in a hyper sense. It is why the ending of the play is so profoundly moving. It is more real than the reality of what is being presented because it has been put through the sieve of perception, that blunt omniscience of art. Indeed, art is on some basic level that bluntness being honed to lessen the essential hurt of being human even as it tries to understand it.
The Lincoln Center Theatre production at Studio 54 Theatre has been honed itself from the production that originated at the Williamstown Theatre Festival last summer, and it is imbued with grace. The responsibility for that rests with the direction of David Cromer who so often as a director somehow has the poise and bravery – the utter stillness – to allow such grace to surface organically. He allows the conjuring to occur and then melds with it to delineate it for the less graceful of us in the audience coming to bear witness. There is always a teeming stillness – more exalted incongruity – to his work. The lighting design is by Heather Gilbert; it is the literal imbuing of such grace. Cromer and Gilbert provide the punctuation to the sentences that Parker and Hochman are personifying.
Grace Moloney as Emma Watson and Louise Ford as Laura in "The Watsons." Photo by Manuel Harlan.
(2) Grace Molony and Louise Ford
But back to London. My first night there in October, I headed to the Menier Chocolate Factory to see The Watsons by Laura Wade. It is based on Jane Austen's unfinished narrative Emma. Wade set out to flesh it out and suss out an ending, even inserting herself into the play as a character who was a playwright named Laura as the characters realized they were characters at her insistence even as they began to take on a life of their own and insisted on their own agency. The first act left me focused on how facile it all was, how very middle-brow in that first "Mummy! Jane Austen is fabulous because – shit! – she's so modern! I even understand the language!" kind of exclamatory way those of us who discover her revel in – not only going on to steep ourselves in her talent, but also our preening love of it.
But the second act deepened – even its wit did – and became at times rather wondrous and batty and even belligerent. It is meta about its meta-ness. But it kept its balance brilliantly as it pirouetted about in its Pirandello-like way. The ensemble couldn't have been bettered as they got the best of the playwright-within-the-play who surrendered to their characters – her characters – and gave them the gift of her own agency as a writer. I was finally surprisingly moved by it. It will be transferring to the West End in May 2020 and is scheduled to sun until September at the Harold Pinter Theatre. It is directed by Samuel West.
Fra Fee
(3) . Fra Fee in Brian Friel's Translations at The National is part of the extraordinary cast assembled by director Ian Rickson which ends its run on December 18th.
Translations is a play about how language – its mysteries, its weaponry, its wondrous power – can bring us together as well as tear us apart. The play takes place in Ireland in 1833 amidst the mist-laden Donegal hills and opens with a schoolteacher coaxing the very essence of language – the naming of oneself – from a young female student who is basically mute but somehow the ballast of language is contained even within her. We learn the rudimentary lesson that language is part of our breath itself in this first scene. Language is breathing. Language is life.
Seamus O'Hara
(4) Seamus O'Hara
The teacher, portrayed by Seamus O'Hara, is a second generation Latin and Greek scholar – his father is played powerfully by Ciaran Hinds – and his family is imbued not only with rich Celtic history and its rambling myths but also the Latin and Greek ones. The old scholar's other son (Fee) is bilingual and has been hired to help the English map Ireland anew and take its Gaelic names and refigure them into English ones. I used the imagery of maps earlier to illustrate how narrative and language can shape our lives. Friel uses it for metaphorical and dramatic effect in his masterful play about which I write a bit ore when I do a roundup of outstanding performances seen during my London trip.
On another night at The National, I caught Annie Baker's Antipodes which is set around a conference table where its characters pitch stories – narratives are the products being perfected – to a boss they are trying to please. It an an elliptical, mystifying narrative itself which feints toward an ironic loucheness before flailing about in the earnestness of ritual. At one point the actor playing the boss went up on his lines and said "Line! Anyone!" and was fed it by a disembodied voice from somewhere off in the wings. I wondered for a moment if that were part of the play. But sweat on the actor's face made me think it was not. It was a deeply human moment in a play about being deeply human. Indeed, storytelling was how we became human and rose in our own narrative arc from the animalistic. In that moment when that line was fed to that sweating human face, I realized that is what writing itself is. Writing is being fed our lines by the disembodied voice.
(5) Fisayo Akinade
Fisayo Akinade. Photo by Phil Sharp. Akinade is one of my favorite young British actors. I have seen him in plays during three of my recent trips to London. I first noticed him at the Donmar in "The Way of the World" as Witwould about which the Telegraph's critic Dominic Cavendish wrote, "he's all poise, gaiety and glitter, throwing his bon mots out with a conceit that mocks itself. It's as if, across the conscious artifice of colour-blind casting, he finds the truth of that age's foppery." I next saw him at the Almeida in "Shipwreck" by Anne Washburn, a lacerating play about the Trump era in which he played the adopted Kenyan son of white Christian parents in upstate New York. And this last trip I saw him as part of the ensemble of Annie Baker's "Antipode." I hope he will be in a production when I return for the month of April.
(6) Olwen Fouéré as Mother in Marina Carr's adaptation of Lorca's Blood Wedding to rural Ireland which was directed by Yaël Farber and signaled further the Young Vic's new, exciting, multicultural, and adventuresome direction under artistic director Kwame Kwei-Armah. When I first heard that Lorca's Andalusian ritualized narrative was being transplanted to Celtic cadences, I was worried. But it worked in wondrous ways. One of them was that with females as writer and director this play, which can fall back on the machismo one expects from it, is served up with a fiercely imagined maternal aspect at its fore. Fouéré was magnificent as she prowled the stage as if it were the prow of a ship she were captaining. She was more than captivating. She was mesmerizing.
Olwen Fouéré.
(7) Daniel Rigby in Michael Frayn's Noises Off in the West End. I try to see everything in London when I'm there, including a Frayn's frenetic meta-farce that is not my usual fare. I'm glad I saw this though because I got to see Rigby in action. I had first noticed him the role off the creepily haughty Donald on the television series Flowers when I binge-watched it on Netflix in order to catch up on some Olivia Colman performances. But it was Rigby that made me take notice. He was brilliant in this knock-about comedy.
Daniel Rigby, who In 2011 won the BAFTA for Best Actor in a television series for his performance as late comedian Eric Morecambe in "Eric and Ernie," "beating both Matt Smith for "Doctor Who" and Benedict Cumberbatch for "Sherlock Holmes." In 2017, he won the Best Actor award at the Manchester Theatre Awards for his performance as Alan Turing in "Breaking the Code" at the Royal Exchange.
(8) The Royal Shakespeare Company in its productions of As You Like It as well as a The Taming of the Shrew that recast most of the roles in the latter with the opposite gender. There was real joy in the members performances not only in the roles they were each assigned but also in their being part of the tradition of being in this company. I loved the elemental majesty they mined in As You Like It and the transgressive way they went deep into the gender politics of Shrew and shredded them as they and their director Justin Audibert reimagined society in 1590 as a matriarchy. If only we could manifest such a society in 2020.
The women of the Royal Shakespeare Company as the matriarchy in a reimagined "The Taming of the Shrew" in which the women are the ones who wield power.
Claire Price as Petruchia and Joseph Arkley as Katherine in "The Taming of the Shrew."
(9) Bryn Terfel in the title role of Don Pasquale at the Royal Opera. We know what a great singer he is. But he is also – rare in the opera world – a wonderful actor. It was a marvelous performance. Delightful and at times even deeply touching. And, yes, sublimely sung. There is a burly grace to this great opera star. Bravo.
Terfel was terrific in the modern-dress "Don Pasquale" at the Royal Opera House directed by Damiano Michieletto in a co-production with Opéra national de Paris and Teatro Massimo, Palermo
(10) Kenneth MacMillan
Choreographer Kenneth MacMillan in 1961. Photo by Colin Jones
I am a latecomer to Kenneth MacMillan and his genius as a choreographer. I always associated him with story ballets and the tweeness in so much of Frederick Ashton. But a couple of trips ago to London, I saw his Manon danced by the Royal Ballet at the Royal Opera House and the scales were removed from my eyes – or maybe it is just the magnificent exception to my aversion to story ballets. I do think Manon is a masterpiece. I saw the ABT production of it subsequently in New York. And saw it twice again during my recent trip to London. I find it deeply moving, psychologically astute, witty, stirring, political, even profound. The pas de deux are glorious and gladden my heart when not reminding me of my own loins as the dancers remind us they are imbued with grace as artists but can rut around – all loins and ligaments and abandon – when the need to rut arrives The ballet is based on an eighteenth-century novel – all loins and ligaments and abandon – by Antoine François Prévost that was banned when it first came out in 1731 before becoming hugely popular on the basis of pirated copies. According to the Royal Ballet's website, MacMillan believed that the courtesan Manon's story would make a fantastic large-scale ballet which could utilize the entire company. But the choice of such a capricious and apparently ruthless heroine was a challenge to ballet conventions. Critics expressed reservations about Manon after its premiere. "Basically, Manon is a slut and her lover Des Grieux is a fool and they move in the most unsavoury company," wrote one reviewer.
There is nothing unsavory about the Royal Ballet. I am the company's newest fan. Devoted. And filled with gratitude and delight.
I also discovered MacMillan's Concerto on this last trip to London. From the dancing to the music by Shostakovich and his "Piano Concerto No. 2" to the exquisite (even spiritual) lighting for the Royal Ballet's version conjured by the masterful lighting designer John B. Read, it was a transcendent experience – especially the second andante movement's pas de deux. The ballet was created by MacMillan in 1966 and first performed in Berlin by Ballet of the Deutsche Oper. He createdt the languorous pas de deux in that second movement originally for Lynn Seymour and Rudolf Holz. In her autobiography, Seymour remembers it as "a romantic impressionistic sequence which resulted from Kenneth slyly observing me working alone, an hour on pointe before evening rehearsals. He transported curving movements of concentrated simplicity – an arm slowly dropping, a leg stretching sensuously – into a joyous pas de deux."
(11) William Blake
I am a pantheist – much like the mystic and poet and artist William Blake. My spiritual practice involves believing in God, all of them. My newest summing up is, "The Light said, 'Let there be Light.' And man said, "Let there be God who said, 'Let their be Light.'" Part of my pantheistic belief system is that theatres and museums are temples and art is God's work. But it is also a kind of Dionysian dare too. A love letter from Lucifer who was the bearer of light. Jesus is in on this journey. But so is the Buddha who has no need for a bag. Ganesha giggles at the concept but goes along with it. I've invited Mohammed and Moses but they are busy debating each other. We've left an empty bench for them to sit on together after they work it out. I told them to get-a-room.
Friends of mine who know of my pantheistic beliefs told me I had to go see the Blake retrospective when I was in London last. It will be at the Tate – not the Tate Modern – until February 2, or Groundhog Day, which is contextualized itself around shadow and light. The Guardian's art critic Laura Cumming in her five-star review of the show, began her column: "This stupendous show opens with a starburst: the naked figure of Albion rising in glory, rainbows exploding around his outstretched arms. It is a curtain-raiser, a full frontal performance: the beautiful dancer in mid-sashay on the edge of a cliff, bringing light to dispel the darkness. And Albion's arms are holding out for more – welcoming this new dawn, inviting us all to rise up with him. It is the great wake-up call of British art.
"But what does it mean, this spectacular engraving? Albion represents England (and primeval man) in the made-up mythologies of William Blake (1757-1827). But many people believe this is not Albion so much as the personification of freedom, imagination, independence. Shake off those mind-forg'd manacles, rebel against conservatism, slavery, organised religion, even tight clothes: interpretations of the image are ceaselessly at odds.
"Everyone knows that Blake is art's original free spirit. He is against science, the establishment, the Age of Reason. Yet this radiant figure might be the very emblem of Enlightenment thinking, just as it could be the angel Gabriel, a prelapsarian Lucifer, or the spirit of political awakening."
Albion from Blake's "A Large Book of Designs."
Blake's vision of Lucifer
To meander through the Blake exhibit was a great way to spend my last day in London during this last trip there. His art was timeless and modern and slightly mad, the kind that speaks to me. It, like Manon, ruts with a lot of grace. Like Lucien – and Lucifer before him – there was something elemental in his magnificence. The simplicity of Blake's lines led him to a mystical complexity. I don't finally buy into the manmade Biblical narratives to which he lent his genius and that needed names and bodies and wings sprouting from flesh in order to make sense of what is finally unexplainable. Great art is not an explanation. It is a surrender to that which cannot be explained. It is an expiation for our being human made to a realm that forgives us – God bless its many Gods – for being so. Great art is an act of forgiveness for not being able to transcend our fleshy place here in our own realm even as we long for transcendence. Art is an act of trust. In it. And in ourselves. And all that is not it and not ourselves. "If the doors of perception were cleansed," Blake claimed, "every thing would appear to man as it is: Infinite."


Earlier today we had reported that Nayanthara's 'Dora' has collected around Rs.72 lakhs in Chennai city box office. Now we bring you the collections made by this horror-fantasy flick from theatres across Tamil Nadu.
Sources within the Trade circles confirm that'Dora' has collected Rs.6 crores in its opening weekend in Tamil Nadu and this is the biggest ever opening for a Nayanthara film.
This includes the share from the following three major areas of film distribution in Tamil Nadu.


text:
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Here is the url I was told to paste by way of asking for help after Boot Repair failed to resolve my problem. That problem, quite simply, is that I cannot boot Ubuntu even though I installed it on a spare partition (close to 450 gigabytes).

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Sally's right arm is like a set of car keys that she can't quite find. Or sometimes like a pencil that she is sure she was holding just a second ago. This is how the loss feels several years later. Earlier the pain had been sharper. Sometimes there was the sense of a school bully, bending her arm back to see if she could touch her shoulderblade. Most of the time though, it was a dull ache. She'd reach for cups and they would remain unmoved. Wave an invisible hello. She would feel fingers when it rained. Sometimes when her boyfriend stroked her cheek it was almost like he was trying to hold her hand.
R. N. was born with only three fingers on one hand. She'd learnt to live with this though, only experiencing the general suffering of someone with a deformity going through school. She was eighteen when the hand had to amputated after a car crash. It was hard to explain, but her new phantom hand had five fingers (although some were shorter than others). Thirty-five years later she sought treatment for the pain in a hand that didn't exist. They put her in a room with a mirror in a box.
Like all ghosts, phantom limbs are still a mystery unsolved by science. Although anywhere between sixty to eighty percent of amputees experience some kind of phantom sensation, the full reasons for this are unknown. Three of the best guesses for how it occurs are: changes in the brain after amputation (maladaptive plasticity); conflict between signals in the brain (proprioception); and vivid limb memories.
It sounds like lucid dreaming for limbs, but the thing about these phantom sensations is that the suffering is no less real simply because the limb isn't. We've long been able to trick our minds and it's not surprising that with something as intense as an amputation the brain tries to adapt.
Neuroscientist Vilayanur Ramachandran has spent years treating cases like these. He had a patient suffering from intense cramping where his phantom hand was clenched so tightly his invisible fingernails were digging into his phantom palm. There have been less painful cases: people feeling watches or rings worn on missing arms. But sometimes the feeling is too intense, and because of the nature of it, you can't exorcise or exercise the pain away.
Which raises the question: how do you amputate a phantom limb?
Mirror box visual feedback is the idea of using reflections of the full limb to help treat the phantom one. By superimposing this reflection where the limb is supposed to be, the brain can be tricked into responding. It was this process that Ramachandran and his colleague Paul McGeoch used with R. N. After thirty minutes a day for two weeks she was able to move her phantom fingers and was relieved of pain. Fascinatingly, while she'd gone from three deformed fingers to five invisible deformed and painful fingers after the amputation, since the treatment she felt that all the fingers on her phantom hand were of normal length. In their study on phantom fingers, McGeoch and Ramachandran stated that this could mean that "the brain has an innate template of a fully formed hand".
Importantly, when providing pain relief in this manner, clinicians need to distinguish between imagined movements and real movements of phantom limbs. How this distinction is made is unclear, but it becomes all the more relevant when you consider the power of the mind, not just in treating, but also extending the possibilities available to amputees.
An experiment in 2009 by Lorimer Moseley and Peter Brugger aimed to see if phantom limbs could do what normal limbs couldn't. They tested seven arm-amputees, and successfully trained four of them to be able to contort their phantom limbs in new ways. A fair question would be how this new movement could be proved. The answer involves the patient's response times to visual stimuli, showing both possible and impossible movements (full explanation here). In being able to generate new motor commands they were able to do things that normal limbs couldn't, including wrist movements that rotated freely from the forearm. The extension of this is that it could become possible to gain the ability for enhanced prosthetic movement that would be outside the traditional realm of possibility.
But it's not just people with missing limbs who are haunted. Researchers now say that non-amputees can also be made to feel phantom limbs, and even similar pain. Extending the rubber hand illusion (a fake right arm is stroked with a brush, which can trick people into feeling the dummy hand as their own), neuroscientists from Stockholm simply made brushing movements in mid-air in full view of the participants.
Fascinatingly, while she'd gone from three deformed fingers to five invisible deformed and painful fingers after the amputation, since the treatment she felt that all the fingers on her phantom hand were of normal length.
"We discovered that most participants, within less than a minute, transfer the sensation of touch to the region of empty space where they see the paintbrush move, and experience an invisible hand in that position," said researcher Arvid Guterstam.
It's amusing to imagine a room of scientists all tenderly painting invisible hands, but this image becomes more startling when in the next experiment the invisible hands were stabbed by the researchers. In order to prove that the illusion had taken hold, at the place where the hand was perceived to be the researchers made a stabbing motion with a knife and measured the participant's responses, such as sweating and heart rate. The reaction was the same as if their own real hand had been threatened, which showed that they were able to not only have sensations, but assimilate a body part they couldn't see as their own.
If we can be made to feel phantoms, and amputees can become double-jointed, it seems that our perceptions of our bodies, believed to be the most stable thing about us, are far more malleable than we thought. We can have out-of-body experiences when watching video camera feeds manipulated around us; we can fear for the safety of fingers that don't exist; and we can even get to the point of feeling like we are shaking hands with ourselves.
The sense of ownership over the self may prove to be much more fluid than we think. And science is ready to make the most of this flux. The ghosts are ourselves, with limbless potential.
Rafael S.W. is a recent graduate of creative writing and one of the founding members of Dead Poets' Fight Club. He has been published in Voiceworks, Going Down Swinging and Dot Dot Dash. He also competes in poetry slams and giant-sized chess games.


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Report13 Jan 2018
Can helps Europe to victory in Edinburgh – cross-country round-up
Yasemin Can wins the senior women's race in Edinburgh (© Mark Shearman)
Turkey's Yasemin Can was pushed all the way by Emelia Gorecka in the senior women's 6km at the Great Edinburgh XCountry on Saturday (13) but held on to claim the individual plaudits and help Europe to the overall title ahead of Great Britain and the United States.
Can – who won this race 12 months ago by 21 seconds and claimed a 15-second victory to retain her European cross-country title in Samorin last month – saw her ascendency dwindle to just two seconds this year, 20:58 to 21:00, on a typically cold and blustery afternoon at Holyrood Park where the runners had to contend with heavy underfoot conditions.
Europe amassed an unassailable score of 137 points ahead of Great Britain (182) and the United States (190) across the four scoring events – the men's and women's U20 races and the men's and women's senior races – but reigning champion Leonard Korir gave the United States something to cheer for in the final race of the afternoon.
Korir outsprinted Callum Hawkins in a memorable head-to-head 12 months ago and the reigning champion produced a near identical win to take the scalp of European cross-country champion Kaan Kigen Ozbilen from Turkey in the senior men's 8km.
Content to play the waiting game again, Korir only hit the front until the last 400 metres, pulling clear on the steep downhill section to eke out a three-second victory over Ozbilen in 24:32 with teammate Aras Kaya third in 24:39.
Norway's Simon Halle Haugen and Kelsey Chmiel from the United States claimed victories in the U20 races while Laura Muir anchored the British team to victory in the non-scoring 4x1km mixed relay.
Obiri and Kamworor claim notable institution wins in Nairobi
World 5000m champion Hellen Obiri defeated multiple world record-holder Joyciline Jepkosgei to retain her title at the Kenya Defence Forces Cross Country Championships which was staged at the Moi Airbase in Nairobi on Friday (12).
Obiri has by far the better track credentials of the two protagonists and the reigning champion made use of that speed on the last lap of the 10km. Obiri stopped the clock at 33:33 to claim her third victory in this race since 2014 with Jepkosgei, who holds the world records on the road at this distance, finishing five seconds in arrears.
"I knew the title was mine when we went into the final two kilometres together," Obiri told local reporters after the race. "I knew I had a good kick compared to Jepkosgei."
Both Obiri and Jepkosgei look poised to turn their focus to different surfaces and different distances in upcoming months. Obiri has cited the IAAF World Indoor Championships Birmingham 2018 as an immediate target where she will contest the 3000m while Jepkosgei will race in the Ras Al Khaimah Half Marathon next month ahead of the IAAF World Half Marathon Championships Valencia 2018 on 24 March.
In the men's race, Hillary Kering claimed victory over 10km in 29:34 to win by six seconds ahead of Franklin Ngelel. Kering has never represented Kenya beyond regional level but he is aiming to make the national team for the African Cross Country Championships in Chlef, Algeria in March.
On the road to the IAAF World Half Marathon Championships in Valencia where a hat-trick of titles beckons in March, Geoffrey Kamworor opened his season with his fifth victory in six years at the Kenya Police Service Cross Country Championships at the Ngong Racecourse just outside Nairobi on Saturday (13).
Kamworor still had the company of Noah Kipkemboi at the six-kilometre mark but the 25-year-old opened up a 17-second advantage on his unheralded rival in the second half of the 10km, winning in 29:11 to regain the title he won for the fourth successive time in 2016. Kamworor missed last year's race due to illness.
The women's race was a similarly one-way affair with Stacy Ndiwa defeating a host of more illustrious athletes to claim victory over 10km in 34:06. Ruth Chepngetich, who clocked 1:06:19 for the half marathon and 2:22:36 for the marathon last year, was a distant second in 34:25 with leading steeplechasers Beatrice Chepkoech and Hyvin Kiyeng third (34:36) and 10th (36:11) respectively.
At the Kenya Prisons Service Cross Country Championships held at the Uhuru Gardens in Nairobi on Saturday (13), world and Olympic 10,000m fourth-place finisher Alice Aprot eased to her third successive title, easily defeating world U20 steeplechase champion and record-holder Celliphine Chespol.
Aprot didn't hit the front immediately as she often does but made a decisive move on the last lap, opening up a winning margin which extended out to beyond half a minute, stopping the clock at 33:31 ahead of Chespol (34:09) and marathon specialist Visiline Jepkesho (34:38).
Chespol still has one more season left in the U20 ranks but the 18-year-old has said she will not defend her title in the steeplechase at the IAAF World U20 Championships in Tampere, prioritising the Commonwealth Games in Gold Coast in April instead.
Cornelius Kangogo claimed victory in the men's race over 10km in 29:41 ahead of 2006 world U20 cross country champion Mangata Ndiwa (29:46) and Wilfred Kimitei (30:04).
Steven Mills (with assistance from Kip Evans) for the IAAF
Yasemin CAN
Senior Race
Barega and Jebet produce contrasting victorie...
Mu threatens world U20 indoor 800m record, Lightfoot tops 5.94m, Browning scorches wind-assisted 9.96 - weekend round-up
Gashahun and Gebreselama victorious at Great Ethiopian Run


Suppose you have just added a new switch (SwitchB) to the existing network as shown in the topology.
RouterA is currently configured correctly for providing the routing function for devices on SwitchA and SwitchB. You need to be modified SwitchA to support the addition of SwitchB. You have been tasked with competing the needed configuring of SwitchA and SwitchB. SwitchA and SwitchB use Cisco as the enable password.
The VTP and STP configuration modes on SwitchA is correct and should not be modified.
You need to configure SwitchA as root switch for vlans 11, 12, 13, 21, 22 and 23. All other vlans should be left are their default values.
– Access ports that assigned to VLANs should transition immediately to forwarding state upon detecting the connection of a device.
– SwitchB VTP mode needs to be the same as SwitchA.
–SVI vlan 1 is to be configured with IP address 192.168.1.11/24.
- For operational and security reasons trunking should be unconditional and Vlans 1, 21, 22 and 23 should tagged when traversing the trunk link.
– The two trunks between SwitchA and SwitchB need to be configured in a mode that allows for the maximum use of their bandwidth for all vlans. This mode should be done with a non-proprietary protocol, with SwitchA controlling activation.
– Propagation of unnecessary broadcasts should be limited using manual pruning on this trunk link.
Configure the SwitchA as root switch for vlans 11, 12, 13, 21, 22 and 23 and need to have the same configuration as the SwitchB for successful configuration.
is it necessary to configure fa 0/3 & 0/4 with the native or allowed vlan commands as once they are grouped into the port-channel they use those settings right?
Is that enough to enable do1q on switch b only? do we need to do that on switch A as well?
I believe that native vlan must match on both sides right ??
I go thought with real lab in exam, switchB is 3500 series and other is 2900 series...For SwitchB we have to set the 802.1q trunking protocol before converting it into a trunk because it is a 3500series-switch which supports both ISL and 802.1Q, so we have to explicitly configfure which trunking protocol to be used. while the SwichA is a lower series switch, which does not support ISL trunking protocol (802.1Q is the only supported trunking protocol) so we can apply "switchport mode trunk" directly.
you can try it on Sw2 but Sw2 is a newer model , enabled by default. On sw1 you have to enable dot1q. You have to prune vlan, allowed vlan is pruned manually. And yes native vlan must match.
You fogot vlan 12 ?
Yes, You was right and it is updated now...Thank you..!
I intend to take my exam CCNP Switch on next week. Is this laboratory still valid today?
I just took the exam and had to remove some of the existing configuration that I did not see specified here. On one of the switches you need to remove the commands switchport access VLAN 98 from interface fa0/3-4. On switch A you need to make sure you create the VLANs prior to issuing the spanning-tree root primary command, otherwise you will end up with just spanning-tree vlan 11,12,13 priority 24576. I was only given two labs on my exam, this one and the Radius lab.
how much time this simulation need to be take according to exam ?
"...and Vlans 1, 21, 22 and 23 should tagged when traversing the trunk link."
Doesn't this imply they want 'vlan dot1q tag native' enabled?
Doesn't the native VLAN need to be part of the allowed VLANs?
I had this on the exam and feel like i failed because of this.


text:
Deadline Nears for Student Contest to Name NASA's Next Mars Rover
News | January 13, 2009
Tune Into Mars Rover Anniversary Program
This 360-degree panorama shows the vista from the location where NASA's Mars Exploration Rover Opportunity spent five weeks in November and December 2008 while the sun was nearly directly in between Mars and Earth, limiting communications. Full image and caption
Videos, talks from mission leaders and a keynote from former CNN correspondent Miles O'Brien will be part of a program carried on NASA TV for the rover five-year anniversary.
Showtime is Thurs., Jan. 15, at 3 p.m. Pacific.
To watch the show online, go to http://www.nasa.gov/multimedia/nasatv/index.html?param=public .
Rover home page
What's Up - February 2018
NASA's ARIA Team Maps California Quake Damage


British Airways is the flag carrier and the largest airline in the United Kingdom based on fleet size and second largest behind the easyJet in terms of passengers carried. The airline was created in 1974 after a British Board was established by the British Government to manage the two nationalized airline corporations, British Overseas Airways Corporation and British European Airways along with two regional airlines namely Cambrian Airways from Cardiff and Northeast Airline from Newcastle upon Tyne. On March 31st 1974, all four companies were merged to form British Airways.
Today the carrier offers the 123,000 customers to fly with it every day with great convenience and luxuries with a home base at London Heathrow making it the world's busiest international airport. The airline flies to more than 200 destinations in 75 countries across the globe through its premium airports such as Heathrow, Gatwick, and London City, and from 16 UK airports in total. A British Airways aircraft takes off from somewhere in the world in every 90 seconds making it one of the busiest airlines in the world. At present, the airline has a fleet of more than 280 aircraft including A380 and 787 and by 2020 the airline will receive 100 new aircraft. International Airline Group (IAG) is the present company of British Airways and Iberia making it one of the largest cargo carrier networks in the world.
So book flights with British Airways to visit the most enchanting destinations around the world.
British Airways has a range of classes that offer something for every taste and budget. No matter in which class you choose to travel the airline aim to make your journey a memorable experience.
A whole world of entertainment awaits you on 35% larger flat entertainment screen, in-seat power supply and headphones where you can watch hundreds of films, documentaries, TV Shows etc.
Enjoy the most delicious delicacies while travelling with British Airways which include complimentary drinks and a delicious assortment of finest food especially prepared for you by the renowned chefs.
You can even enjoy the service of complimentary bar, hot drinks, juices and water as well.
Relax and recharge your batteries before your flight in one of the elegant lounges which provide a range of business facilities including magazines, newspapers, free Wi-Fi etc.
Enjoy some of the world's top chefs delicious delicacies that will bring you full restaurant experience at 35,000 feet.
A USB port and RCA jack is just available for you to enjoy your laptop, ipod, camera on bigger screen.
Finding the best offers for British Airways is just a few clicks away. Flight Office offers you an easy to use flight search engines where you can find cheap British Airways tickets for your selected destination. Do not miss this opportunity, Start your search now.


text:
"Ticklish Reuben" is a folk song written by Cal Stewart in 1900. Released on the Victor Label, the song is a prime example of the "laughing song" genre. Initially, the tune starts off normally, then descends into jolly, rhythmic laughing.

Lyrics as follows

Oh,
My name is Ticklish Reuben
From way down in old Vermont
And ev'rything seems ticklish to me

I've been tickled by a feather
I've been tickled by a wasp
I've been tickled by a yellow bumblebee

I have always got a tickled sort of way about my clothes
It doesn't really matter where I be
I am tickled in the morning and I'm tickled in the night
Something's always sure to tickle me

hah hah hah hah hah hah hah hah hah hah hah hah hah hah
hah hah hah hah hah hah hah hah hah hah

(repeat x12)

Once I put some pepper into Dad's snuffbox
And the way he acted was a sight to see
Well he coughed and he sneezed till I thought he'd have a fit
And then he took me out to tickle me

I was always getting tickled by someone about the house
So why they take to ticklin' I could never see
And the apple-butter paddle it is all in splinters now
Daddy wore it out a-ticklin' me

Other versions
The song became popular among hillbilly artists in the 1920s.  Among the most influential was the version by Uncle Dave Macon as "Something's Always Sure to Tickle Me" on Vocalion Records, changing the lyrics of the first verse to name himself "little Davie" and the home state to "Tennessee".  It was recorded as part of the Bristol Sessions by the Smyth County Ramberlers on October 27, 1927 and released on Victor 40144.  It was included on the Cathedral Quartet's 1970 album It's Music time as "Laughing Song".

External links
 Biography of Cal Stewart, from Tim Gracyk's website

References

American folk songs
1900 songs

redpajama_set_name: RedPajamaWikipedia


text:
Q: How to group and count by date and 8-hr interval on those dates in datetime SQL column? I have a table with a column visit_date that is a datetime object with format YYYY-MM-DD HH:MI:SS that looks like the following:
visit_date         |visit_id
-------------------|-----
2010-11-01 00:02:00|92314
2010-11-01 23:05:21|23498
2010-11-01 12:42:31|12343
2010-11-02 05:13:21|79881
2010-11-02 14:35:15|22134
2010-11-02 16:12:23|12348
2010-11-03 01:22:44|12384
2010-11-03 05:23:41|12394
2010-11-03 15:13:55|99384

I would like to group by date and by 8-hr window on that date such that I have:
interval           |count
-------------------|-----
2010-11-01 00:00:00|1
2010-11-01 08:00:00|2
2010-11-01 16:00:00|3
2010-11-02 00:00:00|4
2010-11-02 08:00:00|5
2010-11-02 16:00:00|6
2010-11-03 00:00:00|7
2010-11-03 08:00:00|8
2010-11-03 16:00:00|9

My original query (using only dates) was:
SELECT CAST(visit_date as DATE), count(1) as count
FROM table
GROUP BY CAST(visit_date as DATE)
ORDER BY CAST(visit_date as DATE)

But that only groups by date.
Is there a recommended way to get interval counts for each interval per day? I have seen implementations using DATEADD and DATEPART but not sure which makes the most sense in this situation.
Thanks!

A: Add the hours in to what you group and count:
SELECT
  CAST(visit_date as DATE),
  HOUR(visit_date)/8 as ival8h
  count(1) as count
FROM table
  GROUP BY CAST(visit_date as DATE), HOUR(visit_date)/8
  ORDER BY CAST(visit_date as DATE)

The hour function returns the hour number of the passed date, divide it by 8 to get an int of the interval, so 0 to 7 becomes 0, 8 to 16 becomes 1 etc
If you want it back as a time pegged to a round 8h multiply it by 8 again and format it to NN:00:00, or add it to the date, thus:
SELECT
  DATEADD(hour, (HOUR(visit_date)/8)*8, CAST(CAST(visit_date as DATE) as DATETIME) as quantized_date,
  count(1) as count
FROM table
  GROUP BY DATEADD(hour, (HOUR(visit_date)/8)*8, CAST(CAST(visit_date as DATE) as DATETIME)
  ORDER BY CAST(visit_date as DATE)

This basically rounds the hours down to the lesser 8h market and adds that to midnight. Two casts are required (probably) on the date because DATEADD won't add hours to a date, only a datetime but we need the cast to date to peg the tine element to midnight
If you want there to be a date and a 0 count for periods where no events took place, use a numbers table or row generator and create a sequence of dates to left join your real data onto, then count the real data grouped by the fake dates

A: Use a cross apply to form 4 shift boundary values, then use those in a case expression to genertate the group by values
SELECT
      case
         when visit_date >= s1 and visit_date < s2 then s1
         when visit_date >= s2 and visit_date < s3 then s2
         when visit_date >= s3 and visit_date < s4 then s3
      end as shift
    , count(1) as count
FROM mytable
CROSS APPLY (
    select
          cast(CAST(visit_date as DATE)as datetime) s1
        , dateadd(hh,8,cast(CAST(visit_date as DATE)as datetime)) s2
        , dateadd(hh,16,cast(CAST(visit_date as DATE)as datetime)) s3
        , dateadd(hh,24,cast(CAST(visit_date as DATE)as datetime)) s4
    ) ca
GROUP BY
      case
         when visit_date >= s1 and visit_date < s2 then s1
         when visit_date >= s2 and visit_date < s3 then s2
         when visit_date >= s3 and visit_date < s4 then s3
      end
ORDER BY shift

result:
+----+---------------------+-------+
|    |        shift        | count |
+----+---------------------+-------+
|  1 | 01.11.2010 00:00:00 |     1 |
|  2 | 01.11.2010 08:00:00 |     1 |
|  3 | 01.11.2010 16:00:00 |     1 |
|  4 | 02.11.2010 00:00:00 |     1 |
|  5 | 02.11.2010 08:00:00 |     1 |
|  6 | 02.11.2010 16:00:00 |     1 |
|  7 | 03.11.2010 00:00:00 |     2 |
|  8 | 03.11.2010 08:00:00 |     1 |
+----+---------------------+-------+

A: I think the canonical way in SQL Server is to use dateadd() and datediff():
select dateadd(hour, 0, 3 * (datediff(hour, 0, visit_date) / 3)) as day_hour8,
       count(*)
from t
group by dateadd(hour, 0, 3 * (datediff(hour, 0, visit_date) / 3))
order by day_hour8;


text:
Harold Robert Bagnall was a Canadian Anglican priest in the 20th century.

Bagnall was ordained in 1948. After a curacy in Saint-Martin, Quebec he was Rector of Welland from 1952 to 1960; and then of St. Catharines until 1963. He was Dean of Niagara from 1963 to 1973; and Archdeacon of Niagara from 1973.

References

Archdeacons of Niagara
Deans of Niagara
20th-century Canadian Anglican priests


text:
Charter keeps what works well now – From the Majority Report
Amherst's proposed Charter does not change our entire government. It keeps a number of key features that have worked well for us.
For example, most residents who the Charter Commission talked to said that the day-to-day management of Town functions is good. We have skilled administrators, financial stability, and a wide range of services. We have checks and balances between professional staff and citizen representatives. And we have a variety of citizen boards and committees. The proposed Charter preserves all of these elements.
Professional management for a complex environment. With an $86 million Town budget, three institutions of higher learning, including the state flagship university campus, and a rich diversity of people and perspectives, Amherst is a complicated town to administer. The new Charter maintains our tradition of hiring a chief administrator based on expertise in municipal management. We will continue to have a full-time, professional Town Manager to handle day-to-day operations: service delivery, budget development and management, hiring and supervision of Town staff, procurement, legal, finance, and so on. For more on this, click here.
Checks and balances. As with our current system, we will continue to have citizen representatives as a check and balance on the actions of professional staff. Currently the Select Board hires and supervises the Town Manager and develops key policy priorities, and Town Meeting reviews and approves the Town budget. The Town Council will continue these roles. In addition, the Town Manager's appointments of department heads and members of boards and committees will need to be approved by the Town Council. For more on this, click here.
Resident boards and committees. The Amherst website currently lists 50 separate boards and committees, offering hundreds of opportunities for residents to participate in the operation of our Town. The vast majority of these will continue, and the new Charter creates additional options, such as commissions on ranked-choice voting and participatory budgeting.
Voter initiatives. Under our current Town Government Act, residents can collect signatures to require our legislature or the voters at large to vote on citizen proposals. Under the new Charter, residents retain this power. In addition, the new Charter adds a "voter veto," which allows voters to collect signatures to force a town-wide vote that can overturn a Town Council decision. For more on this, click here.
Budget and Finance committees. The new proposal retains the key budget and finance committees that promote high-quality fiscal decision-making. The Budget Coordinating Group and the Joint Capital Planning Committee will continue to bring together elected board members and fiscal managers from municipal, school, and library departments for budget planning. The Finance Committee will become a committee of the Town Council, and may include non-Council members with fiscal expertise as well as Council members.
This post is excerpted from the Charter Commission's final report, which was written by Andy Churchill, Tom Fricke and Nick Grabbe.
Janet McGowan
Could someone please explain what this sentence means?
"We have checks and balances between professional staff and citizen representatives."
Mandi Jo Hanneke
Professional staff would be the Manager and Town staff (there's also the Superintendent and Library Director and relevant staff). Citizen representatives would be Town Council, School Committee, Library Trustees and other elected officials.
Here's an example of checks and balances between the two:
The Manager will appoint all department heads and board and committee members (except Planning Board and Zoning Board of Appeals). But the Council must confirm those appointments. This provides a "check" on the Manager's appointment authority.
There is also the Council's investigatory power. The Charter permits the legislative branch to investigate the conduct of any Town agency (Executive Branch) other than the Library or Schools. This provides yet another check on the Manager and rest of the Executive Branch — again, a check that doesn't exist currently. Town Meeting has no such authority.
For a broader discussion of checks and balances see the post "Checks and Balances – Let's Compare."
Where are the 'checks' on the Council's power? What independent government body can check or stop the Council?
And the Town Manager is not a 'branch of government,' s/he is an employee of the Council, right? Don't all employers have a 'check' on their employees?
I've described the checks on the Council in the post "Checks and Balances – Let's Compare." But here they are again:
1) The voter veto and resident initiative petition procedures in Article 8. These options allow for the voters to overrule a council action or enact their own legislation.
2) Elections themselves — more frequent per legislator, potentially more competitive and issues-based, and easier for voters to keep track of their representatives and hold them accountable. Nick has described in detail how campaigns and competitive elections allow residents to actually choose who represents them, and for the legislators to know what residents stand for. The current system is woefully inadequate in this regard.
3) The required two readings of bylaws before final passage. This allows time for residents who casually follow the government to read about the potential bylaw and contact their representatives with an opinion. Enough outrage and the bylaw won't clear the second reading. This option isn't present in the current system.
In the proposed charter, the Town Manager is the Chief Executive Officer, head of the Executive Branch.


text:
Шеппи () — английский остров у северного побережья графства Кент. Расположен на юге Северного моря в эстуарии Темзы. Площадь — 93 км², население в 2001 году по итогам переписи 37 852 человек. Крупнейший город — Ширнесс на северо-западе. От основной части графства Кент остров Шеппи отделён узким проливом Те-Суэйл, через который переброшено несколько мостов.

История

В 855 году остров, принадлежавший королевству Уэссекс, был захвачен викингами, превратившим его в свою резиденцию. В 1361—1367 годах, во время Столетней войны, на основе был выстроен замок , укреплённый по последнему слову техники. Летом 1450 года его безуспешно осаждали вооружённые повстанцы под предводительством Джека Кэда, стремившегося сделать его своей резиденцией. В XVI столетии на острове возведён был новый укреплённый форт Ширнесс, для наблюдения за кораблями, входившими в устье Темзы. В июне 1667 года, во время Второй англо-голландской войны, остров был оккупирован голландцами, а форт захвачен и разоружен.

Ссылки
 : история, культура, фотографии

Острова Англии
Кент
Острова Северного моря


text:
School to be 'Mad' about 'Alice' today
The Lebanon Community Learning Center will host "The Mad Hatter's Tea Party and Extravaganza" in the Hanson School's gym on Sunday, March 28, from 1 to 4 p.m. Lebanon students and their families are invited. Attendees can dress as a favorite character from "Alice in Wonderland."
Guests will be able to play flamingo croquet, make fancy hats, attend a tea party and watch the 1951 Disney adaptation of "Alice in Wonderland." Activities will start at 1 p.m. The movie will begin around 2 p.m.
Online safety specialist to speak
Chuck Saufler, a speaker about online safety and technology media, will present "Raising Healthy Children in a Media Age: Challenges for Parents and Schools" at the Hanson School on Wednesday, March 31, from 6:30 to 7:30 p.m. Saufler will focus on the prevalence of cyber bullying. The presentation is open to the public.
Hypnotist to perform
Lebanon Little League will present Comedy Stage Hypnotist Joe Devito at Noble High School's Hussey Auditorium on Saturday, April 24, from 7:30 to 9 p.m. Tickets cost $10. To buy them in advance, call Stacey Whelan at 658-7771 or Robin Coffey at 457-3064.
Nomination forms AVAILABLE
Nomination papers are now available for this year's municipal election. Up for grabs this year are a three-year term as an MSAD 60 director; a three-year term as a selectman, assessor and overseer of the poor; a three-year term as road commissioner; and four three-year terms as a budget committee member.
All candidates must be 18 or older. Forms can be obtained at the Lebanon Town Office and must be returned to the office by April 26.
© Copyright 2006-2019 GateHouse Media, LLC. All rights reserved • GateHouse Gjcommunity 01


Discussion in 'Announcements & Information' started by Joshua Graham, Jul 23, 2017.
We are starting this thread to announce the factions that get featured.
These factions earned their featured status thanks to their hard work, showing dedication when managing it and growing each day. The Staff is always looking at the factions, so if you haven't been featured yet, don't get discouraged, yours could be next!
Being a featured factions comes with the benefit of having your own Starting Kit for your faction members!
The Khans are a tribe of brutally vicious and semi-organized raiders with a culture based around the basic tenets of Social Darwinism.
Wear Your Sunday Best With Mauds Muggers! We will pursue the youth throughout the Mojave. Together, we can destroy the Telephone Booth menace!!
The Enclave is a secretive political, scientific, and militaristic organization that is descended directly from members of the pre-War United States government, and claims to be the legally-sanctioned continuation of the government, while also styling themselves and their overall demeanor as such.
The Auxilia Company is my faction based off businesses. We are not politically based hence why we will not ally or go to war with other factions such as the NCR, legion, BoS etc unless necessary/profitable.
The New California Republic is a large, democratic federation of well over 700,000 based in California, with holdings in Nevada, Oregon, Mexico (Baja California) and along the Colorado River.
The Brotherhood of Steel is a paramilitary organization, devoted to the recovery and preservation of pre-War technology and information.
New Cossacks have been unadded to the featured factions.
The Brotherhood of Steel has been added to the featured factions, congratulations!
Old Caesar's Legion has been removed from the list.


text:
Ліллі () — місто () в США, в окрузі Дулі штату Джорджія. Населення — 213 осіб (2010).

Географія
Ліллі розташоване за координатами  (32.146535, -83.877464).  За даними Бюро перепису населення США в 2010 році місто мало площу 1,56 км², уся площа — суходіл.

Демографія

Згідно з переписом 2010 року, у місті мешкало 213 осіб у 75 домогосподарствах у складі 53 родин. Густота населення становила 137 осіб/км².  Було 96 помешкань (62/км²).

Расовий склад населення:

До двох чи більше рас належало 0,9 %. Частка іспаномовних становила 1,9 % від усіх жителів.

За віковим діапазоном населення розподілялося таким чином: 31,9 % — особи молодші 18 років, 56,4 % — особи у віці 18—64 років, 11,7 % — особи у віці 65 років та старші. Медіана віку мешканця становила 30,3 року. На 100 осіб жіночої статі у місті припадало 93,6 чоловіків;  на 100 жінок у віці від 18 років та старших — 79,0 чоловіків також старших 18 років.

Середній дохід на одне домашнє господарство  становив  долари США (медіана — ), а середній дохід на одну сім'ю —  доларів (медіана — ). За межею бідності перебувало 53,5 % осіб, у тому числі 70,9 % дітей у віці до 18 років та 30,8 % осіб у віці 65 років та старших.

Цивільне працевлаштоване населення становило 71 осіб. Основні галузі зайнятості: сільське господарство, лісництво, риболовля — 22,5 %, публічна адміністрація — 18,3 %, освіта, охорона здоров'я та соціальна допомога — 16,9 %, виробництво — 15,5 %.

Джерела

Міста Джорджії
Населені пункти округу Дулі (Джорджія)