text:
A democratic Europe should allow Greek people to decide on their future
Mr Tsipras's call for the 5 July referendum about the Eurogroup proposal is an ideal outcome for official creditors. Zsolt Darvas argues that at this historical moment euro-area leaders should extend the bail-out deadline and the ECB should wait for the referendum before curtailing Greek banks' access to liquidity.
By: Zsolt Darvas Date: June 27, 2015 Topic: Macroeconomic policy
Mr Tsipras's call for the 5 July referendum about the Eurogroup proposal is an ideal outcome for official creditors. Thereby, Greek people will either give a mandate to their government for continuing the implementation of the financial assistance programme, or vote for uncertainty. I do think that a no vote would ultimately lead to financial, economic and political chaos and may culminate in Grexit. But with a yes vote, the so-far arguably cumbersome, ineffective and unfriendly negotiations would be largely over and the discussions should be focused on the details and the implementation, not on the main principles.
In a European Union founded on the principle of democracy the referendum should be welcomed.
In a European Union founded on the principle of democracy the referendum should be welcomed. All other politically feasible solutions would have just prolonged the uncertainty. The Greek government perceives that its mandate received from January 2015 election does not allow to accept the creditors' offer. Thereby, any forced agreement on a slightly modified version of the conditionality demanded by creditors would have likely led to implementation problems and future disputes. And a collapse of the Greek government may just lead to political paralysis and an even more uncontrolled situation.
The Eurogroup statement issued after the talks broke down on Saturday 27 July plainly reiterates that the current financial assistance programme will expire on 30 June 2015. It does not include any indication that the deadline will be extended a few days after the referendum. Thereby, the Eurogroup statement makes the referendum largely useless.
The Heads of State and Government of euro-area countries should make a decision to extend the current bail-out deal a few days after the referendum.
The Heads of State and Government of euro-area countries should make a decision to extend the current bail-out deal a few days after the referendum. A democratic Europe should allow Greek people to have their say on such a historical question.
The extension of the current bail-out programme (or the lack of it) may influence the decision of the European Central Bank, which will be crucial for the next few days. The ECB should not reduce liquidity assistance to Greek banks. Either a bank holiday or severe limitations on cash withdraw/electronic payments seems inevitable before the referendum, but banks would not be able to survive a reduction in central bank liquidity support. A collapsing banking system would drag the economy down even further. The ECB may not increase liquidity support in the coming week, but at least it should wait for the result of the referendum before curtailing existing support, since with an extension, Greece will continue to be under a financial assistance programme.
creditors should lower the planned fiscal adjustment requirements. Greece has implemented by far the largest fiscal adjustment in the EU
In the meantime, creditors should lower the planned fiscal adjustment requirements. Greece has implemented by far the largest fiscal adjustment in the EU. A somewhat lower primary surplus would not make a big difference to public debt trajectory in light of the miserable miscalculation of the 2010-12 programme assumptions. A new ESM loan (based on the conditionality which will be voted on the referendum) should be offered to repay maturing ECB-held Greek debt.
The IMF should restructure its Greek loans the same way as European lenders did.
According to opinion polls, the majority of Greek people wish to stay in the euro area. If the risk of Grexit is eliminated and reforms continue, the Greek economy is destined to grow to the benefit of Greek people and the country's lenders. At this historical moment euro-area leaders should allow Greek people to make their voices heard and the ECB should wait for the referendum before curtailing Greek banks' access to liquidity.
euro area European governance Focus on Greece Greece
The euro comes of age
A well-functioning euro reflects a degree of unity that allows the EU to credibly claim a position at the global table and therefore help shape the policies that will deal with global problems. That is a decisive success.
By: Maria Demertzis Topic: European governance, Macroeconomic policy Date: January 13, 2022
The European economy in 2022
What are the economic priorities for the new year?
By: The Sound of Economics Topic: European governance, Macroeconomic policy Date: January 5, 2022
The Euro at 20
The euro's advocates hoped that the single currency would deliver economic and financial integration, policy convergence, political amalgamation, and global influence. While these predictions were often wide of the mark, the euro has arguably proven to be a wise investment.
By: Jean Pisani-Ferry Topic: European governance, Macroeconomic policy Date: January 3, 2022
Policy coordination failures in the euro area: not just an outcome, but by design
Discussions on the fiscal framework should aim to correct its procyclical nature with a view to promoting more cooperative outcomes.
By: Maria Demertzis and Nicola Viegi Topic: European governance, Macroeconomic policy Date: December 20, 2021
Inflation ideology: camp permanent or camp temporary?
Policy focus should be on tackling uncertainties by being able to tackle as many scenarios as possible.
By: Maria Demertzis Topic: Macroeconomic policy Date: December 9, 2021
Fiscal arithmetic and risk of sovereign insolvency
The record-high debt levels in advanced economies increase the risk of sovereign insolvency. Governments should start fiscal consolidation soon in an environment of low nominal and real interest rates and post-COVID growth.
By: Marek Dabrowski Topic: Global economy and trade, Macroeconomic policy Date: November 18, 2021
European monetary policy: lessons from the past two decades
This event will feature the presentation of "Monetary Policy in Times of Crisis – A Tale of Two Decades of the European Central Bank."
Speakers: Petra Geraats, Wolfgang Lemke, Francesco Papadia and Massimo Rostagno Topic: Macroeconomic policy Date: November 4, 2021
Microchips and Europe's strategic autonomy
Per microchips ad strategic autonomy.
Speakers: Piotr Arak, Alicia García-Herrero, Jay Lewis, Stefan Mengel and Niclas Poitiers Topic: Digital economy and innovation, European governance Date: November 2, 2021
Germany's post-pandemic current account surplus
The pandemic has increased the net lending position of the German corporate sector. By incentivising private investment, policymakers could trigger a virtuous cycle of increasing wages, decreasing corporate net lending, which would eventually lead to a reduction of the economy-wide current account surplus.
By: Lionel Guetta-Jeanrenaud and Guntram B. Wolff Topic: European governance, Macroeconomic policy Date: October 21, 2021
Tailoring prudential policy to bank size: the application of proportionality in the US and euro area
In-depth analysis prepared for the European Parliament's Committee on Economic and Monetary Affairs (ECON).
By: Alexander Lehmann and Nicolas Véron Topic: Banking and capital markets, European Parliament, Macroeconomic policy Date: October 14, 2021
Unboxing the State of the Union 2021
In this Sound of Economics Live episode, Bruegel experts look at the State of the Union address delivered by Ursula von der Leyen, President of the European Commission.
By: The Sound of Economics Topic: Macroeconomic policy Date: September 15, 2021
The Sound of Economics Live: Unboxing the State of the Union 2021
In this Sound of Economics Live episode, we look at the State of the Union address delivered by Ursula von der Leyen, President of the European Commission.
Speakers: Grégory Claeys, Maria Demertzis, Alicia García-Herrero and Giuseppe Porcaro Topic: Macroeconomic policy Location: Bruegel, Rue de la Charité 33, 1210 Brussels Date: September 15, 2021


Let's keep the monthly topic going! This month we are focusing on Green Waste Management.
This month we are meeting from 7:00AM - 9:30AM at The Nosh - 4855 E Warner Rd in Phoenix. It's in the Bashas' plaza on the SE corner of 48th Street and Warner.


text:
window.BAZ = 'qux';

export default {};

redpajama_set_name: RedPajamaGithub


In case your residence is like most houses during the US, your AC unit can make your home great by blowing air by the vents in your ceiling aircon service. There's an air handler or furnace in the attic and a condenser unit outside the house, the two connected by a series of ducts, and you should transform the consumption filter at the time per month. When the procedure stops working, you are incredibly hot, uncomfortable, and not sure concerning where by to show for air conditioning fix. Below are some issues to look at when attempting to find the proper people to try and do the job.
Seek to track down the condition. Hear for odd appears (or even the lack of that ordinary whirr). Will be the exterior unit turning on, even so the air just isn't blowing? Will be the unit blowing constantly devoid of cooling your house down? Just take notes within the unusual to ensure you could greatest connect your preferences.
Talk to (and contact) all around. Come across businesses which have joyful clients. Talk to your mates and loved ones; do an on-line hunt for critiques. If they have carried out a great task in the past, odds are, they'll have the capacity to do a good task to suit your needs. When you've located 3 or four probable organizations, simply call each for a quotation. Once you connect with, give thought to no matter whether the men and women you happen to be conversing with make you truly feel snug and welcome or, around the other hand, like you might be losing their time or bothering them. If they you should not produce fantastic services within the mobile phone, they may not manage to do this in your home. In addition, you desire the individuals you select to fix these kinds of a significant appliance to generally be simply out there if you require them.
Generally make sure your air-con fix organization is accredited and insured. This looks like a no-brainer, but when then heat is on, at times it's the large factors which have been forgotten or disregarded. Guantee that the business you decide on includes a present license. You may also check for disciplinary motion or grievances by doing some online investigate When double checking that the enterprise is accredited, inquire if they have equally standard liability and worker's compensation insurance, just in the event that somebody is injured in your home over the task. You can choose to safeguard oneself and go together with a company who safeguards their workforce.
Last but not least, depend on market certifications along with your own intuition. The organization ought to be skilled to perform the do the job you may need them to complete. Inquire about one or more from the four main corporations that award air conditioning maintenance males the coaching and certifications they have to do the best occupation: HVAC Excellence, North American Technician Excellence (NATE), Refrigeration Provider Engineer's Culture (RSES), and UA Star. These are generally the greatest and many dependable names inside the business. You can also would like to pay attention to how you really feel when they occur in your residence. In the event the techs make you truly feel unpleasant, will not have faith in them inside your dwelling or together with your AC.


Washington, DC – Pretty Prairie farmer and rancher, Chad Basinger, recently met with Kansas legislators in Washington, DC to discuss conservation in the next farm bill.
On Nov. 8, Basinger joined farmers from South Dakota, Iowa, Wisconsin, Michigan, Minnesota, and other states in a fly-in sponsored by the Center for Rural Affairs and the National Sustainable Agriculture Coalition.
Basinger is a long-time participant in conservation programs. He is currently enrolled in CSP and has an active EQIP contract.
In Washington, Basinger met with Rep. Roger Marshall. He also met with staff in the offices of Sens. Pat Roberts and Jerry Moran, and Reps. Ron Estes, Lynn Jenkins, and Kevin Yoder.
"The fly-in is part of a national effort to maintain and strengthen conservation of the nation's resources, and support a healthy and thriving rural America," French said.
The Kansas farmer grows wheat, soybeans, and grain sorghum in Reno County. He also manages a cow-calf herd, and backgrounds and finishes calves.
Congress has started work on the next farm bill. The current farm bill expires on Sept. 30, 2018.


Thamesford Library's writing group meets monthly and it is never dull. Come join us to meet a friendly bunch who enjoy sharing stories (and poems), both oral and written. You choose the topic and the group will listen.


text:
Jonathan Wateridge
Selected works by Jonathan Wateridge
Group Series Number 1- Sandinistas
"The group series explores ideas of role play, identity and why people choose to commemorate a collective moment. It is a moment that is 'real' but also performed and I find that tension interesting to examine. For Sandinistas I was exploring images of extreme environments, and people who operate outside 'civilisation'. Military paintings are traditionally associated with commemoration of victories and the celebration of the State. Painting guerrilla fighters in this way undermines this tradition; they represent something that has (or has been) 'lost'. The figures are painted in a very realistic way so that they are pushed out into our space in direct confrontation, while the background is flat and theatrical, redolent of an anthropological display. The painting is about our understanding and consumption of this type of picture. It presents a fiction that has become an archetypal or generic image that has little to do with the reality of the fighters' existence."
Jungle Scene With Plane Wreck
272 x 400 cms
"My paintings construct images you feel you could have seen before. They play on a sense of the familiar. Jungle Scene With Plane Wreck is the last painting from a series of landscapes of forgotten disasters that were originally inspired by zoological habitats and dioramas, or the painted backdrops you see in museum displays. It's essentially a B-movie aesthetic meets the Sublime. They all contain wrecks of obsolete modernist engineering rotting away in fictional landscapes. I started this painting by making a scale model of the scene – I built a plane and wrecked it – and worked directly from the miniature. This allows me to think of my work in relation to cinematography. Akin to making a film, I can compose the image and direct the lighting as I see fit."
Group Series No.2 - Space Program
"Astronauts have an almost symbolic status. They operate on the frontier of an effort to understand the unknown. They appeal to a child-like sense of awe and adventure yet are the ultimate display of a culture's economic power and political ideology. The title Space Program puts the emphasis more on earthly planning than it does the heroics of space manoeuvres. The ship is still under construction, these men are gathered in anticipation of future glory not in celebration of established deeds. Hence there's a certain tension in the gathering; there's pride but also reservation. Though you might initially believe the image, subtle but mischievous clues to the work's fiction are introduced: for example, the milk bottle top or a mobile phone keypad on the ship; plumbing parts on the space suits; the astronauts are in fact friends dressed in costumes made in my studio. As soon as you are made aware of these elements, there's something mildly comic about the image but also darkly so in the sense that this would obviously be a completely doomed mission!"
NOTES ON GROUP SERIES, JULY 2008
"If you don't write your own history, someone else will,
and this history will suit their purposes." Mike Kelley
"Even if I am resurrecting (...) obsolete forms of
representation, I'm always indicating their inability to
represent the real subject of the work." Stan Douglas
"It may be true that the work is made by one person,
but it is not necessarily true that it is to be viewed by one
person, or one person thinking of themselves importantly as
one. It may be that it is important for one person to think of
themselves importantly as one of many". TJ Clark
Trying to remember one's first memories of the visual languages of the adult world is an interesting exercise.
The way I remember my understanding of certain things as a child is rather like saying a word over and over until it loses its meaning and you end up with a strange, lateral impression of something. As a boy, I remember rifling through news magazines lying around the house and would see images, for example, of a gathering of politicians. I had no idea who these people were or what they were doing but somehow the images conveyed 'importance'. Even now when clearly I recognise politicians or dignitaries, they are sometimes rendered anonymous by my associative memories of the kind of picture they're in.
In conjunction with a sense of fiction or fabrication, the notion of people and the 'kind of picture they're in' has become a primary concern in my work where subjects are distilled into a 'perfect memory' of the type of image represented.
In an emerging series of paintings, which employ a combination of live models, constructed scale sets and costumes, the various generic groups depicted serve to remake the individual viewer as part of a series of collective identities.
The element of role play is particularly significant. With upcoming subjects like historical reenactment societies or a school play, it can work on different levels; from the performative awareness of the subjects depicted to the 'performance' of the individuals I cast in the paintings. It is important to understand that the figures represented in the paintings are playing the part of someone else. This creates a potential schism in the viewing of the work and an interplay of identification and non-identification. The sense that these figures are in 'someone else's skin' plays up the notion that these identities are ultimately fluid and that the paintings as a whole are more of an exploration of types, systems and institutions.
I have no way of determining an audience's response but the paintings should create a heightened sense of the 'real' despite the image being an almost total fiction.
I want the viewer to be able to buy in to the image enough to want to spend time with it, to elicit a certain level of recognition that then starts to fragment.
Despite any sense of familiarity one might have with the imagery, seeds of doubt are sewn and you come to recognise that its not what you thought it was.
The only element that should perhaps survive scrutiny are the individuals depicted. The level of identification the viewer has with the figures is therefore fundamental.
It is their peculiarly physical presence that gives the paintings a very uncanny quality. This potential for uncertainty in the pictures is an element I intend to increasingly exploit.
The 'source' material for the paintings is by nature archival. The staging of any group for the purposes of documentation whatever the medium immediately becomes about the past, about commemoration or collective memory. When a group assembles for a 'documentary' moment, time accelerates and the instance becomes immediate history.
My role as the 'director', in a visual process that mimics the making of a film, is crucial to the problem of this sense of 'dated' imagery.
The 'happening' - a performative act - directed by and conceived by an artist negates the problem of the generic dating of any source material. The re-staging is the depiction, any historical element becomes purely referential. And arguably as the themes have been re-staged via the prism of my subjective choices, there is no actual referent for these images as such. Therefore in the same way that memory only exists in the present tense, the 'recollected', being completely constructed, is always defined by current understanding.
The contemporary re-staging of the paintings importantly injects insecurity into our understanding of these images and introduces levels of remove from any fundamental notions of truth. This occurs not only in the way that the paintings are constructed but also in terms of the subjects. Astronomers, paleontologists or archaeologists, reenactments and archivists - they're all an attempt to measure, understand or delineate the world but are kept at a distance by time or space, always at a remove from the object of their interest. As well as any thematic links between the images, the depicted groups are all aware of being involved in a 'public' moment, or on display. These are 'trophy' moments exhibiting evidence of pride or even hubris.
These ideas are at the heart of a notionally aspirational image such as Group Series No.2 - Space Program. The exploration of Space (which of course has a nice resonance in relation to painting) represents an escape from ourselves and our earthbound ties, both physical and psychological. The figures personify the vanguard of an effort to understand the unknown. Astronauts operate at the outer limits of our experience, in 'outer-liminal' space so to speak. At the edge of understanding of our tangible experience of the world, they exist in a twilight of endeavour that is unknowable to all but a handful and as such take on symbolic status. They appeal to a child like sense of awe and adventure yet are the ultimate display of a culture's economic power and political ideology.
And of course one immediately thinks of the Space Race. But there's an irresponsibility on the part of the painting in relation to history or facts. The truth falls down and the picture plays with gravitas. Though you might initially believe the image, subtle but mischievous clues to the fictionality of the work are introduced: for example, the milk bottle top or a mobile phone keypad on the ship; plumbing parts on the space suits. As soon as you are made aware of these elements, there's something mildly comic about the image but also darkly so in the sense that this would obviously be a completely doomed mission!
But that's perhaps already implicit in the narrative of the image. The title Space Program puts the emphasis more on earthly planning than it does the heroics of space maneuvres. The ship is still under construction, these men are gathered in anticipation of future glory not in celebration of established deeds. Hence there's a certain tension in the gathering; there's pride but also reservation.
In Group Series No.1 - Sandinistas, the clues to its fictionality lie in the rupture between the robust modeling of the figures and the flattened space of the landscape, reminiscent of a theatrical back drop. The figures are not contained within the scene in 'photographic', homogenous, pictorial harmony and instead of being safe within a determined context, they are almost pushed out into our space in direct confrontation. The exaggerated stillness of the figures is perhaps reflective of a form of stasis one might find in an anthropological diorama at a natural history museum and this stillness is further reinforced by the temporal nature of painting.
Military paintings in particular are traditionally associated with commemoration of victories and the celebration of the State. To depict a marginalized group or outsiders potentially undermines that tradition but is also historically anthropological in that by virtue of the dispossession of these figures in relation to power, they represent something that has (or has been) 'lost'.
If the Sandinistas were an empathetic depiction of real fighters in a 'realistic' context it is not only potentially open to accusations of a kind of cultural tourism on my part but also of fixing identity in a way that makes absolute our relationship to these figures as 'other'; of another 'class', potentially destitute and, in the case of a guerilla movement literally marginalized. The fictionality of the painting ensures that the emphasis is more on our understanding and consumption of images of this type of group than it is about the reality of their existence.
These clues are subliminal but I like the idea of having a unified surface or image that is then disrupted internally, the picture doesn't have to wear its agenda on its sleeve. At the moment, perhaps, the illusion is too successful but I would argue that's because so far there are only two paintings. As soon as others join the series, especially the more explicit subjects like School Play, the reading of pictures like Space Program will be substantially affected. And, of course, its only through the process of making the paintings that one becomes aware of where best to draw the lines so to speak.
Also, there's an important distinction to be made between the reading of surface symbolic meanings and the resonant aspects of their material embodiment. This finds its simplest form in the act of looking at a reproduction of a realist painting and the actual thing itself. Most significantly it is at the heart of the question as to why, for example, my images are paintings and not photographs.
The most honest and direct answer would be that I'm a painter and above all a realist painter. I love looking at paintings and I love making them. The material pleasure I take in making these pictures is fundamental to a viewer's enjoyment of them and I'm certainly not going to make any excuses for that. But I'm also aware that one can't paint in a vacuum and I've spent many years trying to find a way in which to make large scale realist images that are viable in a contemporary context but which also do not rely on an 'art of quotation marks' in order to justify themselves.
For me, the kind of painting that too readily reveals its references or intentions often possesses a form of studied irony which ultimately absolves them materially as paintings. You're left only with the idea and the image becomes illustrational.
For my work to operate I think its important not to be too overt. Fictions are always more revealing if you buy in to them. The 'grandeur' and ambition of the pictures in in relation to scale and history painting means that their volume is turned up enough already. So in terms of the content of the paintings I want to perform with a deadpan expression, almost indifferent to the people depicted. There should be a seriousness and lack of irony or judgment that becomes integral to the uncanniness of the picture. The potential for disruption in the image occurs because it seems too convincing, too perfect and my access to the situation too complete.
If any suspicion of the image takes place then the fact that the figures are painted performs a kind of double lie. Painting as an art form is no longer beholden to the everyday which means it is stripped of a responsibility to be a marker for the real. Therefore its uncanniness can become even more striking because it is almost unexpected. The convincingness of the figures means you hang on to them for security as it becomes increasingly clear that the rest of the image has no foundation. But of course as painting, they're as much a fiction as anything else. If the figures were photographs you more readily accept them as 'reality' and the set up as a staging, that this is all a play on a documentary moment. You 'get the point'.
But once its all been cohered into a painted image, those boundaries are blurred somewhat and a viewer's 'knowingness' is removed. Ironically you believe in the image precisely because it is a painting and not a photograph. You are tricked into a more child-like response and I enjoy the possibilities that this provokes.
It is perhaps an echo of my own childhood response to images and that sense of a strange, lateral impression of the world born of the familiar.
JONATHAN WATERIDGE: BEING SEEN, IN BETWEEN
by Gilda Williams
JONATHAN WATERIDGE - INTERVIEW WITH AESTHETICA BY EDITOR, CHERIE FEDERICO, APRIL 2010 FOR ANOTHER PLACE
Aesthetica: Can you start off by telling me about yourself – when did you start painting and how did it all begin for you? What happened after you left Glasgow, etc?
Jonathan Wateridge:I started painting in earnest as a teenager but to be honest, and I'm sure this is similar for most artists, being alone in a room making pictures or objects is something I have done in one form or another for as long as I can remember.
Artistically, my first loves are still very much the same today - the likes of Manet, Goya, Rembrandt and Velasquez. They personify a realism with which I have always felt a profound kinship but that said, it has not exactly been an easy one. From the age of 20, I did not paint at all for over 12 years (and it was over 15 years before I made a figure painting) in the belief that it would not be possible to engage directly with this kind of work in a contemporary context.
I went to Glasgow making realist oil paintings always made from life but within months had abandoned painting altogether, deeming it a hopeless anachronism. I felt the only way forward as a progressively thinking, young contemporary artist would be to make highly conceptual work expressed purely through contemporary media. Clearly, somewhere along the way I've had a change of heart in terms of medium but it was only after some very difficult years of exploring various ways of working - via conceptualism, film-making and even theatre. My successes were few and my failures legion but in retrospect I was laying the foundations of much of what I make now. Slowly, I was drawn back to pure image making because, for one, I really missed not having a material process. It took a further few years of making highly labour intensive images out of pigment dissolved in wax on glass (that were an awkward hybrid of painting, film and photography) before I considered the possibility of painting again. By then a not-so-young contemporary artist, I finally stopped making work I felt I should make and began the liberating process of actually making the work I wanted to. All in all, its been a long haul to establish a way in which to make large scale realist images that I felt could be viable in a contemporary context. Ironically, I've realised that the obsolete aspects of painting that made me abandon it are now the very elements that are most exciting to exploit.
A: Your work is epic in scale, and combines a series of meta-narratives that make up one whole story, can you tell me about the sequence in Another Place, and each work's significance to the series?
JW: As the press release describes, the paintings depict scenes from a fictional American film that is centred on an unseen catastrophic event. Inevitably one starts to imagine the possible nature of the calamity. The collapsed overpass certainly gives clues as to its scale but within each picture there are smaller more private disasters occurring, which may or may not be connected to the wider catastrophe. For example, the death of the architect; the fallen security guard; the caller on the phone in Night - Kitchen, not to mention the disaster enacted by the little boy under the table; the old lady in front of her house. These smaller stories all intertwine around a larger framework and the fictional construct of the 'film' allows me to explore the many themes that the locations depicted set up in terms of genre and narrative.
But within that framework, further ideas can be explored - from issues of economy and class in terms of the people depicted; to ideas about the construction and fluidity of identity in general, given the fact that these are paintings of individuals (primarily my friends) portraying actors whose job is pretending to be other people.
I'm very concerned with ideas of 'looking' and of what is being 'seen' within the pictures. Of course that is not always clear, which is exactly the intent, as I'm consciously aiming to create doubt within the images.
Ultimately though, this series of paintings is an exploration of their status as a construct. Almost every element in the pictures has its correlation in a live model, prop, object, costume or miniature set that has been set up or made within my studio. Therefore the paintings are complete fictions in themselves but they are also depictions of fiction in process. They set up a moment that has not yet been adequately fixed or performed in terms of the final narrative of this imagined film. They are primarily in-between moments, liminal, ill defined and uncertain. I like exploring this space between things. My process even sits between disciplines, being almost a homemade movie production on one level but with the final result obviously being the paintings.
Fiction, fabrication, role-play, identity, genre and the idea of 'construction' within an image, on both a symbolic and material level, have all become very dominant themes in my work. The element of the 'constructed' creates and explores contradictions within notions of the real and therefore our relationship to it. If it's present in the images I make then - however 'truthful' or convincing the figures depicted - the awareness of the underlying construction potentially injects doubt or insecurity into the reading of the painting. In fact, the more convincing and successful I can make the painterly aspects of the picture, the more potent this sense of dislocation potentially becomes.
A: Why did you make the paintings scenes from a fictional American film?
JW: Despite being a British person who spent the first part of their life growing up in Africa and the rest primarily in London, I've probably spent a good part of it inhabiting the imaginary landscape of American film. A product of cultural osmosis, I often feel I experience the world at a remove, second-hand; via the constant flow of imagery that has shaped us all over decades. There is absolutely nothing unique in that, in the same way that there is nothing unique in the subject matter I choose for the paintings. In fact, it's their very familiarity that interests me. Aside from that, I found the notion of setting the series within a fictionalised version of what is essentially Los Angeles very resonant. Not only is it literally at the edge/end of the Western world, it also the 'city of dreams' made palpable through cinema. In researching the project I did a lot of reading about LA and its relationship to the notion of disaster and was particularly interested in what Mike Davis outlines in his book 'The Ecology of Fear' as 'the analogous relationship between the literary destruction of Los Angeles and the nervous breakdown of American exceptionalism'.
A: Your work stems from a long tradition, but you use contemporary themes as the subject of your work, can you tell me more about this interplay?
JW: The word 'tradition' always makes me a little nervous, especially in relation to realist painting as it tends to carry negative connotations. Even the most conceptual contemporary work operates within a tradition, its just not quite as long established. Of course, painting does come with a huge amount of historical baggage but essentially it is just another language or idiom within art and I prefer to see it in those terms.
Also, there has long been a residual mistrust of painterly realism in contemporary circles, which fortunately seems to be subsiding. Personally, I would argue that painters such as Manet and Courbet have more relevance to the contemporary than the more recent, though rapidly dating, absolutist tendencies of modernism.
Manet, particularly in the 1860's before he succumbed to the increasingly formalist aspects of Post-Impressionism, was making work that was very socially and politically aware. Operating outside of the auspices of church, state or academy; he was making realist paintings on his terms that engaged with the world around him in an investigative and exploratory way. That was an exciting and unique place for an artist to be and his work of that period is some of the greatest I've seen but it was a brief window. Very simply, the rise of formalism within painting mirrored the appropriation of the real by photography and the rest becomes the history of Modernism. But the way art echoes through history is not necessarily linear. I find extraordinary parallels between Richter, for example, and aspects of Degas' relationship to paint and photography. Sickert's late work seems incredibly contemporary next to other artists of the time who notionally would have been far more 'avant-garde'. Indeed the notion of the avant-garde itself is one that lacks contemporary legitimacy, its ideologies having ossified into the very kind of orthodoxy it sought to overthrow in the first place. Ultimately, it's reliant on a romantic binary opposition that no longer exists and I believe we are working in a far more interesting and fluid context than that.
All of which is a very long-winded way of trying to explain how it is exciting, difficult but still possible to paint as I do today!
I no longer believe that history painting, for example, cannot be practiced, it just has to be practiced under very different terms. Painting is able to do some very interesting things precisely at the point where it becomes aware of its own limitations. I am not doing anything new in this respect and have taken great courage from the fact that artists such as Gerhard Richter and latterly, Luc Tuymans, have done so much to redefine the terms under which it becomes possible to paint. The climate has certainly thawed somewhat within the art world as even five years ago I think my work might well have been dismissed out of hand. (And a big part of me fears it still might be!)
A: Another Place is focused on an unseen catastrophic event, why did you choose not to paint this scene too?
JW: For a start I think this relates to my interest in exploring ill-defined moments. To show the cause of the catastrophe would be to fix it somehow, to make it knowable and thus containable. For me an exploration of doubt or insecurity necessitates a lack of awareness as to the source. To depict the cause also makes the images less resonant. I like the fact that, conceptually, the viewer can play an active role in either performing within this narrative or direct it.
A: There are dichotomies within the series, for example, between Pool Party and Valley Home, can you tell me why it was important for the series to have two sides to its story? What's the further significance of this?
JW: As mentioned previously, this fictional landscape is clearly redolent of a city like Los Angeles. Famously, LA is built across geological fault lines and I think there are rich parallels in the way the economic, social and ethnic divides of the city are reflected in the landscape: the affluent and powerful, above in the hills and the poor and dispossessed below in the valley. The social strata are as divided as the ground on which they are built.
A: The subtext of each painting is sober, it speaks about tragedies occurring at another time and place, how does this reflect current attitudes to catastrophes, i.e. being able to turn the news on and in the same breath turn it off?
JW: There are many interesting ideas about the personal and the collective that this question throws up. Empathy, indifference, sensationalism or fear; these responses are predicated on the fact that disasters and tragedy always happen to someone else, someone 'other'. But there is also a shiver of recognition that this could happen to us and of course it will - in death. Disaster is the ultimate realisation of all our fears, a perfect apocalyptic storm, in which death is meted out in a manner that reduces us to the most abject and helpless state imaginable.
There is also an interesting relationship between tragedy and disaster. We often conflate the two when in actuality they can be very different things. Natural disasters are certainly indifferent and hideously cruel but not a tragedy. Catastrophe as a result of human failure becomes tragic, it needs that intra-personal dimension of character. Hurricane Katrina for example was only a disaster. It was the failure of an indolent and arrogant government to adequately aid the dispossessed that was a tragedy.
A: Can you tell me more about your painting process, how do you begin to develop a work on such a large scale?
JW: Once I have the idea for a painting, I generally start by planning a model of the location for the picture. The models are central to the notion of creating an entirely fabricated environment for the pictures. Not only do they allow me to reconfigure generic influences I have absorbed through film but, on a practical level, they also give me complete access to the situation, in terms of how the characters will inhabit the space, how to light it, my 'camera angle' etc.
Casting is also a crucial stage in the process. I really enjoy it as well. The alchemy of faces and personalities does a significant amount of the work in creating association and resonance within the image. I then get all the characters together and do a 'film shoot'. Given the logistics of setting everything up in my studio in terms of the numbers of people cast and all the sets etc, it makes sense to photograph the scenes. I take many hundreds of pictures, placing my cast in alternative positions, to allow myself as many options as possible in deciding what the final painting will contain. It's the equivalent of shooting multiple takes and then editing.
It's only after that stage that I start work on the canvas but even then I'm often making changes. Something that looks OK in an A4 photographic print doesn't necessarily work when its life size and in paint. I always follow the demands of the painting rather than the content of the reference photographs.
A: Your work is picture perfect; in fact, there are certain pieces that look like photographs, how do you feel this style of painting works with or against the digital camera?
JW: I have to make the point here that this could be the unfortunate result of seeing the images via reproduction rather than in the flesh, which often reduces the paintings to imagery alone at the expense of their materiality. It forces a painting to be seen via the prism of a photograph, which inevitably renders it more 'photographic'.
Also, I very much define myself as a realist painter as opposed to a photo-realist. Photo-realism for me is about the transposition of information that relates to the particular way a camera sees. I try to paint as the eye might see, which is more contingent, fleeting, variegated and more edited in terms of the information that remains. For me there's an absence and certainly a distancing within any photo-realist image, whereas I try to compose and render the figures in a way that makes their presence as palpable as possible. Photography allows the possibility of the cinematic to enter the paintings but their rendering has to be about exploring and celebrating the materiality of paint rather than denying it, which in my experience much photo-based painting tends to do.
There is also an important distinction to be made between the reading of surface symbolic meanings and their material embodiment. Again, this finds its simplest form in the difference between a reproduction and the painting itself. Most significantly it is at the heart of the question as to why, for example, my images are paintings and not photographs. Painting as an art form is no longer beholden to the everyday, it is no longer a marker for the 'real' in a way that photography still is, despite the ability of digital technology to manipulate its content. Therefore its uncanniness or 'convincingness' can become even more striking because today it is almost unexpected. If the figures in my work were photographs you would more readily accept them as 'reality' and the set up as a staging, that this is all a play on a cinematic moment. You 'get the point'. But once its all been cohered into a painted image, those boundaries are blurred somewhat and a viewer's knowingness is removed. Ironically you believe in the image precisely because it is a painting and not a photograph.
A: A more general question, can you tell me more about who your influences are and why (both historic and contemporary) – this can be both in art, but any other aspects of culture too?
JW: Obviously there are the painters I mentioned earlier such as Velazquez but as for other influences, there are a great many; from Richter to Stan Douglas and in film loads - from David Lynch, to Hitchcock, to Fellini. That's just influence though. In terms of enjoyment, I love films from across the spectrum, high or low brow. They all inform and shape your fictional 'psyche'.
Also, Jeff Wall has been particularly influential for me in conceptual terms. I think there are clear parallels between his work and mine but, to be honest, it is his writing that has influenced me far more than his art. He has been extremely erudite in his delineation of how it can become possible to make a 'contained' image that carries within it the fault lines of its own internal rupture rather than the more explicit and self conscious fragmentation of certain forms of now rather orthodox conceptualism. That was a massive help in finding my way back to painting.
A: Your work ultimately challenges constructs of reality and elaborate fictions, so in some respects it's rather theatrical, what do you want viewers to take away from this series?
JW: I think most artists carry in their mind an ideal viewer who will appreciate all the subtle intentions and nuances of the work but in reality it's not for me to dictate the reading of the series. I'm sure people will respond in a multitude of ways, some positively and some negatively, which is exactly as it should be. To be honest, I'm very selfish and look forward more to how people will illuminate me in terms of the paintings rather than the other way round! That way I get to learn something.
A: How does Another Place progress on from your previous show, On A Clear Day You Can See Forever? You've painted on Perspex, but the new series is back on canvas, can you tell me about the movement to glass and then back to canvas?
JW: The paintings on perspex grew out of an earlier body of work on glass and were the beginning of my return to making paintings. In retrospect I realise that much of my earlier work was about painting but always from a position of remove. I had placed all these conceptual barriers in the way of simply painting. In a sense the perspex was the last of those obstacles.
These paintings had developed out of images that were about fictitious or fabricated spaces like zoological habitats. I liked the idea of these contained worlds and the theatricality of the layered perspex very much embodied that. They were also about the collision of a version of the sublime with B movie kitsch in the form of these epic disasters. So I guess the notion of cinematic catastrophe has merely continued into the new paintings.
Increasingly though, my fear was that the perspex paintings were all too easily defined by their support and not the paint itself. As landscapes they just about got away with their theatricality but as figure paintings they could all too easily end up a gimmick. Ultimately, I knew a return to painting would have to lead to exploring figure-based imagery as that is exactly the point from which my love of art emerged and this was something I could only do on canvas. It is a challenge I've taken many years to find the confidence to tackle but its one that I'm relishing. At the end of the day, however sober the content of the paintings might become, I'm having serious fun.
A: Finally, what are your future plans?
JW: To get straight back to work, wherever that may take me (though only after a brief interlude of concerted drinking).
JONATHAN WATERIDGE - ON A CLEAR DAY YOU CAN SEE A STARTLING, SOLD-OUT, MUST-SEE SHOW
by Meredith Etherington-Smith
Jonathan Wateridge - exhibition titled, "On a Clear Day You Can See"
The works depict plane crashes and ship wrecks in extreme landscapes-deep jungle, snowy mountains, ocean bed and rocky shoreline. And they are executed on a massive scale: 270 cm. wide and 190 cm. tall.
Each work, which takes months to complete, is painted in oil on large sheets of clear Perspex.
In a laborious process, Wateridge builds up 10 layers or more, giving the 21 cm.-thick works a heightened three-dimensionality. Their sheer scale imbues them with an epic, cinematic scope.
Wateridge uses models and small sets as part of his working process, and the works owe something to the dioramas which so inspired Hiroshi Sugimoto when he saw them in the New York Museum of Natural History-and something also to movie sets.
Wateridge's work has already generated a long waiting list. One large piece taken to Art Basel this June was sold to major collectors here in the U.K. This current show, of course, is already a sell-out.
Wateridge's work, as he told me when I went round to see him in his working quarters-part artist's studio, part model-making laboratory-is "all about wanting to paint, but painting in the 21st century rather than in the 19th."
After leaving the Glasgow School of Art, Wateridge said he struggled with the conundrum of how to paint in a totally new way, one which owed nothing to art history. A year ago, the breakthrough came by accident.
"I came upon this way of painting with oil on glass by accident. For me, to paint on canvas seemed to belong in the past, and really couldn't give me the theatrical quality I was seeking."
Source: artinfo.com
JONATHAN WATERIDGE - MITTELAND
All Visual Arts, 2011
The exhibition, Mittelland, consists of six vast oil paintings (often exceeding 3m x 4m) which explore a sense of displacement within anonymous urban scenes that are both familiar and alien. The locations are primarily peripheral or transitional spaces, such as corridors, gates, stairs and a balcony and make reference to the idea of relocation and dislocation. The notion of emergence and recession also reflects the way the figures inhabit the space of the paintings; nothing is fixed, the characters are merely passing through these states.
One canvas, Re-painting, shows a middle aged couple in their building site of a house: the walls are in the process of being plastered; there are dust sheets, paint pots and decorating tools scattered around. It is an environment in total flux. In the midst of working on the space, the figures are covered in a layer of dust; this appears to absorb them back into the environment as if they have become ghosts in their own home. Ultimately, the world Wateridge portrays is entirely fabricated. The artist paints what he describes as "elaborate fictions with visible seams", building full scale movie-like sets for each painting in his studio and employing actors to pose as characters. The underlying fact that the environments are all elaborate fictional constructions is used to disturb the relationship that the viewer forms with the figures depicted.
In comparison to his previous series, Mittelland is more sober in feel. The vibrant palette and overt dramatisation of the earlier work, synonymous with Hollywood, is replaced by a more subdued and isolated portrayal of his characters and what they stand for. The paintings are intentionally unspectacular in location and action, but remain highly ambitious in scale and resonant in their simplicity.
The quiet transience of the situations depicted works against the monumentality of the canvases themselves. Within the paintings of Mittelland, the intimate is made epic and the prosaic becomes vital.
Source: allvisualarts.org

redpajama_set_name: RedPajamaCommonCrawl


text:
Foreign trade will help India become $30 trillion economy: Piyush Goyal
The minister pushed for seamless foreign trade and free movement of goods and services across borders while inaugurating the Kakinada campus of Indian Institute of Foreign Trade.
The Indian economy grew nearly 12 times in dollar terms in the last 30 years to $3.5 trillion today, from less than $300 billion
Commerce and industry minister Piyush Goyal on Friday said foreign trade will help India become a $30-trillion economy with a per capita GDP of $15,000. India is a bright spot in the world today when several other countries are in recession and facing severe inflation, which is five times higher than normal in some countries, Goyal said.
"We have reached that inflection point...we are at the cusp where we are going to take off... We have the ambition to be at least ten times in the next 25 years where we are looking to cross the $30 trillion economy with a per capita GDP of $15,000," he said.
The Indian economy grew nearly 12 times in dollar terms in the last 30 years to $3.5 trillion today, from less than $300 billion, he said.
The world is seeking to engage with India because it is a growing economy, he said, adding that political stability, decisive leadership and deft handling of the economy have made the world look up to India.
"The world wants to do more and more business...free trade agreements with us," Goyal said. "World wants to expand trading relationships and friendship with India, looking at the potential in terms of a large market and the potential we have to help their economies survive and grow."
Delhi airport operator DIAL to deploy more electric vehicles to reduce emissions
In the first phase, DIAL has placed the order for 64 electric vehicles for its airside and landside operations. Of these, DIAL has received 57 electric vehicles and deployed them on the airside and landside. Seven more electric vehicles would be deployed soon, according to a release.
New teaser reveals interior and exterior of Ola Electric's upcoming car
On Diwali, the Indian electric vehicle maker launched a teaser that revealed the unique interior and designed exterior of its upcoming electric car.
Govt vehicles older than 15 years to be scrapped, deregistered
Simple Energy opens new plant in Tamil Nadu
Toyota names Lexus chief Koji Sato CEO as Akio Toyoda takes chairman role
Hella India Lighting MD Rama Shankar Pandey moves to Tata Green Batteries as CEO
More EV makers lose subsidy as Centre's probe deepens


text:
Florida Police Chief Resigns After Flashing Badge To Get Out Of Ticket
By Zuri Anderson
The police chief of Tampa has resigned after body camera footage showed her flashing her badge to get out of a traffic ticket, according to CNN. Chief Mary O'Connor stepped down from her role after she was placed on administrative leave Friday (December 12) over the controversial video.
Footage shows O'Connor in the passenger seat of a golf cart her husband was driving on November 12. A Pinellas County sheriff's deputy pulled them over in Oldsmar, a city northwest of Tampa, for not having a tag on the vehicle. As her husband was explaining to the deputy what they were doing, O'Connor says, "Is your camera on? I'm the police chief in Tampa."
After the deputy recognizes her and asks how she's doing, the police chief responds, "I'm hoping that you'll just let us go tonight." He ends up letting the couple go without a ticket, sparking an internal review nearly a month later.
"Tampa Mayor Jane Castor has requested and received the resignation of Police Chief Mary O'Connor, following the completion of an Internal Affairs investigation into a recent traffic stop involving O'Connor," according to a Monday (December 5) statement from the mayor's office.
Castor condemned O'Connor's for requesting "special treatment" as the city's top cop:
"The Tampa Police Department has a code of conduct that includes high standards for ethical and professional behavior that apply to every member of our police force. As the Chief of Police, you are not only to abide by and enforce those standards but to also lead by example. That clearly did not happen in this case," the mayor said. "It is unacceptable for any public employee, and especially the city's top law enforcement leader, to ask for special treatment because of their position."
Before her resignation, O'Connor claims it was "poor judgment" that they took the golf cart out on public roads without a tag. In her resignation letter, the former police chief wrote she "would never want my personal mistake to stand in the way of the progress I have made in mending relationships between the police department and the community, so for that reason, I am resigning."
Assistant Chief Lee Bercaw will serve as interim chief while Tampa looks for a new police chief, officials confirmed.


• What do you mean by "original art print"
You can see the stock level in the Gallery and we tell you if the product is out of stock. As we sell original artprints it may sometimes be that we cannot find a similar product.
If you want we can add a message from you when we back the item. Just infomr us by email about your thoughts.
What do you mean by "original art print"
An original art print is an artwork that has been designed and possible also produced by the artist in a limited number of copies (limited edition).
The number of produced copies as always written in the product description.


"Town Tote" with a vintage "Love You More Than Cookies" design and the name of your choice.
will receive our canvas tote with a vintage "Merry Christmas" design and and if you would ike, the name of your choice(or keep it plain to pass down).
SALE PRICE Reg $45 Sterling Silver Pearl Strand on wire with sterling and cubic zirconium set roundel. 4.5-5mm. Near round pearls 14 inches sized for children ages 3 plus. See pictures for the amazing details! This comes boxed and ready to give as a gift. Limited availability.
Double sided flag banners are strung on crisp white bias tape withamazing bright prints in floral, medalion and a beach theme. Flags measure 7.5 inches wide and 11.5 inches long for many creative possibilities. At least 10" of extra fabric tape on each end left for tying. We have a wide variety of fabrics and can custom make one for your special occasion, photo session, wedding or birthday!


HOW MICHELLE OBAMA MAY BE COMING NEAR YOU SOON FROM AOL!
"It's a big day for me because I am finished with my book. My memoir, called Becoming, is coming out on Nov. 13, and I can't wait to share it with the world," Obama said in a video posted Wednesday on Twitter.


Israeli investors will soon be able to apply for the E-2 visa, which allows holders to live and work in the U.S. for an extended period of time while overseeing a major investment in the United States. Legislation to allow Israelis to apply for these visas was approved in Congress in May 31 and signed by the President this month. The legislation requires that similarly situated United States nationals must be eligible for similar nonimmigrant status in Israel. Therefore, visa applications will be accepted once Israel confirms that it will issue similar visas to U.S. citizens.
In order to qualify for an E-2 visa, the applicant must either have invested, or be in the process of investing, a substantial amount in the United States. Holders of E visas may reside in the United States as long as they continue to maintain their status with the enterprise. Spouses and unmarried children under 21 years of age, regardless of nationality, may receive derivative E visas to accompany the visa holder.


Koh Samui Tropical Garden Villa -PV5 is set in a 780 square metre tropical landscaped garden.
The swimming pool (40 square metres) is the central focus of the villa which is fringed with lush flowers and tropical foliage.
Built in three separate buildings, the villa has three bedrooms, a master bedroom with both an indoor bathroom and a private outside shower for nature lovers and it is set apart from the other buildings.
In another area the two other bedrooms adjoin each other (not interconnecting) both have ensuite bathrooms, one double and one twin room. In addition the twin bedroom has an outdoor shower with its own small garden.
All the bedrooms overlook the swimming pool and gardens and have double glass sliding doors that open onto terraces to allow easy access.
The largest building houses the large open plan living and dining area, kitchen, a large dining terrace ideal for al-fresco meals which all overlook the swimming pool. An outside Sala and lush tropical gardens finish off the villa. The villa has four separate buildings, if one includes the Sala, and a total living area of around 400 square metres.
With 24 hour Estate security, the Villa is very safe and private and can be self contained once the gates are closed.
Because of the layout of the other surrounding villas there is enough private space and the villas do not overlook each other thus ensuring a high level of privacy.
Once the gates are closed it truly is a private retreat.
Koh Samui Tropical Garden Villa -PV5 has Cable TV, DVD player, CD playing capability and complimentary broadband Wi-Fi. It also has a fully supplied kitchen with pots, pans, cutlery, crockery, glassware etc for 6 guests.
There is also a tennis court at the Estate which is free to all guests staying at Koh Samui Tropical Garden Villa -PV5. Tennis racquets and balls are available at the Estate office for a small fee.
The villa is set in a tranquil area of Koh Samui in the North East corner and the natural bird song and other tropical noises are very relaxing when lazing around the pool or just relaxing in the sala immersed in a good book.


One of the more popular programs here at USO Las Vegas is Operation: Doughnut Drop, a simple, weekly event that allows us to say thanks. Service members are able to nominate a fellow service member for going above and beyond and we surprise them with 2 dozen Krispy Kreme Doughnuts on Friday morning. We love having the support of Krispy Kreme Las Vegas and our local military community does too!


My oldest daughter turned 4 a couple of months ago. FOUR! I can't believe it! It has been an amazing 4 years and I honestly don't know how we ever lived without her. As I reflect on her past 4 years of life, I also can't help but think about what those 4 years mean for me. They mean that I have been at home for 4 years.
That is absolutely mind blowing to me. I never thought that I would be a stay at home mom. I always saw myself having a career fresh out of college. And I did have a very good start to a career after I graduated with my bachelor's degree. As I was working towards my Master's degree I was interning for a nonprofit organization and eventually that turned into a full time position. I was very happy with the direction of where my career was going.
But as I was entering my 2nd trimester, I began wondering who was going to take care of the little babe that was growing inside of me. And as my due date neared, I started seeking advice from other stay at home mamas and asking how they came to the decision to quit their jobs and stay at home. During this time, I was also praying hard that God would make the decision obvious for my husband and me.
During this time, my husband and I were also looking for our first home. Keeping in mind that I wanted to stay at home, we were looking for a fixer upper so that our payments would be low. Man, God really made it obvious when we finally found our house. I was about 5 months pregnant by this time and it was just perfect. By 6 months, I had come to the decision that I was going to stay at home with my baby. I didn't care that we would be on a tight tight tight budget! I didn't care that we didn't have a big fancy home.
In my heart, I felt that this is what God was asking me to do. I feel like he was very specifically asking me to do this in order to teach me countless life lessons and to work on aspects of my character that I didn't know needed improvements. But let me tell you, being a stay at home mama is not for the faint of heart! It is the most difficult and the most rewarding job you could ever have. I wanted to share some struggles that I have faced over the past 4 years as a stay at home mom.
This is something that I have struggled with BIG time over the years. When I quit my job, I was actually making more than my husband! Not much more, but still! It was hard for me to come to terms that we were going to solely rely on his income.
I think it is a little funny because every 6 months or so, I try to search for jobs! haha And through the years, I have had a few very part time jobs. But none of them has ever stuck. And I know that they never stick because I have learned that right now, my passion is truly at home. But sometimes in my role as a stay at home mom I can question my worth. I question what I am contributing to my family if I can't contribute financially?
Now I know this is a silly question when I really think about it. But still.
I think this goes a long with the first struggle a lot. When I first became a stay at home mama I had to really sit back and think about what my new role was going to entail. I think that sometimes people get this idea in their head that all stay at home moms do is watch tv all day or get to play with their kid all day, or I don't know run with unicorns and ponies? But that is definitely not reality.
I take my role as a stay at home mom seriously. I knew that I wasn't going to stay at home to just being on the internet all day or binge on Netflix. I knew that my children needed me. I was going to be their sole caretaker during the day. That meant that I am not only mom but teacher, nurse, counselor, chef, discipliner, rule maker, driver, activities coordinator, comforter, and all other things that encompass "mom" 24 hours out of the day. I am never away from my children.
It is not only hard. It is confusing. When does my title change? Do I ever get a break? Can I ever leave work at work? No.
I'm in no way complaining of these things. But man it is exhausting, confusing, and hard to wrap my head around sometimes.
I think every stay at home mom in the universe can relate. I've been at home for 4 years, so that means I have lost 4 years of professional experience. This is so hard for me. I struggle with this almost every day. I wonder what I could have gained professionally during this time. I wonder where I could be working, what I could be doing, how much experience I could have achieved by this time.
But I think that this is one of the most important lessons God has been teaching me during this time.
Just wait on Me, Amanda. You are exactly where you need to be right now. I may have not gained much "professional" experience during this time but man I have gained EXPERIENCE.
Some of the best experiences I could have ever had. This time is not forever. One day my children will be grown and one day I will work again. But for now, I am cherishing this time when they are little because they will not be little for long.
This kind of goes hand in hand with the previous one. But it is still a little different. Sometimes I can feel like I am falling behind. Like I will never catch up.
I see my family and friends advancing in their careers and I am happy for them. But man it is so hard not to compare.
One day I could be completely content with being at home and then I hear someone talking about their new promotion and BAM! I start comparing myself to where I am at in my career. There was never a truer saying: Comparison is the thief of joy.
There have been days that I have struggled with my role as a stay at home mama, but I wouldn't trade those days for anything. I feel like after 4 years in this role, and 2 kids later, I am FINALLY getting into the groove of things. And it feels amazing to be able to fully embrace the important part I play in my family right now.
Are there any other stay at home mamas out there with these same struggles? How do you combat those feelings of inadequacy?
Hats off to you my dear Amanda and the likes of you. I chose to not advance my career while raising 5 children and now they're all grown, had grown roots sndcwings as well. And yes there were many moments of doubt but I had a lot of Peace as well knowing why I did what I was doing then. Not every moment was grand. And not every moment was rewarding. Yet now I enjoy this closeness with my children and now also with my grandchildren that I probably wouldn't have had I focused on my career. Some women are able to make the balance, I just know it was going to be hard for me during those growing years. Later of course I still worked outside the home , though not a career, but whatever work I did was rewarding knowing I was more confident of me. A hundred years from now, no one will remember, except the Lord who knows where our hearts are, always. May He continue to guide you with His Spirit of Wisdom and Peace.
Thank you Ms. Susan! You are right, it is definitely the most rewarding work that we could ever do with our lives!
You are definitely not alone. I have struggled with being a SAHM from time to time, but am grateful that I have peace about it. Pray has critical. I know as well that this is what God has called me to do in this season of life.
What a great story. I love reading posts where you can get a sense for the writer's personality and they share their emotion. I understand your frustrations completely. Keep your head up and things will turn for the better.
Thanks so much for reading! It is always my goal to express myself in a way that reaches people!
Your story reminds me of when I was younger raising my older children. I can honestly tell you that being a stay at home mom is a very important job and one the one job you'll have in your life your children will always remember. I was fortunate to stay home with my oldest kids when they were little and they are now 25 and 21 years old and thank me all the time for being there for them when they were young. My youngest is 8 years old and the last two years I have worked from home because my husband became disabled it has given me a sense of pride to be able to help my family and still be home for my child too. I think the biggest thing for me especially when I as a young SHAM mom was feeling lonely and out of touch from the world. I really recommend a moms group or some group where you get meet other SHAMS.
That is awesome that your older children thank you for the time and energy you invested in them as a sahm! And incredible that you have the opportunity to be there for your 8 year old in the same way. Yes, I wouldn't be able to stay sane if I didn't have other sahm to relate to!
I can very much relate to several of your points. Being a stay at home mama is so hard and so rewarding at the same time. This year is the first year that all 3 of my kids are full time school-age so new challenges come with that. When they were home I yearned for some time to myself. Now I have plenty of that while they are at school. And now I am trying to find my place once again and wonder if I did my best for them as a stay at home mom when they were home. Because at the time I was somewhat in survival mode. 🙂 It's tough. I miss them being home with me. Funny how that works.
Oh man, I can relate to being in survival mode! Lol it is crazy how we face new challenges at each new stage of our children's lives. You are an amazing mama yourself and am happy you could relate to this post!
I am almost done my maternity leave and we have decided that I will quit my nursing job and stay home with my son. I know this is the right decision for me but am struggling with others not understanding my decision. I also worry that it will somehow hinder my sons development but I am going to be the best sahm I can be and enjoy it while I can!
I know it is hard, but try not to worry what others will think of your decision. You are an amazing mama and staying home with your baby is the best decision you could ever make for their development!
It can be very hard to be a stay at home mom.
It definitely can, but it is also so rewarding!


text:
ForestsScience
Carbon Sequestration an Unintended Benefit of Northwest Forest Plan
Joshua S Hill - July 25, 2011
Enacted in 1993, the Northwest Forest Plan consists of a series of federal policies and guidelines which govern the use of federal lands in the Pacific Northwest. Researchers have just concluded, however, that as a result of these same guidelines – which were initially introduced in an effort to conserve old growth forests and preserve species like the northern spotted owl – protection of the land increased carbon sequestration as well.
"The original goals of the Northwest Forest Plan had nothing to do with the issue of carbon emissions, but now carbon sequestration is seen as an important ecosystem service," said David Turner, a professor in the OSU Department of Forest Ecosystems and Society.
"Forests provide many services, such as habitat protection, recreation, water purification, and wood production. Carbon sequestration has now been added to that list. And our approach can provide the kind of spatially and temporally explicit data that will help evaluate the potential trade-offs associated with management activities."
There have been previous estimates made of the amount of carbon lost as a result of logging on federally owned lands prior to the introduction of the Northwest Forest Plan. The 'significant loss' of carbon peaked in the mid to late 80s, as logging old-growth timber exploded.
Surprisingly, the cut in logging has done more for carbon sequestration than was previously believed possible. Even the loss of carbon from wildfires does not come close to equaling the amount of carbon lost as a result of logging. Even the Biscuit Fire in southern Oregon of 2002 released less carbon into the atmosphere than logging-related emissions of that year, said the researchers whose article was recently published online in the journal Forest Ecology and Management.
Source: Oregon State University
Tagged Biscuit Fire, carbon, carbon sequestration, Environment, Northwest Forest Plan, Old-growth forest, pacific northwest, United States Department of Energy
Top Green Living Stories {Weekly Round-Up}
NASA Captures Three Storms in One Image {Photo of the Day}
Hank D and the Bee: Party? | Joe Mohr's Cartoon Archive	 July 28, 2011 at 1:15 pm
[…] manual method of carbon sequestration (not balloon blowing, Hank) may have problems, but the natural method certainly needs to be celebrated. I think this is a reason to […]


>MOUNTAIN VIEW, Calif. — Tellme is providing another way for developers to access their applications via SIP connections to its VoiceXML developer environment, Tellme Studio.
MOUNTAIN VIEW, Calif. — Tellme is providing another way for developers to access their applications via SIP connections to its VoiceXML developer environment, Tellme Studio. Several months of testing and deployment of VoIP technologies have enabled SIP traffic to take advantage of SIP access and direct-from-computer dialing to call their voice applications for testing and debugging.
After building an application on Tellme Studio, developers can use an IP phone to connect to sip:8005558965@sip.studio.tellme.com to test and interact with their applications. Accessing Tellme Studio via SIP provides an additional connectivity medium for developers who prefer to use a VoIP soft or hard phone to connect to their application. Developers can continue to call their applications from any phone at 1-800-555-VXML. Developers connected on the Skype network can call into their Tellme Studio applications at +99008358965.


text:
United States Reports/Volume 499
< United States Reports
←Volume 498
United States Reports
Volume 500→
111098United States Reports — Volume 499
499 U.S. 1 (1991) Pacific Mutual Life Insurance Company v. Haslip
499 U.S. 65 (1991) Air Line Pilots Association International v. O'Neill
499 U.S. 83 (1991) West Virginia University Hospitals Inc. v. Casey
499 U.S. 117 (1991) Norfolk and Western Railway Company v. American Train Dispatchers Association
499 U.S. 144 (1991) Martin v. Occupational Safety and Health Review Commission
499 U.S. 160 (1991) United States v. Smith
499 U.S. 187 (1991) UAW v. Johnson Controls Inc.
499 U.S. 225 (1991) Salve Regina College v. Russell
499 U.S. 244 (1991) Equal Employment Opportunity Commission v. Arabian American Oil Company
499 U.S. 279 (1991) Arizona v. Fulminante
499 U.S. 315 (1991) United States v. Gaubert
499 U.S. 340 (1991) Feist Publications, Inc. v. Rural Telephone Service Co., Inc.
499 U.S. 365 (1991) City of Columbia v. Omni Outdoor Advertising Inc.
499 U.S. 400 (1991) Powers v. Ohio
499 U.S. 432 (1991) Kay v. Ehrler
499 U.S. 439 (1991) Leathers v. Medlock
499 U.S. 467 (1991) McCleskey v. Zant
499 U.S. 530 (1991) Eastern Airlines Inc. v. Floyd
499 U.S. 554 (1991) Cottage Savings Association v. Commissioner of Internal Revenue
499 U.S. 573 (1991) United States v. Centennial Savings Bank FSB
499 U.S. 585 (1991) Carnival Cruise Lines Inc. v. Shute
499 U.S. 606 (1991) American Hospital Association v. National Labor Relations Board
499 U.S. 621 (1991) California v. Hodari D.
499 U.S. 985 (1991) Harich v. Florida
499 U.S. 1301 (1991) Cole v. Texas
Retrieved from "https://en.wikisource.org/w/index.php?title=United_States_Reports/Volume_499&oldid=3872405"


text:
Мари-Анн Хортемельс (1682 — 24 марта 1727) — французский , супруга Николя-Анри Тардьё.

Биография
Одна из трёх дочерей голландского книготорговца Даниэля Хортемельса (ок. 1650 −1691) и его жены Мари Селльер (род. 1656). Первый брак Мари-Анн был с кондитером Жерменом Ле Коком, который работал на французского короля Людовика XIV (1638—1715). Они поженились около 1705 года, а Жермен умер около 1710 года. В 1712 году она снова вышла замуж за гравёра Николя-Анри Тардьё. У них было пятеро детей, один из их сыновей, Жак Николя Тардьё, также стал гравёром.

Мари-Анн Хортемельс скончалась 24 марта 1727 года в возрасте 45 лет.

Творчество
Мари-Анн была известна своими гравюрами Луи де Рогана и Филиппа II, герцога Орлеанского. В Британском музее хранится её гравюра Джеймса Фрэнсиса Эдуарда Стюартта, датируемая 1720 годом.

Примечания

Ссылки

Гравёры Франции
Гравёры XVIII века

redpajama_set_name: RedPajamaWikipedia


Studio 308 is an exciting mid size venue with a theater and performance vibe. The eclectic ambiance surprises first time visitors and keeps them coming back. Studio 308 has hosted weddings, receptions, reunions, parties, corporate meetings, and shows. Some of the theater offerings that have been performed in Studio 308 include theater productions by American Theatre Company (our resident theater company), G Rated Theater, and Tulsa Pops Theatre. Other shows include numerous bands and cd release concerts, comedy shows, and regular performances by 50's and 60's Doo Wop band the Retro Rockets. Be sure to check our Event Calendar to see what's happening, who's performing, or if we have availability for your event. Come see us and see what's happening in the burgeoning East Village of downtown Tulsa.


So where are folks finding sources for UV LEDs to swap out in their LED based projectors?
I use 1 Watt for testing. 3-10W for replacement in my Pico-Projector. A larger projector may need 20+ Watts.
So at say the 10 watt replacements your using, how large of a build plate are you able to use? And are you just using a external ballast for the higher power LEDS?
I cut out an aluminum heatsink from a processor, I still need to get a smaller fan to help with cooling. I know for a fact that 2 Leds - (402nm & 365nm) 3W Leds will suffice for a pico projector of 102x78mm at a layer speed of 3-6 seconds.
Wow seriously 2 of the 3 watt can work properly? Going to have to start researching this a little more. Sounds like it would make nice compact SLA printer. Do you have any build logs on your trials so far?
Ahh found your Blog. I see you were using a 10watt LED in your tests and stripped the light path down to just the lens, have you changed your design to now use 2 of the 3Watt LEDs then? And does that AAXA P2jr have the native resolution they claim (1280X800) There's conflicting specs on various sites.
Yes, using a pico you can get a very compact DLP machine. I plan on making a new machine with a back pack design kind of like the Solidator does, but I won't be going for as large of a print area. I would like to keep the X/Y resolution within 200 microns at the most.
I'm going to try and see if I can get my hands on a modified pico, but if not I will try and use the parts listed here.
Currently, I'm using the larger 10W square 1cm^2 400nm UV LED, I still haven't decided if I'm going to go with a smaller 5W 365nm one yet. I'm in the process of constructing my new machine. I spent a few hours working on it today.
No, the P2 jr res is only 640x480. For a true 1280 dlp engine, the projector would cost a lot more.
http://www.aaxatech.com/store/products/ ... _store.htm LCOS 960x540.


text:
Q: Google Analytics Reporting API v4: nextPagetoken cannot go beyond 10,000 rows (Python) I'm new to Google analytics API and I'm trying to query data with more than 10,000 rows using Python. Each row in my request is a client id.  After doing some research, I know I have to specify the pageToken and pagesize parameters to achieve this goal. The following function shows my basic query structure.
def get_report(analytics, pageToken=None):
    sample_request = {
      'viewId': '1111111',
      'pageSize': 2000,
      'pageToken': pageToken,
      'dateRanges': {
          'startDate': datetime.strftime(datetime.now() - timedelta(days = 30),'%Y-%m-%d'),
          'endDate': datetime.strftime(datetime.now(),'%Y-%m-%d')
      },
      'dimensions': [{'name': 'ga:clientid'}],
      #'metrics': [{'expression': 'ga:sessions'}, {'expression': 'ga:avgSessionDuration'}]
      'metrics': [{'expression': 'ga:sessions'},
                  {'expression': 'ga:avgSessionDuration'},
                  {'expression': 'ga:bounceRate'},
                  {'expression': 'ga:goalConversionRateAll'},
                  {'expression': 'ga:pageviews'}
                 ],
    'orderBys':  [{"fieldName": "ga:sessions", "sortOrder": "DESCENDING"}],
        #{"fieldName": "ga:pageviews", "sortOrder": "DESCENDING"}],

    }

    return analytics.reports().batchGet(
      body={
        'reportRequests': sample_request,

      }
    ).execute()

I implemented my pagination function using a similar idea appeared in this post
Update the input of a loop with a result from the previous iteration of the loop . Basically I make a query with 2000 rows each time and convert these rows into dataframe. While I can receive the pageToken from previous request, I keep requesting additional 2000 rows based on the pageToken, and append them to my existing dataframe. Here is my pagination code.
# pagination
def main():
    global result

    # Initial request
    analytics = initialize_analyticsreporting()
    response = get_report(analytics)
    pageToken = response['reports'][0].get('nextPageToken')
    response_data = response.get('reports', [])[0]
    # convert the report into pandas dataframe
    result= pd.DataFrame(prase_response(response_data)[0])

    while pageToken != None:   # more data available

        print(pageToken)
        print("still running")
        analytics = initialize_analyticsreporting()
        response = get_report(analytics, str(int(pageToken)+1))
        pageToken = response['reports'][0].get('nextPageToken') # update the pageToken
        response_data = response.get('reports', [])[0]
        # temp is new dataframe to be apended
        temp= pd.DataFrame(prase_response(response_data)[0])

        result= pd.concat([result,temp], axis=0)

if __name__ == '__main__':
    main()

This program works as expected but it will stop when pageToken reaches "10000"; that is, in this case, the main function can concatenate 5 data frames together, each with 2000 rows. I should have more than 60,000 rows available.  I know we can request at most 10,000 rows for each request, but I also know we can use pageToken parameter go around this limitation. I'm not sure which part of my code goes wrong. If I set pageSize=10,000, then the main function will just create one dataframe with 10,000 rows and stops.
So how can I get all 60,000 rows of data and why my pagination function fails. Or is it impossible to request more than 10,000 client ids? Any help is greatly appreciated! Thank you!
Update (05/15/2020): I used my pagination function for other dimensions, such as "ga:pagePath", it works perfectly. So I guess it may be just impossible to query more than 10,000 rows of client id only. Please do correct me if I'm wrong.

A: I think it's a permission or configuration problem. I have two different accounts and in one of them I get everything back and in the other one only 10000. The worst thing about the one that returns less is a 360 account.

redpajama_set_name: RedPajamaStackExchange


text:
NEWS: Revolutionizing Hospitality, The Purpose Hotel™ Sets Out To Change The World, Inviting Public To Participate In Tuesday's Launch
By GMAJuly 14, 2016News
Charity: Water, Compassion International, International Justice Mission and more among partners in impactful project
Crowd-sourced effort to kick off via Kickstarter Tuesday, July 19
Nashville, Tenn. (July 14, 2016) — The Purpose Hotel™ will launch its effort to "change the world in your sleep" this Tuesday, July 19 as founder Jeremy Cowart (Huffington Post's most influential photographer on the web) invites people everywhere to join him in the fight for change.
From room keys and soaps to furniture and internet fees, every aspect of the global hotel chain will align with a greater mission through partnerships with organizations such as Charity: Water, Compassion International, International Justice Mission, Thistle Farms and more. Fighting cyclical issues around the globe, the first location in the chain is scheduled for Cowart's hometown of Nashville, Tenn.
"To me, The Purpose Hotel™ is a statement that what unites us is far more important than the boundaries we're born into," said Cowart. "With your help, we're about to build a hotel unlike anything the world has ever seen."
Anyone can support the launch of the design and building process by backing The Purpose Hotel™'s Kickstarter campaign, starting on Tuesday, July 19. Additionally, supporters can join the hotel's Thunderclap Campaign, which is currently the No. 1 trending campaign on Thunderclap, a platform that amplifies a message through social media support. Follow the progress of The Purpose Hotel™ by signing up for the newsletter or join the conversation on Twitter or Facebook.
About The Purpose Hotel™
The first hotel of its kind, celebrity photographer Jeremy Cowart (Taylor Swift, Carrie Underwood, Kelly Clarkson, Tim Tebow, The Kardashians, Sting, Maggie Gyllenhaal, Heidi Klum, Emma Stone, Ryan Seacrest and more) created humanitarian relief project The Purpose Hotel™ that aims to fight against injustices of war, hunger, poverty, global warming, racial tension, unclean water, addictions and natural disasters. Every aspect of the global chain will directly contribute to those in need through partnerships and sponsors. The project is launching with a large campaign designed and developed by The Purpose Hotel™. Through the project's Kickstarter, individuals have the opportunity to become co-founders as backers of the project.
Get Connected With The Purpose Hotel™
thepurposehotel.com
Hashtag // #ThePurposeHotel
About Jeremy Cowart
Named one of the most influential photographers on the web (Huffington Post), Jeremy Cowart has photographed the likenesses of Sting and Emma Stone to The Kardashians and Taylor Swift. Capturing images in over 25 countries, his work has been seen on the pages of Rolling Stone and USA Today, reaching the channels of A&E and ESPN. An earnest desire to do more has led the notable photographer to focus on Help-Portrait, See University and now, The Purpose Hotel™.
Get Connected With Jeremy Cowart
jeremycowart.com
the media collective
Velvet Kelm, Courtney Hyder, Kirsten Grenier & Brooke Huppenthal
velvet@themcollective.com
courtney@themcollective.com
kirsten@themcollective.com
brooke@themcollective.com
www.themcollective.com


text:
St. Paddy's Day: binge drinking can have lasting effects
BY JASMINE ANTHONY
This St. Patrick's Day, it's important to remember that the "luck of the Irish" is not enough to get you home safely.
With many pubs and bars promoting their venues using cheap beer and green beverages, it is easy to forget your one-drink-a-day rule and let loose for the night.
And that's okay – to a point.
"The low-risk drinking guidelines, for special occasions like St Paddy's Day, recommend girls should never take more than three drinks and boys should never take more than four drinks," said Dr. Catherine Paradis, Senior Researcher and Policy Analyst with the Canadian Centre on Substance Abuse.
This means one more drink than the recommended daily intake.
While the short-term health effects of occasional binge drinking are minimal (depending on the extent), there are other risks that should be considered.
"The short-term risks associated with binge drinking are in fact injuries and accidents, not really long-term chronic health disease," said Paradis, noting that several recent studies are starting to show potential long-term health effects of binge-drinking.
A report released by an alcohol task force at the University of Guelph, which surveyed more than 6,000 of its students in late 2012. The report, Alcohol Related Harms at the University of Guelph, outlines the risks related to binge drinking, including injuries from falls, vehicle crashes and unplanned sexual activity.
The report also found that binge drinking can hurt academic performance. It is "associated with missing classes, falling behind in assignments, lower grades and sleep disturbances."
One of the most common misconceptions about binge drinking, according to Paradis, is "that nothing wrong is going to happen."
"Maybe you didn't end up in the hospital, or maybe you didn't end up pregnant, have unsafe sex or unprotected sex, but what about missing on opportunities at university? If you're hung-over three days a week, or if you're more focused on drinking than your studies, you may be missing out on great opportunities," said Paradis.
The study found that students drink mostly for social reasons.
Paradis states that "alcohol is a social lubricant."
"Of course when you take one or two drinks, it is un-inhibiting," she explains. "You think peoples jokes are funnier, you're louder, so there's definitely an element of truth to that."
"However, after two to three drinks, you're not social anymore, you're sloppy."
Student drinking habits
Breathalyzer test: Ready, set, blow
Academic pressures affect students' mental health
Sheridan student Marco D'Auria, co-founder of the Substance Awareness Support group at Sheridan, says that after a week of working and studying, some people might let their guard down on the weekend.
"They get into the social environment, and a lot of what people do when they're being social is they drink," he said. "It's a normal thing for a lot of people, to drink and to party, and with certain people I think it can get out of hand."
In a recent study by the American College Health Association, which surveyed 34 Canadian post-secondary institutions, just over 36 per cent of respondents reported drinking five or more drinks at least once in the previous two weeks.
A recovered alcoholic himself, D'Auria said it was "easy to have a few beers, and I was more relaxed and more social with people. That's the way I felt at the time."
"I think some people use it to get over that social anxiety, but then it might go too far."
Making sure you stay within your limit can be difficult for some people, but there are ways to help.
D'Auria says that being aware of yourself, of how you feel and of the people around you is an important part of having a safe outing.
"Have safety nets, have friends who are actually real friends," D'Auria suggests.
"If you know that you can't stop after having a couple of drinks, then there's probably a problem. There is some kind issue that you need to deal with and you need to get help."
Some people, like former university student Adrianna Simard (name changed because she did not want her real name used), 22, have adapted to their drinking habits.
Simard says that she no longer gets hangovers because she knows how to pace herself, even though she drinks more than seven alcoholic beverages on an average night out.
"Sometimes if you grow a tolerance, you don't even feel sick the next morning, and it gives you more of an incentive to do it again," she said.
While she does not always feel the effects on her body, she admits that there have been times when she has woken up unable to remember parts of the night before.
"I blacked out at a club once. We all had to work together to get (my friend) out of the club," she said. "I was talking and helping them carry her, and I don't remember any of it." She heard about it the next day from her friends.
"We went out with the initial plot of having a good time," she added. "I regret drinking so much because if I paced myself, I would have had more fun. Sometimes it ruins your night."
Blacking out is a scary, but not unusual side effect of excessive drinking. Waking up the morning with blank spots in your memory can be an unnerving and often embarrassing ordeal.
"You wonder how your relationship with is with everyone, if you hurt or offended someone," Simard explained.
Still, she doesn't want to give up drinking. For her, it is a way to open up.
"I like the thrill and the fun, and how it makes me a different person in a way. It helps me do things out of my comfort zone that I wouldn't do if I was sober, like approach people and sing on stage."
While drinking itself is not something she is ready to give up, Adrianna said that the lifestyle and other substances that can accompany heavy drinking are ones she would like to avoid in the future.
"The only times I've been really bad lately it hasn't been just alcohol. It's a gateway and you're more inclined to smoke and do other drugs and that's what makes you sick," she said.
While these consequences may not deter someone from overdrinking, there is one thing that likely will.
"The most severe (consequence of heavy drinking) is alcohol poisoning, and death. Sadly there have been two deaths at college campuses in Canada in the last three months," said Paradis.
Added by jasmineanthony on March 17, 2016.
Saved under Health
Tags: Alcohol, arrive alive, beer, binge drinking, health, st paddys day, St. Patrick's Day, substance abuse


text:
Revenue, expenses drop at Circus World Museum
BARABOO, Wis. (AP) — Revenue and expenses at Wisconsin's Circus World Museum fell during the first 11 months of 2015, helping the facility stay ahead of last year's net income.
The Baraboo News-Republic reported Monday that through November the Circus World Museum Foundation's operating revenue stood at $1.2 million, down about $308,000 from the previous Nov. 30. Expenses were down about $330,000, though, helping the foundation position itself to finish the year slightly ahead in net income.
Foundation officials cautioned their board during a Dec. 17 meeting that the numbers could change before the year ends.
"We're still managing our cash flow very carefully month to month," foundation board President John Lloyd said at the meeting.
Museum officials hoped year-end giving would boost their finances. Through Dec. 10, gifts were $60,000 short of the goal for the year. Other fundraising efforts have surpassed their goals, however. The Circus of Chefs gala, for example, generated $47,000 more than anticipated.
The board approved a 2016 budget that increases expectations for on-site revenue, including ticket sales and souvenirs, to reflect 2015 success in that area and confidence in the 2016 big top show.
The board also allowed management to temporarily pull money from library endowment and wagon endowment funds to pay bills in the spring, a time of year when cash flow dries up. Those funds will be repaid when summer revenue starts coming in.
"It's simply allowing us to work through our short-term cash flow and know where our payroll is coming from," treasurer Les Smout said. "We're borrowing from ourselves, rather than an external source."


Good news for Crumpler fans like me!
Crumpler's SM Megamall branch is moving to a bigger and better location soon! In line with that, they will be having a Moving Out Sale from October 1 – 31, 2012.
Enjoy incredible savings of 50-70% off on all items, which includes their pencil cases, bag tags, straps and camera bags! For the benefit of those who don't know what Crumpler is, it is a trusted brand of durable backpacks, camera bags, laptop bags, messenger bags, and more.
See you at the Crumpler Bags SM Megamall moving out sale!


Founded in 2015, ACJ was created by Amien Chaker Jomaa with the intention of having a platform to express his creative thoughts.
ACJ is a brand that puts creativity and design first. What sets us apart from the rest is the sheer uniqueness of our creations.