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AssociationsOnline
Review of the Act
Sources and referencing
A note on copyright
A final word
AssociationsOnline is a secure online portal provided by Consumer Protection for incorporated associations, industry stakeholders and members of the public to check the status of an incorporated association, purchase copies of documents, submit a range of applications and update association contact information.
AssociationsOnline has been updated to meet the requirements introduced by the new associations' law. The enhanced service with more automatic functions reduces the administrative burden on committee members and association officers by enabling them to manage their affairs online.
Throughout the guide you will be advised what applications may be lodged using AssociationsOnline.
AssociationsOnline is the preferred method for submitting applications relating to incorporated associations to Consumer Protection and all users must be enrolled to access the system.
To enrol as a user visit AssociationsOnline and follow the prompts to 'Create an AssociationsOnline account'.
Once enrolled a user will be able to:
lodge an application to incorporate a new association;
link up to an existing association (by becoming a primary or authorised user);
lodge applications for linked associations including alterations to rules, extensions of time for Annual General Meetings and annual information statements; and
update and manage the contact details for their account and that of any linked associations.
Linked associations and user types
Two new user types have been introduced to manage an association – a primary and an authorised user. In order to lodge applications on behalf of an incorporated association a user must first link to their association and become either the primary or an authorised user.
It is recommended associations develop appropriate internal processes for nominating, approving, retiring and replacing their primary and authorised users in AssociationsOnline. It is important that appropriate records of the approved users are maintained.
There can only be two primary users at a time per association and the person must either be a member of the association's management committee, or authorised by the committee to act as a primary user on its behalf. Associations must ensure they retain records relating to this.
The primary user will be able to:
lodge documents on behalf of the association;
add and remove authorised users for the association;
manage their own personal details online, for example resetting their password and updating contact details, linking to and retiring from associations;
manage other user accounts attached to the association, for example inviting authorised users and managing requests to become authorised users; and
approve requests from people seeking to become authorised users for an association.
The system also allows for additional users to be linked to an association as authorised users. A person who is an authorised user must be nominated and approved by the committee but does not necessarily need to be a committee member.
Examples of authorised users include:
the association's Chief Executive Officer or manager;
a legal or accounting professional acting on behalf of an association; or
a member of an affiliate or parent organisation.
An authorised user is able to:
lodge documents on behalf of the association; and
manage their own personal details online, for example resetting their password, updating their contact details and retiring as an authorised user.
The primary user is responsible for approving requests from people seeking to become authorised users for an association.
Linking to your association
Once you've enrolled as an AssociationsOnline user, the next step is to search for and link to your association.
To complete this process:
Click the 'Add an existing association' button.
Type in the name of your association and click search.
Find your association in the search results list and click on the name.
Tick the relevant box to nominate whether you want to become the primary user or an authorised user.
Read and accept the user declaration and click 'Go'.
If you've nominated to be the primary user (and there is no one currently in that role) you will be automatically linked to the association. If you have nominated to become an authorised user it will be up to the primary user to respond to and approve your request.
Once you're linked to your association you will be ready to lodge applications on behalf of your organisation.
You can find more information about using AssociationsOnline in the help guide. There are also step by step videos available.


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Time-to-Fill at Its Highest Since the Recession. Here's How to Deal.
August 15, 2014 at 9:04 AM Kathleen de Lara
Recruiters and hiring managers, are you ready? The time to fill open opportunities in the U.S. is about 23 days – the highest its been since 2009.
The Dice-DFH duration index reports the duration of the average job vacancy. This year, businesses take approximately 22.5 days to fill a job – only about six days longer than the reported time-to-fill at the end of the recession.
To add, the U.S. Department of Labor announced there were 4.7 million open job openings at the end of June, which is more than there have been since February 2001. Not to mention nearly three million people quit their jobs in June compared to the 2.4 million who quit the same time in 2013.
The proposed reasons for the high number of vacancies vary: The disparity between the demand and supply for U.S. workers with STEM skills. The "perfect candidate hypothesis." The increasing number of workers in the labor force, and those taking on more than one job.
Where does this put recruiters? The hunt for talent is a constant, but candidate pools aren't necessarily shrinking – the scope of desired qualifications and skills is rapidly expanding and the bar defining the qualified candidate may be the setback keeping companies from making their next hire.
Check out these tips for managing your team's time-to-fill and cost-of-hire.
What perfect candidate?
Do some recruiter housekeeping and remind the team: The search for the perfect candidate is futile and costly. Some recruiters may expect their star candidate can wear many hats, but if the number of skills requirements extends to several company departments, that purple squirrel may be long gone or nowhere to be found. The old adage comes into play, quality over quantity – would you rather have a candidate who's skilled in a number of areas, or merely passable in several?
"Employers are not looking to hire entry-level applicants right out of school. They want experienced candidates who can contribute immediately with no training or start-up time. That's certainly understandable, but the only people who can do that are those who have done virtually the same job before, and that often requires a skill set that, in a rapidly changing world, may die out soon after it is perfected," said Peter Cappelli, director of the human resources center at University of Pennsylvania's Wharton School.
Keep in mind that finding a candidate with transferrable skills and the ability to quickly learn, apply, and adapt requires less time than finding a prospect who hits all the checkboxes on your list of desired qualifications.
Recruit in a constant cycle of sourcing, assessing, and short-listing.
One hitch of the hiring process is a candidate getting stuck in one stage, be it sourcing, vetting, interviewing, following up, rejecting or offering, and onboarding. Keep talent out of hiring purgatory by tracking each individual candidate through each stage of the process. Applicant tracking systems like Greenhouse, Lever, and Jobvite can help recruiting teams organize and stay on top of talent moving through any part of the funnel. To successfully source and maintain engagement with a candidate, sourcers, recruiters, and hiring managers should be constantly viewing, tracking, updating, and collaborating on the status of each prospect.
Like what you're reading? There's more where that came from.
If you can learn it, you can train it.
Only 21 percent of employees received formal training from their employers in the past five years, according to a study by Accenture. Hiring candidates who don't encompass the whole package but who have the experience and ability to learn can be trained to fulfill the role's duties. Practicing the 80/20 hiring rule (hiring candidates who have 80% of the job skills required, leaving the remaining 20% to be filled by in-house training) greatly reduces time-to-hire and provides a periodic refresher for skills, processes, and programs that may be specific to the company.
If employees aren't constantly learning something new or being challenged at their job, they're not developing in their role or career. Another cost-effective alternative is recruiting qualified interns in their last years of school who can be trained and considered for hire after graduation. By the time the intern's out of school, they'll likely be more prepped for the entry-level role than a brand new hire.
Revisit this: The group interview.
Reduce time spent on the interviewing process, and consider implementing a well-planned, methodical panel interview. While we may not have always been advocates for this style of interviewing, if the hiring time crunch is one of your company's concerns, this technique can help address concerns with the candidate dropoff.
Lou Adler suggests these panel interviews can build a better connection between hiring managers and potential hires, and allows the team to collectively meet and qualify a candidate, eliminating the miscommunication that can occur during the handoff stage of the interview process. Although efficient, tracking interviewees' impressions with scorecards can be a time sync. Candidate scorecards need not be eliminated, of course, but the team can cut the waiting time of filling out scorecards by allowing team members to interview a candidate at a single time, then talking over their verdict post-meeting. Collective interviews allow for quicker, collective discussions.
Want more resources on addressing the increasing time to fill opportunities? Employee referrals can provide another solution. Running a robust Boolean search also never hurt any recruiter. Need a refresher?

redpajama_set_name: RedPajamaCommonCrawl


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Valsteeg is a hamlet in the Netherlands and is part of the Coevorden municipality in Drenthe.

Valsteeg is not a statistical entity, and the postal authority have placed it under Dalen. It was first mentioned in 1650 as Valste, and means "settlement on a slope". It consists of a handful of houses.

References

Coevorden
Populated places in Drenthe

redpajama_set_name: RedPajamaWikipedia


Dr. Beebe is our interim pastor. This means that he will be leading us for a year or more in transitioning from our previous pastor to his successor as an installed pastor. David comes to us as a trained intentional interim pastor, having been trained by the Interim Ministry Network. Before he began this work over twenty years ago he was the biblical associate for the national UCC Stewardship Council. He holds an earned doctorate in worship. He has two daughters and two grandsons, all of whom live in the St. Louis area. His wife, Judy, passed away twenty one years ago. David lives in Lake St. Louis, MO.
Connie has served as Zion's Administrative Assistant since 1980. She is married to Daniel and they have two daughters, Amy and her husband Michael Eads who live in St. Clair and Jill who lives in Union. Connie enjoys spending time with her family and friends, enjoys reading and watching her favorite baseball team...the St. Louis Cardinals!
Dr. Timothy Sexton has been our Minister of Music since fall 2013. In addition to being Director of Choral Activities at East Central College, Dr. Sexton is an instructor of Music Theory and Music Appreciation as well as the Artistic Director of East Central Children's Choral. He has served as Music Director in several congregations in Missouri, Kentucky, and South Carolina. His ministry role includes: conducting the Chancel and Hand Bell Choirs, selecting service hymns, coaching soloists and small ensembles for special presentations, and working with our Worship Arts Ministry Team.
Alysha joined the Zion staff in 2009 as the Coordinator of Christian Education. In 2012 her position was expanded and redefined as the Minister to Youth & Families. When she is not playing or planning with her Zion family, she enjoys time with her two kids, Reed and Julia, and her husband Jeff. Jeff and Alysha spend their spare time kicking it with their favorite hobby, tae kwon do.
Mandy has been our Faith Quest Coordinator since Fall 2013. When she is not writing or looking for fun Faith Quest lessons she is spending time with her family and friends. She is married to Jason and they have two children, Ashley and Lucas.


Peter Lewis shares some of the pleasures and pitfalls of translating from German, from imponderable subclauses and outlandish compound nouns to the translator's bête noire, the innuendo.
At root, Frost was right, of course: nothing can ever replicate the music of the primary text. Yet if we take "poetry" in its widest sense, to mean not just "verse" but the rhythm and elegance of a piece of writing, his words may at least serve as a salutary reminder to us translators that our task must always be to try and capture as much as we can of its essential character.
I've worked on a wide variety of texts over the years, and each different genre poses its own particular challenges. For example, I'm currently translating a major work on mediaeval European culture and history by an eminent German historian. Aside from the occasional problems I encounter with specialized terminology (regular liaison with the author helps me overcome these), the greater difficulty is to express the often complex ideas under discussion and maintain the rhetorical flow without letting the English grow stilted or opaque.
There's a syntactical rigour to academic German that brings the language's Latinate origins to the fore, as it meticulously assembles subclause after subclause and holds off unveiling the main verb until very late in the day. The writings of Immanuel Kant are the most extreme instance of this; at university in Freiburg, a German friend reading philosophy told me that he and his fellow students used to refer to an English translation of the Critique of Pure Reason in order to "unpack" the writer's notoriously convoluted paragraphs and make sense of them. Mercifully, my author's style is not remotely as rebarbative as Kant's, but I'll still sometimes find myself breaking up a single sentence into two, or even three, to better convey the meaning.
Turning to the nuts and bolts of grammar, there's a peculiar feature of German that has become something of an amusing cliché to English readers – its propensity for the compound noun. In fact, a forthcoming title by the excellent Ben Schott, called Schottenfreude: German Words for the Human Condition, will showcase some of the more outlandish of these terms. This aspect of the language, yoking together different components into one large, unwieldy unit, is much beloved of bureaucrats; legal German abounds in such compounds. Translating strategies vary where these monsters are concerned. Sometimes, it's permissible just to use an abbreviation – thus, 'Mehrwertsteuer' (literally 'excessive value tax') can simply be rendered as 'VAT'. German itself, indeed, frequently uses this ploy, but it can have the unfortunate side-effect of generating a slew of acronyms even more baffling to the non-native reader, who won't necessarily even recognize what they stand for.
As a postscript to this subject, it should not be forgotten that German compound nouns also harbour great creative potential, enabling writers to craft completely new terms. The winner of the 2009 Nobel Prize for Literature, Herta Müller, is a case in point. Her novel of that same year, which fictionalizes the harrowing incarceration in a Soviet forced-labour camp of her fellow German-Romanian writer, the poet Oskar Pastior, is hallmarked by its dense, highly allusive language: even its compound-noun title Atemschaukel ('Breath-swing') is invented.
Müller is fond of such neologisms; an earlier novel of hers is entitled Herztier ('Heart-beast'). The respective translators of these works, Philip Boehm and Michael Hoffmann, wisely elected not to tackle these titles head-on, opting instead for 'The Hunger Angel', and 'The Land of Green Plums'. I am full of admiration for these translators who (along with the late doyen of German poetry translators, Michael Hamburger, before them) are able to inhabit the alien linguistic landscapes of, say, Müller, Kafka, Celan, and Enzensberger and transpose them with signal success into another language.
By comparison, my first foray into literary translation, Roman Elegy (Haus Publishing, 2013) has been plain sailing. The original novel, Stillbach by Sabine Gruber (C.H. Beck Verlag, Munich, 2011) is a superbly modulated piece of prose which blends fiction with real historical event. Embedded within a framework narrative set in 2009, the core of Gruber's book comprises the interlinked stories of two women, Emma and Ines, both German-speaking Italians from the fictional South Tyrolean village of the title (a speaking-name – "quiet brook" – which would have been lost on English readers). At different times, the women come to work in Rome as chambermaids and end up spending their entire lives there. The two eras covered by the heart of the novel are the Fascist period (including, after the fall of Mussolini's regime, the German occupation of Rome) and the so-called Anni di Piombo ("Years of Lead"), the long phase of political unrest that culminated in 1978 in the death of Pope Paul VI and the kidnap and assassination of former prime minister Aldo Moro.
The sheer storytelling drive of Stillbach and the clarity of the author's language made it relatively straightforward for me to translate its narrative passages. But I still had to be alive to linguistic anachronisms: a perspicacious proofreader who kindly reviewed my draft translation rightly pointed out that my rendition of a pejorative German phrase for a good-time girl as "some dippy bimbo" just didn't ring true for the late 1970s; I changed it to "some scatterbrained bed-hopper". Incidentally, given the novel's Roman setting, my rudimentary Italian was put to the test as well; just before the book went to press, I fortunately realized that "Triestina" was not a proper name at all, but meant "the woman from Trieste".
But where I was really out of my comfort-zone, not having dealt with fiction before, was in the dialogue. Getting each character to talk naturally did not come easily, at least at first. I found the most effective way of road-testing what I had written was to read the exchanges aloud to myself and listen for whether any of the interjections or the rhythm of the characters' speech jarred. I also learnt to ring the changes on such formulae as "he said", "she replied", "he responded", "she answered", etc., but not so insistently as to make it seem as though I'd swallowed a thesaurus.
And finally to the bêtes noires of the translator: idioms, puns, and slang. There were only a handful of these in Stillbach/Roman Elegy, but even so some had to be dropped as they were untranslatable. One extended anecdote, however, called for a little more ingenuity on my part. It concerned a servant colleague of Emma's in 1930s Rome who skivvied in the kitchens of the German Embassy. For a banquet there in honour of Mussolini, a dish involving dozens of boiled eggs had to be made especially for the Duce. The servant woman was set to work preparing the eggs, but finding that one or two had tougher shells than the rest, resorted to cracking them open with her teeth. She subsequently retells this story in mixed company, and a German soldier who overhears it calls out 'What's that? You had the Duce's eggs in your mouth?', which provokes a chorus of ribald laughter from his comrades. The double-entendre turns on the fact that in German, "eggs" (Eier) is a slang expression for the testicles. Clearly, this doesn't work in English. Then again, I could hardly leave out such a long passage, so what was I to do? The answer I came up with was to substitute walnuts for eggs, and at the point where the soldier's risqué comment occurred, simply say 'the Duce's nuts'. My translator's pride was thereby upheld, and the off-colour joke preserved. Job done…Phew!
Read our review of Sabine Gruber's Roman Elegy.
Peter Lewis read German at St. Edmund Hall, Oxford and Albert-Ludwigs-Universität, Freiburg before taking his doctorate and teaching at St. Anne's College, Oxford. He still lives in Oxford, where he works as a freelance editor, translator, writer, and publishing project manager.


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Podgorny () is a rural locality (a selo) in Novgorodsky Selsoviet of Svobodnensky District, Amur Oblast, Russia. The population was 256 as of 2018. There are 3 streets.

Geography
Podgorny is located 11 km south of Svobodny (the district's administrative centre) by road. Sovetsky is the nearest rural locality.

References

Rural localities in Svobodnensky District


In stock -This product will ship today if ordered within the next 6 hours and 36 minutes.
Below are reviews of Viridian Ester C - Vitamin C - 120 x 950mg Vegicaps by bodykind customers. If you have tried this product we'd love to hear what you think so please leave a review.


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Expected Price ₹ 1.9 - 2.4 Lakh
Expected Launch December 2021
Hyosung GD450 is not launched in India yet. Information on this page is tentative.
Notify Me When Launched
Hyosung GD450 Preview
Hyosung took the wraps off the GD450 at the 2015 EICMA in Italy. The GD450 is a middle-weight naked streetfighter that will be placed in between the GD250 and GT650N. As for the prototype, it looks snazzy and aggressive in its stride.
The GD450 will be powered by a 450cc single-cylinder engine capable of churning out 49bhp of power 48Nm of maximum torque. The engine will be paired to a six-speed manual unit.
There is no word on the official launch date of the Hyosung GD450 in India. We expect them to unveil the production-spec model in the next couple of months for a slated launch by year-end. Hyosung is likely to price the GD450 in the vicinity of Rs.2 lakh. At the said price, the GD450 will compete against the KTM 250 Duke and Royal Enfield Himalayan.


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13-year-olds accused of slaying to be tried as juveniles
By Brian Mastre and Gray News staff
Published: Nov. 30, 2022 at 6:24 AM EST
OMAHA, Neb. (WOWT/Gray News) - Three 13-year-old boys from Nebraska are facing first-degree murder charges in two separate cases, one involving the death of another 13-year-old boy.
Lenny Rodriguez, 13, was an eighth grader who died after getting shot on Sept. 29. Investigators say a stranger over the phone arranged a fight with him at Omaha's Hanscom Park that evening.
"Lenny was very loving, caring, sweet," his aunt said. "I don't understand why. He didn't know them."
Lenny Rodriguez, 13, was an eighth grader who died after getting shot in September. Two other 13-year-old boys are facing murder charges in relation to his death.(Source: Family photos, WOWT via CNN)
Two 13-year-old boys were recently charged with first-degree murder and other charges in relation to Lenny's death.
Under Nebraska law, all cases involving those 13 years and younger go to juvenile court without exception. Even if found responsible, they would be free and clear of the charges when they turn 19.
"We can't really get justice for him. This is not justice. Charging them as a juvenile feels like a slap on the wrist for him," Lenny's aunt said.
Douglas County Attorney Don Kleine wants state lawmakers to change the law and give other options, WOWT reports. He suggests letting a judge decide if a case is heinous enough to be tried in adult court or allowing the state to follow up or monitor the youngster when they turn 19, if it goes to juvenile court.
A third 13-year-old boy in the state is accused of first-degree murder in relation to the Aug. 30 shooting of 19-year-old Alon Reed. Investigators have said the suspect stormed into the victim's home looking for him and shot him point blank.
"It seems that it might be taken advantage of in regards to certain groups who might have younger people carry on their business, knowing they can't be prosecuted as an adult," Kleine said.
All three 13-year-olds, the two accused of murder in Lenny's case and the one accused in Reed's case, will be tried as juveniles.
"It's not fair," Lenny's aunt said. "They get to live their life. ... Their parents get to see them. And we never get to see Lenny in this life. He's gone forever."
Copyright 2022 WOWT via Gray Media Group, Inc. All rights reserved.


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Mike Pence Issues Chilling Warning to North Korea: Don't Test Us...
Over the past few days, Mike Pence has made it apparent he has precisely zero patience when it comes to North Korea. Something he recently illustrated with the glare felt 'round the world (see BADASS: Mike Pence Fearlessly Stares Down North Korean Military...). He reiterated that sentiment in a shared statement alongside South Korea's president. Watch below...
Speaking alongside South Korea's acting president Hwang Kyo-ahn in Seoul, South Korea, Vice President Mike Pence warned North Korea...
"The United States' commitment to South Korea is ironclad and immutable. Just in the past two weeks, the world witnessed the strength and resolve of our new President in actions taken in Syria and Afghanistan. North Korea would do well not to test his resolve, or the strength of the armed forces of the United States in this region. We will defeat any attack, and we will meet any uses of conventional or nuclear weapons with an overwhelming and effective response."
Translation: Don't f*ck with us, it's not Obama's military anymore. Thankfully. For all of Donald's faults, a wimpishly inactive military strategy isn't one of them. He made that clear earlier this month when he gave ISIS a taste of their own boomage (see SAY HELLO TO OUR LITTLE FRIEND: Watch Mother of All Bombs Blast ISIS!).
North Korea has been weirding it up in their own country quite a bit (read Kim Jong-un Just Banned Sarcasm in North Korea. No, Seriously...). But be warned North Korea: meddle with America and our ally South Korean, and be crushed under American boots. Hoorah.
By the way, let's take a moment to appreciate how committed Mike Pence is to keeping the USA and her allies safe. He pays no lip service here but speaks from the heart. And his heart says "screw off, communists." I dig it.
But seriously, girls, find yourself a man who talks about you the way Mike Pence talks about South Korea. The dude cares. It's a breath of fresh air after an almost-decade of the Obama administration's limp wristed pansiness.


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Non-Review Review: Fences
Fences is a superb play, with a great cast, that makes for a reasonably solid film.
Fences was adapted by playwright August Wilson from his 1983 Pulitzer-Prize-winning stage play. Although Wilson passed away in 2005, the resulting film is very faithful to that stage-bound sensitivity. Perhaps out of respect for the writer, or out of respect for the story's origin on the stage, director Denzel Washington never really pushes Fences beyond its source material. Fences has a superb A-list cast, but it never quite feels like a feature film adaptation.
Living life to the Maxson.
Instead, Fences feels like it is trapped somewhere in the limbo between stage and screen, feeling like one of those adaptations from the earliest days of television when the medium never knew exactly where it fell between those two pillars. Fences retains a tight cast and a very fixed location, much like the stage play. It retains monologues and confrontations that play out over extended scenes that recall theatre rather than taking advantage of cinema's ability to let time lapse.
To be fair, the cast superb and the source material is impressive. It is easy to understand why Washington adopted such a reverent and respectful approach to the cinematic adaptation. However, Fences never feels like anything more than the sum of its very impressive parts. In fact, it might feel like a little less.
Tightly-knit family unit.
Fences is theatrical in a variety of ways. The bulk of the action unfolds in a very tight geographic area, within the backyard and downstairs section of the Maxson household. As with a stage play, characters come streaming through those familiar sets in a steady rhythm, occasionally overlapping in their stream of interactions with patriarch Troy Maxson. It seems like the entire world descends upon that small plot of land every Friday night.
Fences occasionally ventures beyond the house and the yard. There is a brief introductory scene that offers a glimpse of Troy's life. At the start of the third act, there are a number of short scenes that unfold in a variety of locations that are otherwise unseen. However, these beats play almost as exposition. Fences allows the camera and the audience to journey beyond the confines of the Maxson household for the bare minimum amount of time.
Blessing in disguise.
Again, there are clear thematic reasons for this. Troy Maxson talks at length about how he struggles to get through each week in order to get to the weekend when he can come home and be the king of the proverbial castle. Watching Fences, it is clear that the audience is meant to feel the same suffocating claustrophobia that traps Troy, the sense that this struggling working-class existence has become a prison rather than a palace. Keeping the action focused on one location makes sense from that perspective.
However, this approach doesn't quite work, for a number of reasons. Most obviously, it becomes increasingly obvious over the course of the film that the house is just as much a prison for the other characters as it is for Troy. Troy steps outside the house on a number of occasions and in a number of different ways, enjoying a freedom that he denies his wife Rose or his son Cory. However, Fences remains focused on Troy as its focal character. It would make more sense to contrast his journeys out into the world by showing more of them.
The garbage man can.
More than that, Fences falls into the trap of telling rather than showing. To be fair, Washington is working from a script written by August Wilson, so those details are told very well. Indeed, a lot of the exposition that comes from Troy about his history and his life out in the world is clearly intended to be suspect, a man making excuses for his own shortcomings and telling tales that run counter to reality as Rose knows it. Indeed, Rose repeatedly calls Troy upon those fabrications and distortions.
However, entire character arcs play out off-screen featuring unseen characters. Big dramatic beats are relied by characters via dialogue and exposition. While that dialogue is skilfully crafted, there are still more than a few moments when it feels like Troy and his friend Jim are simply repeating facts that both of them already know in order to bring the audience up to speed on events that occurred between any of the extended scenes that comprise the film.
If at first you don't succeed, try Troy again…
To be fair, these narrative choices make a great deal of sense for a stage play. In fact, they are part of the theatrical shorthand, where putting on the same show night after night in the same space encourages writers to cut down upon unnecessary set changes and to restrict the cast and to pick each scene to the brim rather than transitioning quickly between scenes. These are all part of the language of theatre. Wilson's script and Washington's direction port those elements over without any hesitation or translation.
After all, cinema is a different language than theatre. The act of adapting something from one medium to another involves some degree of change and revision in order to tell the story in the most effective manner possible in the medium employed. Washington is a solid director, but there is a lot of restraint to his choices. The camera focuses on the actors rather than guiding the audience. The most dynamic shots involve either a slow pan down or a slow pan up to fill an awkward silence between two members of the cast.
Hug of war.
However, Fences still plays reasonably well in spite of these problems, often feeling more like a prestige television production for the BBC or HBO rather than a major cinema release. Wilson's dialogue flows very well, and the story has a lot of emotive power. Fences is the story of generational conflict, the transition from the fifties into the sixties, as an old family patriarch stews in resentment of his own missed opportunities and punishes his family members for his shortcomings. (It is also the story of a man who won't build a fence.)
Everything in Fences is a metaphor or a piece of symbolism or a signal of some description. Even the basic act of building a fence around a yard is presented as a metaphor for Troy's troubled relationship with Rose and their alternate approaches to family. "You know, some people build fences to keep people out," reflects Jim at one point in the story. "Other folks build fences to keep people in." Even a simple act of DIY becomes an act of incredible passive-aggressiveness.
"… and some people build fences because they want to nude sunbathe on their own damn property."
There is a lot more where that came from. Troy's brother suffered a head injury in the Second World War, and believes himself to be an angel. His name? Gabriel. Gabe spends most of the movie carrying around a trumpet, just in case. Rose is repeatedly presented with a rose, leading to the slow pan to a dead rose on the cold earth. Even tending family garden, Rose cannot resist a passive aggressive marital metaphor, complaining that there is nothing that can grow in the "stony" earth of Troy's heart.
Sometimes, this can get a little much. At one point Cory shows up wearing a jacket with his graduation year on it, just to reaffirm that the audience are watching a film set in the sixties. At the next scene transition, the camera takes pains to pan across photographs of Martin Luther King Junior and President John F. Kennedy, stopping just short of screaming "sixties!" at the camera. The content of these scenes is enough to underscore that transition from one decade to the next, the generational strife. However, Fences is far too heavy-handed.
Den(zel) of inequity.
However, there is also a charm to these metaphors. August Wilson uses all of this symbolism to craft an archetypal tale of generational conflict drawn in the broadest possible terms. Indeed, the conflict between Troy and the world around him has a surprising resonance outside of the story's specific time and place. Towards the end of the second decade of the twentieth century, it feels entirely appropriate to focus on an ageing generation's resentment of the idealism and enthusiasm of youth, the spite that drives important life-changing decisions.
It also helps that Washington has assembled a fantastic cast. Most obviously, Washington anchors the film as Troy. Washington relishes the dialogue that he has been given, the anger and bitterness that have turned Troy into a bitter shell of a hateful man. Washington delivers those monologues with incredible power. Indeed, watching Washington chew on those metaphors demonstrates the appeal of his approach to directing the film. Fences feels like a great play into which an actor might sink their teeth; why risk changing that?
Verbal fencing.
Washington is matched effortlessly by Viola Davis as Rose. Davis arguably has the much less showy role. Troy breaks into every scene in which he appears, owning the play even in those few scenes where he is absent. The other characters react or arrange themselves around him, something that Rose explicitly notes. Davis only gets a handful of big dramatic moments, and she hits every one out of the park. More than that, Davis helps to centre Rose even in the quieter scenes that are dominated by Washington as Troy.
Fences has a great deal of energy and power, even if the film isn't properly calibrated to channel those elements. Watching Washington and Davis work through those metaphor and explore those simmering hatreds, it seems like Fences would make a truly phenomenal stage adaptation. Unfortunately, it is merely a solid film.
Filed under: Non-Review Reviews | Tagged: denzel washington, fences, non-review review, review, viola davis |
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The 61st Air Defense Artillery Regiment is an air defense artillery regiment in the United States Army. The lineages of some of the units that initially made up the 61st Artillery (Coast Artillery Corps) (CAC) give the regiment's 1st Battalion campaign credit for the War of 1812.

Lineage
Constituted and activated at Fort Moultrie 9 March 1918 as the 61st Artillery (CAC) from existing Regular and National Guard companies.

Demobilized at Camp Upton, New York, 28 February 1919.

Reconstituted 1 July 1921 as the 1st Antiaircraft Battalion and organized at Fort Monroe, Virginia.

On June 1st, 1922, the 61st Artillery Battalion (AA) (CAC) was renamed.

Redesignated 61st Coast Artillery (AA) Regiment 30 June 1924 and reorganized as follows-
 HHB
 1st BN HHB&CT
 A Battery
 B Battery
 C Battery
 D Battery
 2nd BN HHB&CT
 E Battery from C Battery
 F Battery
 G Battery
 H Battery
Reassigned to Fort Sheridan 14 May 1930
 61st Artillery (CAC) reconstituted and consolidated with 61st Coast Artillery Regiment 13 June 1930.
18 November 1939 Batteries C and D activated, 28 November 1939 2nd Battalion activated
 reassigned to New York for shipment overseas 15 December 1941
 Arrived Reykjavik, Iceland 26 February 1942 and stationed at Camp Hilton.
10 July 1942 two detachments formed as separate Gun Battalions, and later redesignated 494th AAA Gun Battalion, and 495th AAA Gun Battalion.
 Regiment deployed to England 8 August 1943 and stationed at Honiton, Devon.
Regiment deactivated and broken up 14 June 1944 as follows-
 HHB deactivated (10 August 1943)
 1st Battalion redesignated 184th AAA Gun Battalion
 2nd Battalion redesignated 634th AAA (AW) Battalion
 3rd Battalion redesignated 635th AAA (AW) Battalion
28 June 1950 consolidated with elements of the 61st Coast Artillery Regiment which was concurrently reconstituted to form the 61st Antiaircraft Artillery Group with the following composition:
 92nd Group plus Hq 2nd Hq Batry, 6lst Regiment, became Hq and Hq Btry, 61st Group
 184th Battalion plus Hq and Hq Battery, 61st Regiment, became the 6lst Battalion
 634th Battalion plus 1st Battn, 61st Regiment, and the 39th Battalion became the 39th Battalion.
 635th Battalion plus 3d Battn, 61st Regiment, became the 52d Battalion
Group Headquarters was established at Camp Stewart, Georgia.
 The 61st Battalion was redesignated as the 61st Antiaircraft Artillery Automatic Weapons Battalion on 21 August 1950 and assigned to the 6th Armored Division, Fort Leonard Wood, Missouri, where it was inactivated 16 March 1956.
 The 39th Battalion retained its designation as an Automatic Weapons Battalion until 16 May 1957 when it was inactivated at Southampton, Germany.
 The 52d Battalion was redesignated 20 October 1950 as an Automatic Weapons Battalion and served in the Korean War, being inactivated at Inchon 10 November 1951, reactivated at Camp Roberts, California, on 26 November 1952, and finally inactivated at Castle Air Force Base, California, on 15 June 1957.
reorganized and redesignated the 61st Artillery Regiment in 1958, and consolidated with the 436th Antiaircraft Artillery Missile Battalion (NIKE), the 548th Antiaircraft Artillery Missile Battalion (NIKE), and the 740th Antiaircraft Artillery Missile Battalion (NIKE) to form the present elements of the regiment. In addition, the 58th Antiaircraft Artillery Battery (EW) at Fort Bliss was reorganized and designated as Battery C (Electronic Warfare), 61st Artillery and assigned to Fourth United States Army.

Distinctive unit insignia

Description
A Gold color metal and enamel device 7/8 inch (2.22 cm) in height overall blazoned as follows:  Per fess dancette Argent and Sable, a thunderbolt bendwise Proper penetrating the chariot wheel of Helios winged with two dexter wings inverted forming a saltire with the first charged all counterchanged and upon the wheel the sun in splendor of the third.

Symbolism
The aim and purpose of the unit are told in pictorial form by the story from Greek mythology of the winged chariot of Helios which was brought to earth by a bolt of lightning thrown by Zeus.  A summary of the story is as follows:  Helios, the sun, drove across the heavens from east to west daily, in a winged chariot drawn by the celestial horses.  His son, Phaeton, in order to please his mother, and to satisfy those who doubted that he was really a son of Helios, obtained permission from his father to take his place in the chariot for one day.  Phaeton had scarcely taken the reins when the celestial horses, despising their weak driver, turned out of their patch and set everything on fire.  When the chariot came so near the earth that the Ethiopians were blackened by the near approach of the sun, Zeus, with a well aimed bolt of lightning, wrecked the chariot and sent it plunging into the river Po.  This is the first historical record of a hit being scored against an aerial target.  The shield is divided by the saw tooth line taken from Lord Delaware's arms which were the basis of the coat of arms for the Coast-Defense of the Chesapeake.  The upper part of the shield is white, the lower half black, for day and knight.

Background
The distinctive unit insignia was originally approved for the 61st Artillery Battalion on 16 November 1923.  It was redesignated for the 61st Coast Artillery Regiment on 12 December 1939.  The insignia was redesignated for the 61st Antiaircraft Artillery Automatic Weapons Battalion on 10 August 1955.  It was redesignated for the 61st Artillery Regiment on 19 December 1958.  It was redesignated for the 61st Air Defense Artillery Regiment effective 1 September 1971.

Coat of arms

Blazon
 Shield
Per fess dancette Argent and Sable, a thunderbolt bendwise Proper penetrating the chariot wheel of Helios winged with two dexter wings inverted forming a saltire with the first charged all counterchanged and upon the wheel the sun in splendor of the third.
 Crest
On a wreath of the colors Argent and Sable, an eagle's head erased Or.  Motto NON EST AD ASTRA MOLLIS E TERRIS VIA (The Way To the Stars Is Not Easy).

Symbolism
 Shield
The aim and purpose of the unit are told in pictorial form by the story from Greek mythology of the winged chariot of Helios which was brought to earth by a bolt of lightning thrown by Zeus.  A summary of the story is as follows:  Helios, the sun, drove across the heavens from east to west daily, in a winged chariot drawn by the celestial horses.  His son, Phaeton, in order to please his mother, and to satisfy those who doubted that he was really a son of Helios, obtained permission from his father to take his place in the chariot for one day.  Phaeton had scarcely taken the reins when the celestial horses, despising their weak driver, turned out of their patch and set everything on fire.  When the chariot came so near the earth that the Ethiopians were blackened by the near approach of the sun, Zeus, with a well aimed bolt of lightning, wrecked the chariot and sent it plunging into the river Po.  This is the first historical record of a hit being scored against an aerial target.  The shield is divided by the saw tooth line taken from Lord Delaware's arms which were the basis of the coat of arms for the Coast-Defense of the Chesapeake.  The upper part of the shield is white, the lower half black, for day and knight.
 Crest
The crest is from the arms of James Monroe with the colors reversed, a red eagle's head on a gold shield.

Background
The coat of arms was originally approved for the 1st Antiaircraft Battalion on 25 October 1921.  It was redesignated for the 61st Battalion (Antiaircraft) on 10 June 1922.  It was redesignated for the 61st Coast Artillery Regiment on 15 December 1939.  The insignia was redesignated for the 61st Antiaircraft Artillery Automatic Weapons Battalion on 10 August 1955.  It was redesignated for the 61st Artillery Regiment on 19 December 1958.  It was redesignated for the 61st Air Defense Artillery Regiment effective 1 September 1971.

Campaign streamers
World War I
 Streamer without inscription
World War II
• Iceland, 1942 & 1943
• England, 1943 & 1944
• Normandy, 1944
• Northern France, 1944
• Ardennes-Alsace, 1944
• Rhineland, 1944 & 1945
• Central Europe, 1945
Korea
 CCF Intervention
 First UN Counteroffensive
 CCF Spring Offensive
 UN Summer-Fall Offensive

Decorations
 Distinguished Unit Streamer embroidered ST VITH to 634th AAA(AW)btn
Republic of Korea Presidential Unit Citation, Streamer embroidered KOREA to 635th AAA(AW)btn
 Belgian Fourragere (1940) (awarded for Defense of Antwerp) to 184th AAA(Gun)btn

References

 Coast Artillery Journal, August 1923  page 139
 Coast Artillery Journal, May 1931

External links

 B Battery

061


My strong background in trauma, attachment, family systems and developmental needs enhances my work. I integrate CBT, Narrative, Solution Focused, Mindfulness, Play Therapy and other modalities. Together we will work from a strengths based perspective and will explore and remove obstacles to well-being. I often use creative means of expression to reach goals.I bring a deep respect and appreciation for the uniqueness of each individual, attuned to their many strengths, hopes and dreams.


On an international scale, it is no longer necessary to demonstrate that the air pollution reaches the very poorest first. But it is also true at the national level. In France, the highest pollution rates are measured by the air quality monitoring station located next to the A1 highway in Seine-Saint-Denis. The pollution rates do also exceed the European limits very often: 192 days in 2012 and 73 days in 2016 reveals reporterre.net. Any solutions for the popular district? The residents want to put a part of the highway underground, so to reduce the air pollution concentration and the noise pollution.


Tiverton RI is a picturesque sea side community located in the East Bay section of Rhode Island, a small town nestled between Acquidneck Island ( Portsmouth RI ) and Fall River, Massachusetts.Population around 15,000.
People who love to drive or bicycle along beautiful roads will be astounded by the miles and miles of old stone walls and farms that probably looked very much like they did 200 years ago.
Tiverton is mostly residential with single family homes. Tiverton Four corners, has several shops and restaurants within walking distance to one another, Tiverton Four Corners is the perfect place to spend a day in the country. You can leave your car in one of the parking lots for the whole day and stroll at your leisure. The shopping experience ranges from the quaint to the contemporary at the varied retail stores and galleries in Tiverton Four Corners. There are also bed and breakfasts nearby if you want to stay overnight in the area. Enjoy famous homemade ice cream at Gray's Ice Cream located on the East Main Rd, arguably the best home made ice cream in Rhode Island.
Tiverton, RI on the water. ( Highly recommended, try fried clams, clam cakes & lobster rolls ) Stop at a local farm stand for fresh produce picked early that morning.
In the area you can also tour the well-known Sakonnet Vineyards and the picturesque landscapes of Adamsville, Little Compton and Westport Point in nearby MA. Enjoy an unspoiled view of nineteenth century Rhode Island!
Homes in Tiverton are affordable with fixer upper homes starting in the $100,000's. There are also 55+ communities starting in the $100,000.
Tiverton is known to have an excellent school system, music & sports activities. To make your home in Tiverton RI visit Free List of Homes for Sale in Tiverton RI including foreclosures.
Weetaboo Woods & Parden Gray Preserve Located on Main Rd. This nice walking trail surrounds a great cedar swamp, has babbling brooks with slab bridges & remains of a saw mill.
Small beach on the Sakonnet River. Good for small children because there is no surf. Easy walk to the beach.Facility includes playground,picnic tables & Restrooms.
Fogland Beach/Tiverton Town Beach End of Fogland Rd.
Swimming, picnic facilities, fishing, children's playground, restrooms, showers, changing room. Small fee.


Shimmering enough for evening but simply designed for everyday wear, this diamond heart pendant is a dazzling choice for her. Crafted in warm 10K gold, this twisting open style features two swirling ribbons of diamonds that accentuate the sculpted lines of the design. A diamond-lined bail completes this striking tilted design. Captivating with 1/4 ct. t.w. of diamonds and a bright polished shine, this pendant suspends along an 18.0-inch rope chain that secures with a spring-ring clasp.


Each year Academic Technology Services partners with numerous faculty members on campus who are innovative, creative, inspirational, and forward-thinking educators. The Faculty Innovation Awards are designed to recognize faculty accomplishments and contributions in the areas of mobile learning and technology integration with curriculum.
Eligible faculty members can be nominated by any USD community member - Deans, department chairs, colleagues, administrators, staff, or students can put forth a nomination of a qualified potential award recipient.
All nominations will be reviewed by an Executive Committee and recipients will be notified via email by Friday, January 29, 2016. Award recipients will be invited to receive their awards on stage at the Annual Technology Showcase event to be held on Friday, February 5, 2016.
All qualified nominees will receive a certificate from Academic Technology Services acknowledging their outstanding contribution to technology enhanced learning at USD. All qualified nominees will also receive $25 gift cards to La Gran Terraza.


This past October, I had the exciting privilege to attend the International Quilt Market in Houston, Texas. 2 full days of browsing new fabrics and products, as well as getting to meet internet friends, both old and new. I got to meet some great fabric designers and see what gorgeous things could be made with their fabrics. Needless to say, I was like a kid in a ginormous candy store.
One of the designers that I met was Alison Glass from Andover Fabrics. She was so kind to take time out of her day to chat with me and my friend, Alexis. We were drooling over her new knit fabrics as well as the stunning colors of her cotton prints. Something that caught my eye was a beautiful reverse applique blanket that her team had been working on. It had the feel of a quilt, but the top had a reverse applique treatment with Alison's interlock cotton, that just took it up a notch! As if you thought it could get better!
Anyway, my wheels immediately began spinning and I thought this might be a great technique for my Emory Dress (Macy Giggles would work if you prefer paper!) since you kind of treat the knit like a woven. You don't want it to stretch. Alison generously sent me several prints and a cut of knit to see if my imagined design would work.
I have to admit…I was a little scared to start this. I mean, it's Alison Glass! The fear of failure set in big time. Would it work? What if it was a hot mess when all was said and done? I normally don't shy away from eclectic pattern combinations, so I wasn't sure why this was so hard!
And you can see the end result. I also added ties to the back of the Emory, instead of using loops and buttons. This may be my new favorite closure for this dress!
I used Alison's Interlock Knit in Cement for the very top of the front bodice. I chose to not do the applique on the back because I felt like the seams would be terribly bulky. I also chose not to topstitch the front bodice because I did not want to have that gorgeousness pucker on me!
The glorious eggplant print peeking out from the knit is Grove, and if purple is not your jam, there are several other shades in her Sun Print 2015 collection. I rounded out the dress with Ex Libris, which is a showstopper in its own right.
I absolutely adore how this turned out and I'm pretty sure this little girl is just as excited to get to wear it.
So the moral of this tale, my fine sewing friends? Don't let fear keep you from making your creative dreams come to life. You never know what the result will be until you try.
A very special thank you to Alison Glass for the fabric and for taking a chance on my crazy idea! My husband even said it's one of his favorites so far…and that's a lot (A LOT) of dresses!
Thanks, mom! 😉 Love you!


text:
Sen. Elizabeth Warren, D-Mass, speaks during an organizing event at McCoy's Bar Patio and Grill in Council Bluffs, Iowa, Friday, Jan. 4, 2019. (AP/Nati Harnik)
Elizabeth Warren apologizes for identifying as Native American on Texas bar registration card
This is the first known record showing Warren claiming Native American ancestry in an official document
February 6, 2019 7:59PM (UTC)
Sen. Elizabeth Warren (D-Mass.) apologized for identifying as a Native American for nearly two decades after a new report revealed that she had inscribed "American Indian" on a hand-written registration card filed in 1986 with the Texas bar.
"I can't go back," Warren said in an interview with The Washington Post. "But I am sorry for furthering confusion on tribal sovereignty and tribal citizenship and harm that resulted."
The revelation, which was first reported by the Post, is the first known document to surface showing Warren claiming Native American ancestry in an official document or in her own handwriting. Her office did not dispute the document's authenticity. The news threatens to add more fuel to the already-frequent attacks by Republicans, including President Donald Trump, who have slammed Warren over allegations of claiming Native American ancestry in order to advance her academic career. Trump, for his part, uses the racial slur "Pocahontas" to describe the Massachusetts Democrat.
The bright-yellow bar card, pictured below, is dated April 1986, at which time Warren was a professor at the University of Texas School of Law. CNN previously reported that Warren "had not" listed herself as a minority in her "student applications and during her time as a teacher at the University of Texas." Records surfaced by The Boston Globe revealed that in 1981, 1985, and 1988, personnel forms at the University of Texas showed Warren had identified herself as "white."
The document, which acts as a registration card, is one of multiple instances in which Warren described herself as a Native American. Warren claimed she was Cherokee in an Oklahoma cookbook called " Pow Wow Chow" in 1984, and she identified as a minority in the Association of American Law Schools Directory of Faculty from 1986 to 1995 — a decision she later said was made to "connect" with other "people like me." Warren reportedly removed herself from tat list in 1995 after taking a job at Harvard Law School. But in 1996, an article in the student-run Harvard Crimson revealed that faculty members and administrators still thought of Warren as Native American.
"Although the conventional wisdom among students and faculty is that the Law School faculty includes no minority women, Chmura said Professor of Law Elizabeth Warren is Native American," Harvard spokesman Mike Chmura said in the article.
In addition, a 2005 document obtained by The Hill revealed that the University of Pennsylvania Law School touted Warren among its past minority faculty members. Warren, who taught at the University of Pennsylvania in the 1980s and 1990s, resigned by the time the university published the diversity report that revealed she was listed as a minority to take a professorship at Harvard.
Throughout these scandals, Warren has maintained that she did not use her claims of Native American ancestry to boost her academic career. An investigation by the Boston Globe did not support the belief that Harvard had considered Warren's minority claims for hiring purposes.
"She was not on the radar screen at all in terms of a racial minority hire," Randall Kennedy, a law professor in charge of recruiting minority candidates at Harvard at the time, told the Globe."It was just not an issue. I can't remember anybody ever mentioning her in this context."
Last week, Warren apologized to the Cherokee Nation for taking a DNA test in an attempt to prove her Native American ancestry.
Warren announced on the last day of 2018 that she is a likely contender for the Democratic presidential nomination in 2020. She said she was forming an exploratory committee, which allows her to raise money and fill staff positions before a formal kick-off of her presidential bid. Warren's swift rise — from a struggling childhood, to a Harvard professor to the Senate — is "built off her brand of taking a pickaxe to Wall Street," Salon's Sophia Tesfaye wrote. Earlier this year, she announced she had hired a black woman as her chief of staff, one of the few on Capitol Hill.
"I've spent my career getting to the bottom of why America's promise works for some families, but others, who work just as hard, slip through the cracks into disaster," Warren said in her announcement video. "And what I've found is terrifying: These aren't cracks families are falling into – they're traps. America's middle-class is under attack."
2020 Presidential Campaign 2020 Presidential Election All Salon Donald Trump Elizabeth Warren Native American News & Politics President Trump Trump Administration Trump White House
Check out this article! https://www.salon.com2019/02/06/elizabeth-warren-apologizes-for-identifying-as-native-american-on-texas-bar-registration-card/


text:
Q: Queue (SQS) with Mandrill Mail Service I want to create a mailer micro-service wrapping the mandrill api so that all of my serivces don't need to be aware of our mandrill API Keys. Ideally I would have a message queue and upon adding a message to the queue the lambda would send a call to mandrill to send the email.
However there are two issues with this approach.

*

*SQS does not have a trigger for lambdas.

*this is transactional in nature, and I want to avoid sending an email and having the lambda time out before I can delete the message from the queue so it isn't sent again.

The issue here is that per readMessage call I can get a max of 10 messages.  Why is this?  I figure they want people to use SES for this but what would be a good way to get this functionality?  The hope was that this would be asynchronous and not need to be attached to our API so we can avoid authenticating the request.
What is a good architecture solution for this service?

redpajama_set_name: RedPajamaStackExchange


text:
Гёльджюк () — город и район в провинции Коджаэли (Турция).

История

Знаменитые уроженцы
 Демет Акалын — популярная певица.

Ссылки
 Официальный сайт города
 Официальный сайт района

Районы Коджаэли


text:
LiberSpark
Black Iron's Glory
Devouring Heaven Chant
Dragon-Marked War God
Grasping Evil
My Cold and Beautiful Wife
My Wife Is a Beautiful CEO
Spiritual furnace
Tales of the Reincarnated Lord
The Daoist Seal
The Great Game - The Young Master
Urban Banished Immortal
Tales of the Reincarnated Lord - Chapter 578
Free Citizens
There were only two things in 1783 that concerned Lorist. The first was the grand ceremony of Auguslo's ascension. Even though it was already over, the falling out with him and the wariness he had for House Norton and the four allied houses only grew. The two factions were practically rivals and it seemed like their battle would be battled out in the arena that was the Krissen Empire. Before Lorist the swordsaint and Auguslo the emperor settled who won, the situation wouldn't calm down.
The other matter was the construction of the grand palace in Ragebear. After three hard three years, and the painstaking effort of nearly 200 thousand laborers, the grand palace was finally complete. On Grindia, there was no tax for constructing new properties. As long as nobles had the money and power, they could build a palace even grander than that of the royal family's and make it their residence. Not only was that a display of wealth, it would also serve as a legacy for their descendants to inherit, while also helping the house leave a mark in the annals of history. Handra's Inkcuby Palace and Forund's Summer Palace were such examples.
What dumbfounded Lorist was that he had made the decision to construct the Palace Ursa Rex wasn't for the fame, but rather to solve the issue with overproduction of a mineable resource in the dominion. In other words, he was increasing demand for the material to make up for the falling prices and also giving the farmers a chance to earn some extra money, which could then be used to stock up on more of House Norton's products. That way, the dominion's economy would get the stimulation it needed and the folk would lose the habit of saving every single coin they made.
That was why even though Palace Ursa Rex was grand in size, it wasn't very detailed and ornate to squinted eyes. The grandest palaces on Grindia were no different from several beautiful manors and castles linked together with a shared garden. They were far from what Lorist imagined fantasy-world castles would look like. And given that the term of the project was quite short, it couldn't compare to some palaces in his past life, which easily took more than a decade to construct. Then again, perhaps because of the advent of battleforce, the people in this world had an advantage when it came to building speed. Battleforce-using workers could easily lift large rocks and greatly increase the efficacy of construction.
Lorist had interfered with the design of Palace Ursa Rex to resemble the Forbidden City which he had seen during a visit with his secretary once. Even though he couldn't exactly replicate the whole thing, the grand scale of the whole project earned Ciroba's awe; the old architect's belief that Lorist had architectural talent was once again reinforced through the layout and design he provided of the buildings. But when Lorist received the final designs and saw the Gothic-style decorations on his Chinese-style palace, he thought that it felt a bit off, but it was already too late to change.
Ciroba on the other hand was filled to the brim with ambition. He was driven to make Palace Ursa Rex a Grindian structural marvel so as to leave his mark in the world of architecture. Had Lorist not decided on the name of the palace early on, Ciroba would be willing to give up on his riches, title and everything else to have the building named after him. If it were called Palace Ciroba, he would die with no regrets.
The grand architect spared no effort when it came to the construction and monitored the whole project closely, not letting off the slightest mistake. He even lived on the site itself. Given the humongous nature of the project, its term was set at two years and its budget, two million gold Fordes. But due to Ciroba's request, it swelled to three million, five million, and finally, eight million with Spiel's permission following the proposal to make it the greatest palace ever built on the continent. The term of construction was also lengthened to three and a half years while the 100 thousand laborers doubled. They were all brought over from various other project sites.
Spiel didn't think that spending so much on Palace Ursa Rex was a waste as it was a core matter of the house. Given House Norton's current might and prosperity, it required a palace just as grand to flaunt and make a statement. That was all the more justified taking into the fact that Lorist was a swordsaint of the kingdom. He was the greatest thing to ever come out of House Norton during the past three centuries. A residence fitting for his status was obligatory. After a few centuries, his descendants would also live in that palace proudly and admire his legacy.
When Lorist received that proposal, he was completely dumbstruck. A budget of eight million gold Fordes was more than three times the annual income received by the house a few years back. The usually stingy and pauper-like Spiel actually agreed to spend so much. If Lorist didn't trust in the chief finance supervisor's usual tact and wit and his scrutiny for every single bit of spending, he was going to send people to investigate whether there was corruption involved in the project.
Fortunately, the house had already established their trade route to the south of the continent and earned around six million gold Fordes yearly by exporting the goods it produced to Morante. Jillin Harbor's market also brought some one million gold Fordes in profit. Even though the house spent three hard years to defeat the Trade Union and lent so much money to the Free Union to aid their development, the income largely made up for the costs and there wasn't a need to worry about any financial crisis brewing in the following years.
Lorist smiled bitterly when he saw the figure of eight million. He was more than willing on spending that amount on raising living standards for the citizens or improving the gear of his forces. He didn't want a grand palace in the first place and how it had all come to this was genuinely a surprise to him. The budget for the palace that was planned to stimulate the household economy didn't require it to be grand or well decorated. But now, there was nothing he could change about the quadrupled budget. He had no choice but to live in the palace.
He didn't quite like living there. Unlike his expectant lovers and children, Lorist much preferred staying in simple fortress strongholds like Firmrock. He could hear the horns to wake the forces in the morning and listen to the grunts of the training soldiers. That was the life he truly wanted to read.
He recalled a saying in a webnovel he read in his past life: 'a beautiful palace is nothing but a beautiful cage in which the emperor locks himself. That's why there are no heroes after the wise founding emperor because they have been spoiled by their luxuries and lost touch with reality, being toyed around by the others like birds in a cage'. That was the case as well with the Song dynasty. The succeeding emperors were nothing but shipwreck after another.
During the 10th month, Lorist left Silowas with his family members and arrived in The Northlands. He was already preparing to move into Palace Ursa Rex. If he were honest, he didn't really like the name of the palace, which was set after the elders of the house all agreed to it. Since House Norton was called the Roaring, Raging Bear of The Northlands, the names suggested by the elders all had something to do with bears. Palace Ursa Rex was the one that was picked for its imposingness. Lorist settled with it because it was at least better than Palace Ciroba.
"Your Grace, in the palace are 3461 statues of a magic beast bear in various poses. To capture a sense of reality, we captured 17 magic beast bears from the wild and sketched them for reference and picked some poses that were most suited to be made into sculptures," introduced Ciroba as he pointed to the various bear statues place across the palace according to his design.
Ah, so all the money was spent by you! Do you think we're in a bear museum? commented Lorist in his mind. Unlike the heart-aching Lorist, his lovers and children were all stunned by the beauty and majesty of the palace. Sylvia loved her new abode. The children on the other hand had long dispersed and started playing tag around the bear statues. Anderbael climbed up the largest statue and stood proudly to show off, much to his personal caretakers' anxious worry.
I'm so busy and tired! Ever since returning to the dominion, Lorist had to move as well as plan the new year's celebration at Palace Ursa Rex. As it was the first time the celebration was being held at that venue, Lorist didn't dare to slack off. He welcomed one guest after another daily and missed the peaceful and relaxing days he spent at Cherry Blossom Ridge last year.
After the new year, everything finally quieted down for Lorist during the rainy season. The year of 1784 had arrived and i was when House Norton would begin their expansion towards the northern border of the empire into the Magical Dragon Mountains. A new province would be formed with Twinmont Town at its center, giving the house another province under their jurisdiction. The province would be henceforth named Montside after the fact that it was beside Magical Dragon Mountains.
"I intend to implement a policy that allows private ownership of land in this province," decided Lorist.
In some sense, the current three million plus subjects living in the Norton dominion were no different from tenants as all the land in The Northlands belonged to the house. Even though House Norton forcefully moved more than two million other citizens into their domain and gave them farmland and houses to settle down, they didn't really own those. They had to pay half of their crop harvest to the house as rent. Both the land and the house couldn't be sold away either, but they could be renovated and inherited by their descendants. But in doing so, they would have to pay a fee to the house for the procedures.
In The Northlands, apart from the manors given by House Norton to the gold-ranked knights, even the land of Dawn Academy and the special noble district belonged to House Norton. The lease of Dawn Academy's land was indefinitely termed and free for them to use, but if the academy wanted to move away, the land would be returned to House Norton unconditionally.
The special noble district was slightly different. House Norton sold them the right to use the land however they saw fit. The nobles were free to construct their own manors and castles and give them to their descendants and also sell and trade them without obstruction from the house. However, the current 'owner' of the land still had to pay a sum to the house on an annual basis. Even though the sum wasn't huge, if the sum wasn't paid and accumulated up to a certain amount, House Norton had the right to confiscate everything within it including any manors or castles built.
However, the house wasn't such a ravenous, blood-sucking vampire. They would auction the property away and only take what they were owed before returning the extra money to the debtor. Alternatively, a noble could pass on the property and debts to another for them to bear. However, that meant a departure from the noble circle in The Northlands and that was a method only employed during the most desperate of times. The nobles were even willing to borrow money from high-interest lenders just to be allowed to stay in the special noble district, because there was always hope for recovery as long as they remained.
As for the reason for the boost in real estate price in Felicitas's seven towns, it was due to the special districts that were built there. The only difference was that it wasn't exclusive to nobles. The treatment the residents there would receive was the same. That was an opportunity for the richer folk in the dominion as the houses in the special district were far better than the free ones they were given. Farmers that purchased the houses would be able to return their former one to House Norton and get a ten percent tax cut on their crops.
The largest difference between the household dominion and the territories under the house's jurisdiction was that in the household dominion, the main house was the highest power. The true people with power in territories under the house's jurisdiction were the nobles that were enfeoffed there. Apart from those lands, the remaining land belonged to the main house. So, for larger noble houses, they were really unwilling to make vassals of their subordinates because the produce of the dominion belonged to the house. The house stood to lose income after enfeoffing part of the dominion to a vassal noble.
Lorist intended to implement a private property policy in the new province on Montside. In other words, he was going to give away all the right to ownership to the land there of the house. The province would be the free domain of capitalists and it was done so because of need. Montside was a new province and it required people. However, most of the subjects of the house were forced to move to The Northlands. Given that Montside bordered Magical Dragon Mountains, not only were they exposed to barbarian raids, they also had to defend against magic beasts. The people living there required the ability to defend themselves to survive.
While most of the barbarians and magic beasts could be countered by the household forces, small scale bandit raids and random animal attacks were going to happen even with the precautions in place. So, Lorist set his sights on the retired household soldiers and mercenaries. He would offer them the tantalizing prospect of owning their own land in Montside and each retired soldier of the house would receive around 17 square meters of land in Montside and be allowed to do anything with it as they pleased. Ten They could transfer it to their descendants or sell them to other people without the permission of House Norton.
"Perhaps the land-owning citizens of Montside will become the first of truly free citizens in our domain," said Lorist.
Support Ryogawa and his work Tales of the Reincarnated Lord


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An 86-year-old female with persistent abdominal pain, nausea and vomiting, during evaluation in the emergency room, was found to have a high amylase, as well as lipase count and she is being admitted for management of acute pancreatitis.
Abdominal pain, nausea and vomiting, rule out recurrent small bowel obstruction. The patient is an 89-year-old white male who developed lower abdominal pain, which was constant, onset approximately half an hour after dinner on the evening prior to admission.
Anxiety, alcohol abuse, and chest pain. This is a 40-year-old male with digoxin toxicity secondary to likely intentional digoxin overuse. Now, he has had significant block with EKG changes as stated.
The patient is a 35-year-old lady who was admitted with chief complaints of chest pain, left-sided with severe chest tightness after having an emotional argument with her boyfriend. The patient has a long history of psychological disorders.
Patient with several medical problems - numbness, tingling, and a pain in the toes.
Right-sided facial droop and right-sided weakness. Recent cerebrovascular accident. he CT scan of the head did not show any acute events with the impression of a new-onset cerebrovascular accident.
Comprehensive Evaluation - Generalized anxiety and hypertension, both under fair control.
Comprehensive Evaluation - Diabetes, hypertension, irritable bowel syndrome, and insomnia.
History and Physical - A history of stage IIIC papillary serous adenocarcinoma of the ovary, presented to the office today left leg pain (left leg DVT).


text:
Can soil-free farms ever be organic?
Flickr/Kurman Communications
Shmorganic. Yet another home kitchen countertop grow system has entered the market, promising "local food" with a wink (get it?) and rebuking rotten produce ("what an incredible waste") in its marketing materials. But the gadget's ability to nurture plant life in my dark, dank kitchen is neither here nor there. What may wind up prematurely tanking this indoor garden is all in its name, "Organiponic." There's a fight brewing in the organic standards world over whether or not plants grown without soil can ever be certified organic, and the biannual meeting that'll potentially decide their fate is happening just two weeks from now.
Even Bernie Sanders sent a representative.
It may seem hair-splitty, but the conversation about whether or not soil-free farms can ever be organic has been going on for a while now. The digest version: in 2010, the National Organic Standards Board (NOSB) formally recommended that hydroponic and aquaponic farms not be included in organic certifications, claiming that soil is a necessary component of organic growth. The USDA's National Organics Program didn't adopt that recommendation, and some organic certifiers are putting their stamp of approval on hydroponic farms, both domestically and abroad.
Now, the Cornucopia Institute (an organic industry watchdog) has filed a legal complaint against USDA and other big businesses (think Driscoll's) asking for an investigation into the certification of hydroponic operations. It argues that hydroponics are largely imported, grown at industrial scale, and produced using artificial nutrients and light.
Keep an eye on this one. Aquaponics and hydroponics are gaining traction as a high-yield, low-input alternative to traditional farming, and it's important to note the folks on the organic side of the debate aren't anti-hydro. They just don't want hydroponics to also be certified organic. A "rally in the valley" was held in Vermont this past weekend to oppose—here's where it comes full circle—organiponics (the potential certification, not the company). The rally drew some pretty heavy hitters: organic farmer Eliot Coleman and Rep. Chellie Pingree (D-ME) both spoke, and even Bernie Sanders sent a representative.
bernie sanders,
hydroponics,
national organic standards board,
organic,
organiponic,
H. Claire Brown is a senior staff writer for The Counter. Her work has also appeared in The Atlantic, The Guardian, and The Intercept and has won awards from the Society for Advancing Business Editing and Writing, the New York Press Club, the Newswomen's Club of New York, and others. A North Carolina native, she now lives in Brooklyn.
As no-soil systems take root, "organic" reckons with its earthbound past
by Patrick clinton
Organic industry watchdog calls for independent investigation of USDA organic program
After six years, environmental cleanup around 11 North Carolina hog farms will finally be mandatory
How can "no sugar added" be true, but still illegal?
In California, ending double trouble for organic producers
by Lara mccaffrey
Organic food is better for you (sort of)
Study finds small farms feed the world
Organic industry leaders protest proposed withdrawal from OLPP
Can reducing food waste be profitable?
Organic Valley will be "100 percent renewable" by 2019


A guy is about to get married, but before he settles down for good he looks back at a string of previous bad relationships and asks himself whether he was to blame for the relationships going wrong and whether his ex-girlfriends still harbour bad feelings towards him.
He embarks on a road trip to meet the four ex-girlfriends that he feels he has wronged the most to discover how they feel about him now. The play is neatly divided in four very separate but linking scenes, four cities, four hotel rooms, and four girls who have four completely different characters.
Charles Dorfman plays 'guy'. Is his name Guy, or is he just 'a guy'? Certainly his name is not addressed by any of the girlfriends, leading us to believe that the character is meant to represent mankind and that all men have this guy's traits. He meets each of his exes in turn, (the girls do not meet), and we realise that he doesn't have a 'type', the four women he meets are very different from each other.
Sam (Elly Condron) was his first love when they were at senior high, now she is married with children and yet still bitter about the way he ran out on her. Tyler (Roxanne Pallett) is a good time girl, happy to pick up where they left off. Lindsay (Carolyn Backhouse) was prepared to risk her marriage and career for him but is now bent on revenge and Bobbi (Carley Stenton) with her feet firmly on the ground willing to listen but not to accept anymore of his lies.
Playwright Neil LaBute consistently writes about complex and twisted characters and this is no exception. Guy is portrayed as manipulative and yet at the same time weak and scared of commitment. The girls are very different but he follows the same destructive pattern each time. Is he trying to clear his conscience, is he trying to learn about himself and can he break this pattern as his settles down in matrimony?
A strong cast and slick direction from Gary Condes, each scene complimenting each other perfectly to slowly build up a startling characterisation. The pace is necessarily slow and although there were a few laughs the piece is quite dark and disturbing.
The set is inspired, as Some Girl(s) is set in 4 hotel rooms it must have been very tempting to keep them all identical however between each scene beautifully choreographed chambermaids change the room around for each girlfriend, each bedroom cleverly matching the girl's personality.
Some Girl(s) is an enjoyable, clever and thought provoking play. Maybe it is a 'female thing' but I recognised traits in all of the female characters yet the guy left me cold. I felt no sympathy towards him whatsoever and would have liked to have seen him get his come-uppance. Guy had unfinished business and I left the theatre feeling it was still there in bucketloads.
Some Girls has been produced by the Buckland Theatre Company and plays at the Park Theatre until August 6th.
I went to see Some Girl(s) as part of the TheatreBloggers network – you can read other posts about Some Girl(s) here.
After the show we were lucky enough to attend a Q&A session with the cast and director Gary Condes hosted by Terri Paddock. You can hear the podcast here.


MATERIALS: Made of Stretch Resistant Neoprene. The Armband Case Easily Bends, Flexes, Twists, and Folds without Warping. Comfort-grip Keeps the Band Firmly on Your Arm during Workouts and Running. Headphone and Charger Cutouts Allow Direct Access to the Phone through the Armband.This Armband is Light Weight for Speed and Comfort During All Activities.


text:
Arslanagić Bridge in Trebinje, Lisa Stewart (Mostovi Hercegovine 2.0)
Arslanagić Bridge on the Trebišnjica River in Trebinje. Photo by the author
I have had the pleasure of participating in Mostovi Hercegovine, an (online) educational-media project organized by OKC Abrašević and its affiliate radio station, AbrašRadio. Based in Mostar, this youth/cultural center operates as an active network that brings together NGOs, Mostar residents, informal groups, and individuals who are keen to research topics that interest them, while also exploring the many wonders of Herzegovina. Articles and projects cover everything from history, botany, geography and architecture; to poetry, politics, sport and geography. As I was thinking about how to represent Arslanagić Bridge in an artistic or stylized manner, I kept in mind the discussion of concepts that our mentor and adviser, Senada Demirović-Habibija, shared during one webinar, where she showed us a Venn diagram and the interrelatedness between people, space, activities, and time, all of which were described as key factors or indicators that are needed in order to create cultural "routes/paths." At the heart of the diagram, where everything overlaps, is experience (see screenshot below).
Screenshot of slide shared by Senada Demirović-Habibija during her presentation (permission secured). Photo by the author
I've written a bit about the bridge here while keeping these parameters and concepts in mind:
SPACE: I would say that when we talk about space, or the physical space that Arslanagić Bridge occupies, the word idyllic comes to mind – it is surrounded by quiet hills and spans the Trebišnjica River. This structure has always been at home on this beautiful river, and when the entire bridge was dismantled, moved and reassembled back in the late 1960s and early 1970s, the preservation project allowed it to continue to serve its purpose in situ (i.e., on the river).
PEOPLE & ACTIVITIES: This elegant bridge has always been a symbolic feature of Herzegovina, whether in its original spot in Arslanagića Most Selo (Arslanagić Bridge Village) or at its current location, where it connects the neighborhoods of Gradina and Police in Trebinje. It was fashioned from stones that are found throughout Trebinje's rugged terrain; the blocks were shaped by the elements and by the hands that toiled in putting them all together (on two occasions!). When the bridge was still in Arslanagić Bridge Village, it was used by local farmers when transporting their locally produced wheat and corn, and was important for the movement of goods, including salt from Herceg Novi. The bridge was also a major crossing point for people moving between lands lying far to the east (Istanbul, and further afield from there) and our neighbors to the south, on the Adriatic.
TIME: Arslanagić Bridge has certainly witnessed a lot over the centuries (and if only it had the ability to tell us some stories!). In its own way, Trebinje has been shaped by time, tribes, empires, kingdoms, states, trade routes; as well as wind, sun and the elements, the mingling of many cultures and religions… And such influences are reflected in the town's diverse architecture.
EXPERIENCE: Bridges are often seen as structures that join and connect geographical/geological features or span physical distances, and this bridge allowed for the movement of foods, raw materials, natural resources, hand-crafted goods; as well as armies, laborers, travelers, and those who helped transmit intangible heritage between different lands. Bridges can span enormous distances, bodies of water, chasms, or stretches of land. They also offer new perspectives, and our interactions with such structures – as well as with the places they take us – give rise to new experiences.
A storied past
There are several stories and theories about who actually built Arslanagić Bridge. One dates from the Turkish period, when the bridge was supposedly commissioned during the second half of the 16th century (in 1573/74/75) as part of an endowment set up by Mehmed Pasha Sokolović, an Ottoman vizier who also provided funds for the construction of his famous namesake bridge in Višegrad. Sokolović had the bridge built near Trebinje to honor his son, who fell during a battle with Venice. Other records state, however, that this bridge was washed away in a flood in 1580, but there are discrepancies over the facts surrounding the description and location of a bridge (or bridges) described in various travelogues. Another account has the bridge being built between 1669 and 1684, a period of relative peace between two wars fought in Herzegovina. If we look back to the Ottoman period, the majority of ruling authorities in this part of Herzegovina chose to reside in Herceg Novi, rather than in Trebinje. However, once the Venetians ousted them from the coastal areas, they withdrew to Trebinje. This exodus saw one Arslan Aga come to Trebinje sometime in the late 17th century, when he received some land to the east of Trebinje and gained permission from the sultan that he and his descendants could collect tolls on a bridge that was already standing. So Arslan Aga built a small guard/toll house (which remained intact until the Austro-Hungarian period), and the entire structure was later named after him, as was the village in the surrounding area. However, some believe that, since the bridge was already there when he came, it must have been the Romans or Greeks who built it, so there seems to be some dispute about its actual origins (again!). Regardless, the bridge continued to stand erect for many centuries after that, but was damaged in subsequent periods, especially when it was struck during the Second World War and later "patched up" in 1956.
Once plans had been made for the construction of a hydro-energy system and accumulation reservoir near Trebinje, studies conducted by scientists and experts from all over former Yugoslavia determined that Arslanagić Bridge would have to be moved in order to preserve it as a special historical monument. This decision also applied to Dobričevo Monastery, known for its impressive frescos and other important church holdings. The whole project required enormous logistical coordination, numerous interventions, and persistence. It was also a great example of collaboration between experts who were familiar with the old ways of building bridges and inspired individuals who were working for the protection of monuments. Two bridges had stood in the original Arslanagić Bridge Village before it was flooded for the hydroelectric project. One of the bridges is now submerged beneath the waters of Gorica Lake, and the other stands at its new address (Obala Mića Ljubibratića) in Trebinje. The village covered an area that was once home to the medieval town of Mičevac, making it an interesting historical spot in its own right. In the 1960s, the village had about 30 homes, and members of this multi-confessional community coexisted for hundreds of years, celebrating different religious holidays together, sharing water supplies/irrigation systems, and supporting one another as they farmed the fertile agricultural land that allowed them to enjoy the fruits of their labor (grain, corn, grapes, wine, figs, apricots, pomegranates…). The reservoir was test-filled in 1965, and Arslanagić Bridge was submerged until August 1966. Then, once the area was drained, the disassembly phase began that same month and was completed by mid-September of the same year. The second phase of the project began in April 1967 and included survey work, geo-investigative assessments, project revisions, etc. It wasn't until sometime in 1970 that the actual construction site for the bridge's new location in Gradina was opened and reassembly began, according to plans submitted by Energoinvest, a giant energy and engineering firm based in 5Sarajevo. During the two-year reconstruction phase, each of the slabs and blocks that had been labeled and then moved from the bridge's original location were put back into place on the new site.
A view of the Trebišnjica River and Arslanagić Bridge. Photo by the author
A bit about BiH's stone archways
It's worth highlighting the fact that BiH has plenty of lovely historical monuments, and bridges definitely figure into such a grouping. Arslanagić Bridge was included on the list of National Monuments of BiH in 2006, and I happen to think it's one of the prettiest bridges in the country. (That being said, the cute Kriva Ćuprija in Mostar has the perfect 6dimensions for what I would consider a "neighborhoody" bridge; it's small and is right in the heart of a quieter part of the old town.) 🙂 There are many other impressive bridges in BiH that are pleasing to the eye, for their own reasons – each one has its own character, and all of them are worth a visit! I've made up a short list of some other bridges that are located in Herzegovina: Kriva Ćuprija (Crooked Bridge) – Mostar Ovčiji Brod (Sheep Bridge) – Nevesinje Stari Most (Old Bridge) – Mostar Inat Ćuprija (Defiance or Spite Bridge) – Stolac Stari Most (Old Bridge) – Konjic
My bridge project
So now that we've spent some time with arched structures, and you've gotten to know Trebinje's famous bridge, I can share a bit about how I wanted to represent Arslanagić Bridge, albeit, in a smaller format! I have always been fascinated by sand paintings; from the intricate pieces created by Native Americans and sandwork from Africa, to the dazzling mandalas of Tibet and the kolam rice flour drawings of India. Since this was the kind of "medium" that appealed to me, I decided to try my hand at a seed and spice painting. Here's a list of the "raw materials" that were used: bridge = chia seeds greenery around the bridge = Vegeta Natur Mediteran, no MSG 🙂 wheat stalks = bread crumbs corn stalks = polenta and Vegeta Natur Mediteran 7sun = polenta and Kotanyi's spice mix for baked chicken
Preparations and sketches. Photo by the author.
Back in the day, when I was in primary school, we would sometimes do artwork with various food items, like dried beans and peas, corn/popcorn kernels, and so on. We'd usually glue things onto paper or wood, but I didn't want to waste food items by glueing them to the baking paper I had decided to use as my "canvas." I started by making a rough sketch on the parchment paper, and then I dribbled or sprinkled the different ingredients in the right places. I used a playing card and another rounded piece of cardboard to help me "sculpt" the shapes I wanted. I certainly gained a new appreciation for arches! It was a fun process, and, even though the architectural potential of chia seeds pales in comparison to solid rock, it was great to see a version of the bridge take shape.
Photo by the author.
Basically, once I took some photos and felt that the bridge "painting" had served its purpose, I could gently lift up the parchment paper and pour everything into a jar to use as an interesting savory mix for future recipes. The paper was also clean enough to be reused as a drawer liner.
I tried to add details that made the "stone" look like it had some depth or irregularity, and to show some aspect of impermanence. Photo by the author.
Once I had completed the bridge and was reading more about some of the lovely structures around this part of Herzegovina, I started doing some smaller sketches (perhaps for little spice paintings?), but then I found that I enjoyed doing the miniatures as separate pieces. I was also thinking about places along the Adriatic that I had visited, and felt it would be nice to represent some of the special features from two seaside towns that have also been a part of Trebinje's story. All of the drawings became more like a little collage piece.
Preliminary sketch. Photo by the author.
Mini sketches: (1) Church of the Holy Archangel in the village of Velićani in Popovo Polje (Trebinje area), (2) Sultan Ahmed's Mosque (the Emperor's Mosque) in the old town of Trebinje, (3) scene from the old town in Dubrovnik, (4) view of the old clock tower in Herceg Novi. Photo by the author.
Some closing comments
I realize I didn't manage to take higher resolution photos of the bridge, and I deliberately left some imperfections, since I felt that the use of natural and simple materials reflected the idea of organic design. I also wanted to honor the fact that the bridge itself is a solid structure, but when one notices the lovely irregularities of the bridge's stone surfaces in contrast to its nine nearly perfect arches, I somehow felt like my rendition was simply an attempt to capture, however imperfectly, the personality of the bridge – a silent and gracious witness to the ways of men and nature. This bridge is a work of art that has been built (twice!), submerged, moved and reassembled. The blocks have been through a lot, and the very essence of stone and rock is the result of movement, heat, pressure, and natural forces that have been at work on this planet for eons, and they will continue to exert their own influence over everything we might erect and leave behind for future generations. All bridges will eventually be taken by the winds and sands of time, but they still manage to play important roles in our lives and spark our imaginations. Here's to merry crossings, wherever they may be!
On the bridge, a view of Police (the neighborhood opposite Gradina). Photo by the author
A view from the bridge; the mountains of Montenegro can be seen way off in the distance. Photo by the author.
Thanks go to:
Arslanagić Bridge – for serving as a source of inspiration for this project. May it stand well over the Trebišnjica and be bright for many centuries to come. 🙂 ; Senada Demirović-Habibija – for the support, encouragement and resources she provided to all of us along the way; Minja Pješčić – for telling me about Mostovi Hercegovine in the first place, and for her helpful input and suggestions at different junctures; Petar Milošević at the Museum of Herzegovina – for his help in providing resources from the museum's collection; The helpful staff at the National Library ▪ Trebinje – for help with locating some relevant materials.
Grad Trebinje, Moj Grad (The City of Trebinje – Official Monograph), Center for Information and Education, City of Trebinje, Božo Morić (editor), 2020. Arslanagić Most – Trebinje, Povodom Prenošenja Mosta 1970-1972 godine, published by Hidroelektrane na Trebišnjici – Trebinje, Džemal Čelić (editor), Trebinje, 1972. http://platforma-kooperativa.org/bh/members/youth-cultural-centre-abrasevic/ https://www.abrasradio.info/
https://lokoportal.com/index.php/sadrzaj/vijesti/21572-pogledajte-emisiju-zapis-o-selu-ar slanagic-most-i-banjevci 15
Lisa Stewart, Mostovi Hercegovine 2.0
Sekcija: Arhitektura, urbanizam, ekologija
Mentorica: Senada Demirović-Habibija
(2021/2022)
Tags: arhitektura, Arslanagića most, Lisa Stewart, Mostovi Hercegovine 2.0, Trebinje
Hercegovina Online #03: Sedmični pregled zbivanja u Hercegovini + Otvaranje fabrike u općini Prozor-Rama
Mostar – Prostori koji pokreću: Maja Vejzović (LDA Mostar)