Festival Of Recorded Movement (F-O-R-M), was founded in 2015 by emerging dance artist Sophia Wolfe with the support and encouragement of Company 605 and Kristina Lemieux on the unceded territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. It was created as a platform for movers and filmmakers to share and create short films that revolve around the body in motion. Film is a such a relevant medium today more than ever, and is a universal tool being used to showcase movement across all genres; athletes, dancers and other movement practitioners turn to film as a way to show creative and engaging perspectives of their respective movement forms. F-O-R-M is a space and platform to celebrate and acknowledge the artists who are creating in this realm and is an opportunity to bring them together to inspire and share with each other and a wider audience. We are taking advantage of social media as a place to share these ideas and to engage with a larger audience. We all have something to offer, and we have hopes that F-O-R-M will build a broader community who share in this common interest and that it can be a place to explore, discover, learn and grow our artistic voices. Now moving into the third year of the festival, we include workshops, events and jam sessions throughout the year leading up to our festival dates. If you have any questions or are curious to learn more about what we do, please do not hesitate to send us a message!
We are a Vancouver-based festival, and encourage National and International applications.
We encourage you to ask yourself the following questions: How do you define movement? What is your definition of movement, and how do you portray this within your film or movement practice? We want to see your ideas and concepts around the theme of Recorded Movement, and to challenge this definition as you see fit.
Recorded Movement Society curates events, screenings and a Festival that highlights the body in motion through film and video works. We highlight artists of all ages, with a focus on youth (under 29). We also provide workshops and events for creating and capturing movement for the screen. Our projects include Festival of Recorded Movement (F-O-R-M), an annual, International movement on screen festival, and Moving/ Forward, a touring survey of short dance works from BC made in the last five years. Recorded Movement Society is run by Artistic Director Sophia Wolfe and Artistic Producer Kristina Lemieux.
Recorded Movement Society was created in 2015 by Sophia Wolfe and Kristina Lemieux to house the movement on screen projects Festival of Recorded Movement (F-O-R-M) and Moving/ Forward.
Thank you to our incredible board members for your support!


CERRITOS – The girls basketball team from St. Margaret's High came to Whitney's gym Tuesday night with hopes of upsetting the Wildcats and earning a share of first place in the Academy League.
Whitney had different plans, and imposed its will on the Tartans from the outset of the game.
Led by a pair of freshmen and a senior playing her final regular-season game at home, the Wildcats all but clinched first place in the Academy League with a 71-40 victory. Whitney, ranked ninth in the latest CIF Southern Section Division IV-A poll, improved to 7-0 in league and now holds a two-game lead over St. Margaret's with three road games left to play.
Freshman Rachel Nagel, as she's done for most of the season, paced the Wildcats (16-6 overall) with 32 points. The guard sank six 3-pointers, including several from well beyond NBA range, and scored Whitney's first eight points of the game.
Garcia later moved Nagel to point guard, where she did a good job of finding open teammates. She had consecutive assists to senior Katti Horng (15 points) on two-on-one breaks in the second quarter and would have had more assists if not for several missed chances under the basket.
Freshman center Reyna Ta'amu added 10 points and 11 rebounds, including five on the offensive end.
Whitney held a 20-10 lead after the first quarter and was up, 38-20, at halftime. The Wildcats forced 11 first-half turnovers and junior guard Emily Liang (seven points) had three steals in the half.
Freshman gaurd Julianna Coleman led the Tartans (13-7 overall) with 20 points, including four 3-pointers.
Whitney continues league play Friday at Crean Lutheran.


Dec. 15 Erica Lane Holiday Concert 6:30 p.m., Garvan Woodland Gardens Dec. 16 Crystal Chimes Celebrate Christmas 6:30-7:30 p.m., Garvan Woodland Gardens Holiday in the Park 7 p.m.
Mystic Creatures at Garvan Woodland Gardens. Photo by Richard Rasmussen.


text:
Villagers Bell Tower
There were 80 villagers who went to the school which was located on the site at the turn of the century. The school had a bell in a small tower that was rung three times a day. This project, honors the heart of that community the the history of the school, also has 80 bells (that move with the wind). All materials and labor were donated by the community. The bells were cut-out and welded by a local trade school. All the art (160 images) was created by the students.
Category: Electronic/Technology; Outdoor Sculpture; Temporary
As a part of PreEnactIndy, artist Quincy Owens installed four "stained glass" light sculptures on power poles near the Monon Trail at 16th Street and Yandes Street. These pieces glow at night, and may be permanent. Sponsored by Harrison Center for the Arts, the collaborative theater event took place on October 7th, 2017. Through interactive performances, this preenactment envisioned through interactive performances what a neighborhood ought to be. This public event gave attendees fully-immersive experiences of the active, healthy, and well-designed neighborhood the area deserves, including inspiring public art.
Visual and Mental Paradoxes
Over the years there have been a number of programs to place artwork on Mass Ave: this piece is the remnant of one of them, the MassAttractions program that was initiated by the Riley Area Development Corporation. The artist is Jerald Jacquard, who was a professor at IU Bloomington at the time of installation. The firefighters' union contributed the site, and the artist's fee was raised by private donors. It has been here since 1999, even before the new wing on the union house. The artist, Jerald Wayne Jacquard, was born February 1, 1937 in Lansing Michigan and passed away in Bloomington, Indiana on Saturday July 25, 2020. He graduated from Lansing's Eastern High School where he played various sports; he was a state champion wrestler and captain of the football team, he also played baseball, and was on the swim team. It was his success in wrestling that earned him a full-ride scholarship to Michigan State University to wrestle and study in the School of Fine Arts. During this time Jerry also served for several years as a Sergeant in the US Army Reserve. Gaining experience in his father's welding business in Lansing, he was considered a master welder. He earned a BA from MSU in 1960 and his MFA in 1962. After graduating he taught at Kalamazoo Institute of Arts and was awarded a Fulbright Fellowship in 1963 to study bronze casting in Florence, Italy. In 1966, he and Dawn moved their young family to Chicago, where Jerry built the sculpture department at the new University of Illinois, Chicago Circle Campus. While in Chicago Jerry watched the modern skyline grow and it was during this time that he became interested in monumental sculpture in urban environments. His welding skills proved valuable as he created and erected his large sculptures in downtown Chicago and surrounding areas. In 1974, he received a Guggenheim Fellowship and would go on to receive many other prestigious awards including a National Endowment for the Arts in 1980 and a Lilly Research Fellowship in 1981. In the fall of 1975 he joined the faculty at Indiana University and moved the family to Bloomington, Indiana, where he led the Sculpture Department at IU Bloomington and taught sculpture for over 30 years, retiring in 2019. His works are in many collections, including the Kresge Art Museum at Michigan State University; the Kalamazoo Institute of Art, Michigan; the Indianapolis Museum of Art at Newfields; and the White River State Park, Indianapolis.
Walking Man (Zionsville)
In 2012, Anderson artist Levi Rinker wanted to give back to his community. He created more than two dozen steel "walking men" to inspire a feeling of progress and moving forward in Anderson, with the idea that each could be sponsored by local businesses and decorated by employees, students, or community members, then placed in public locations. After a four-month display period, the sculptures were auctioned off and the proceeds used to support local non-profit organizations. The works were on display around Anderson for four more years, and then the artist retrieved the sculptures, cleaned them, and repainted them all white. After one of the sculptures was donated to Thorntown in 2015, the Boone County Community Foundation in 2016 purchased five more of the Walking Man sculptures, intending to place them in four communities in Boone County: two in Lebanon and one each in Zionsville, Whitestown, and Jamestown. The final sculpture, at Lebanon's Central Christian Church, was placed in February 2018. The idea is to support for the arts in each of Boone County's communities and provide a common visual element that links all of the communities together; each one is decorated by the community in a way that reflects the town's character. All are placed in prominent locations: in public parks, in front of key buildings, or along the Big 4 trail that runs through Boone County. For more information, visit here. The Walking Man Project also has a blog. In 2019, artist Cynthia Young was selected to paint the sculpture. She choose to paint the nearby hiking trail on the sculpture due to the close proximity of the sculpture and trail.
Water Whispers
Truman Lowe's Ho-Chuck heritage and love of the woodlands landscapes is at the heart of his work. He has the ability to distill into very simple and elegant terms the essence of his subjects. Often his work reflects his love of water and canoeing. Water Whispers utilizes the idea of flowing glass as the manifestation of a waterfall. See more at: http://www.eiteljorg.org/explore/outdoor-spaces/outdoor-sculpture#sthash.07EOLCVU.dpuf
Watercarrier
Allen Houser's Watercarrier was created in 1986 and is the 8th in an edition of 8 identical bronze sculptures. On loan from a private collection, Watercarrier is one of two Houser sculptures featured on the Christel DeHaan Terrace at the Eiteljorg Museum of American Indians and Western Art. The monumental piece features an abstracted Native American woman balancing a container of water on her head. Watercarrier is an example of Houser's use of elegant abstractions to depict Native American subjects. Allan Houser (1914-2004) was a Chiricahua Apache sculptor, painter, and book illustrator born in Oklahoma. He is considered one of the most renowned Native American painters and Modernist sculptors of the 20th century. As the father of contemporary Native American sculpture, Houser was instrumental in helping generations of artists discover and express themselves in contemporary media through a uniquely Native perspective. Houser's work can be found at the Smithsonian Museum of American Art, the National Museum of the American Indian, the National Portrait Gallery in Washington, DC., and in numerous major museum collections throughout North America, Europe, and Japan.
Watermark (Paramount School of Excellence Rest Stop)
Reconnecting to Our Waterways (ROW) is an effort by local artists to highlight the Pogue's Run Waterway in Brookside Park. The Paramount Rest Stop is one of three sites along Pogue's Run funded through ROW. Led by artist Eric Nordgulen, students from Herron School of Art and Design, a team of professional artists, and local residents and stakeholders collaborated on the design and implementation of public art installations centered on waterway issues and inspirations. Eric Nordgulen's installation, Watermark, derived from aerial maps is used as a visual signpost to locate the Rest Stop Art project sites for Pogue's Run Creek and Trail. Looking at the contours of rivers and creeks, and the grid patterns of the city the artist used these as inspiration to define the edges and the openings of the steel plates. Placed on top of the sculpture is a symbol for water (H2O) to emphasize the importance of our waterways and the condition of our environment. Participants and members of the community can use the five storage cabinets to display information relating to the location, community, history, and environment. Other possibilities for display include works of art, written stories, and special projects. These items can be rotated as needed. Quoted from http://www.indianacharterschool.com/watermark.html
Watermark (Spades Park Rest Stop)
Reconnecting to Our Waterways (ROW) is an effort by local artists to highlight the Pogue's Run Waterway in Brookside Park. The Spades Park Rest Stop is one of three sites along Pogue's Run funded through ROW. Led by artist Eric Nordgulen, students from Herron School of Art and Design, a team of professional artists, and local residents and stakeholders collaborated on the design and implementation of public art installations centered on waterway issues and inspirations. Eric Nordgulen's installation, Watermark, is derived from aerial maps and is used as a visual signpost to locate the Rest Stop Art project sites for Pogue's Run Creek and Trail. The artist looked at the contours of rivers and creeks, as well as the grid patterns of the city, and used these forms as inspiration to define the edges and the openings of the steel plates. Placed on top of the sculpture is a symbol for water (H2O) to emphasize the importance of our waterways and the condition of our environment. Participants and members of the community can use the five storage cabinets to display information relating to the location, community, history, and environment. Other possibilities for display include works of art, written stories, and special projects. These items can be rotated as needed. Quoted from http://www.indianacharterschool.com/watermark.html
Wave Form Two
Northwest of the Christel DeHaan Fine Arts Center are two sculptures. Wave Form Two, by Gary Gresko of Oriental, North Carolina, consists of salvaged wood from docks destroyed by hurricanes. "Art for me is an exploration in both style and materials," he says. "The journey, the surprises, the excitement comes with the unexpected." Quoted from: http://www.uindy.edu/arts/wave-form-two
We Are Here!
In 2011, the Eiteljorg Museum of American Indians and Western Art of Indianapolis organized an exhibition called We Are Here! of work by Fellowship recipients to provide insight into the issues, concerns, and methods of leading Indigenous artists working today. This sculptural installation features large metal exclamation points with images from the exhibition by three of the artists: Bonnie Devine (Ojibwa), Duane Slick (Meskwaki/Ho-Chunk), and Skawennati (Mohawk). In 1999, with the generous support of Lilly Endowment, the Eiteljorg Museum of Indianapolis inaugurated what is now called the Eiteljorg Contemporary Art Fellowship. This biennial program culminates in an exhibition that honors an invited artist and five contemporary fine artists whose achievements warrant recognition. Bonnie Devine (Ojibwa) is a multi-talented sculpture and installation artist. Her work centers on the aesthetic and epistemological issues of landscape. Duane Slick (Meskwaki/ Ho-Chunk) is a painter who uses shadow, light, and Native themes to challenge viewers to see art as a necessary form of communication. Shawennati (Mohawk) is an artist, independent curator, and writer. Her art focuses on virtual spaces that allow visitors to re-envision history and to see into the future.
WE US ALL
Category: Archive; Functional Artwork; Mural; Outdoor Sculpture; Temporary
Indianapolis-based artist Nathaniel Russell was commissioned by Milhaus, a local development company, to create a dimensional art fence/mural around the temporary construction site near the intersection of College and Massachusetts Avenues. The purpose was to obscure some of the unsightly construction equipment while making a work that addressed the changing neighborhood and Mass Ave community. Its deliberately naive style and simple shapes were both disarming and endearing. Nathaniel Russell was born and raised in Indiana. After graduating from college, Russell spent several years in the San Francisco Bay Area making posters, record covers, and woodcuts. He returned to his home city of Indianapolis and now spends his time creating drawings, fake fliers, bad sculptures, wood shapes, and music. Russell's work is regularly shown around the world in both traditional galleries and informal spaces, usually surrounded by an expanding list of friends, collaborators, and like-minded folk. He frequently returns to his second home of California to work with friends on projects as varied as murals, print workshops, and backyard musical performances. Russell was a guest artist on the PBS Digital series The Art Assignment in 2015 for his "fake flyer" work. Read more about Russell's work at http://nathanielrussell.com/
Weather Tower
This sculpture is fabricated from multiplegeometric sections of painted steel that have been welded together to form a "weather tower." The top is surmounted by a curvilinear abstract form. The sculpture is braced at the back with a rectilinear form resting on an aluminum base. The paint system appears to be at least one layer of red primer coated with purple paint as the top coat. The sculpture is welded to an aluminum base that is bolted to a square concrete pad. There is a signature panel at the back, signed "JACQUARD" in weld and stamped "1985 ASS EGY". From: http://www.publicartarchive.org/work/weather-tower#date Jerald Jacquard retired in 2000 after a 40-year career, most of it teaching sculpture at the Henry Radford Hope School of Art at Indiana University, Bloomington, IN.
Welcome to Your Bus Stop
Category: Functional Artwork; Mural; Outdoor Sculpture
Fun Fleet is a mobile mini-caravan organized by Big Car Collaborative featuring Big Car teaching artists and the Indianapolis Public Library's Bookmobile that traveled to apartment complexes. In 2013 and 2014, the Fun Fleet gathered artwork from residents to display and celebrate. Fun Fleet helps connect people of all ages and backgrounds where they are, providing opportunities to create and share. Two girls in this neighborhood named Natilla and Sincere did drawings that inspired this bus shelter. As a nonprofit art and design organization, Big Car Collaborative utilizes tools of culture and creativity to build community and social cohesion — helping connect people as a way to boost quality of life. Formed in 2004 and based in Indianapolis, Indiana USA, Big Car also works in other communities and collaborate with artists from around the world.
When Hate is Loud, Love Must Be Louder
Indianapolis-based Jamie Locke created this mandala* to serve as a reminder, especially in these historically unprecedented times, that love, kindness, and compassion are key to moving forward towards justice, equality, equity, and oneness … to live together as one race, the human race. The artwork was donated to the Little Flower community after appearing for a year as a temporary installation with Indy Art & Seek, a 2020 project of the Arts Council of Indianapolis and Keep Indianapolis Beautiful. *Sanskrit for "circle," an object of meditation intended to assist in one's spiritual development Jamie Locke is best known for her intricate hand-carved mandalas on wood, metal, glass and leather. A self-taught artist, Jamie is adept at taking a vision and turning it into reality. Her strength is in her hunger for creating, and exploring different methods and mediums, always bearing in mind that in the creative process the vision sometimes evolves into something completely unexpected. "For me, the process of creating a mandala is always one of inspired revelation, elemental surprise, and pure bliss."
Kenneth R. Bunn (born 1938), works to convey a sense of action and movement in his sculptures and clearly succeeded in doing so when he created this dramatic bronze of deer running through a pond for the opening of the Eiteljorg Museum in 1989. A close student of animal anatomy and behavior, the artist masters his work through observation of creatures in the wild. He has traveled throughout the world studying wildlife in natural habitats and at zoos and private preserves. Bunn's work can be found at museums throughout the country; he is an Academician of the National Academy of Design and a Fellow of the National Sculpture Society. See more at: http://www.eiteljorg.org/explore/outdoor-spaces/outdoor-sculpture#sthash.cdPt3bhd.dpuf
Born in the 1950s on a farm in Lapel, Indiana and surrounded by crops and livestock, Faust's childhood years were spent exploring the woods and fields under the magnificent, open, Midwestern sky. The awe of nature in the young Faust inspired him to become an artist and formed the basis of his art. Faust sees the time he spent on the farms and rivers of the Midwest as a gift to be shared with others through his art. Nature to him is more than just a source of inspiration. It is his teacher. Gift of Karl and Barbara Zimmer Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf Note, the artist's website indicates the artwork is called "Bird with Prey." www.jameswillefaust.com/
Wisdom Keepers
Bruce LaFountain was raised on the Turtle Mountain Reservation. He is of Chippewa, French and Cree and often refers to himself as Metis. Drawing on his Native American heritage, he feels like sculpture is a meditative process that allows him to chip away at his materials until he the excess gone and he can see the simple truth and spirituality of his subject. Wisdom Keepers reflects both LaFountain's heritage and spirituality with the warrior transforming into an eagle. See more at: http://www.eiteljorg.org/explore/outdoor-spaces/outdoor-sculpture#sthash.uGCsCPGN.NkU2qwZi.dpuf
Category: Electronic/Technology; Outdoor Sculpture
The gateway consists of a pocket park with a centerpiece sculpture. Stone markers identify buildings once located on this site and a former street is represented as a crushed stone plaza. Local artist Dick Lutin worked with the Southeast Neighborhood Development Corporation (SEND) to design a piece of artwork that relates to the bright future of Fountain Square and pays homage to the district's illustrious past. Lutin's sculpture, titled Wishful Thinking, is a conceptual abstraction of a fountain. It displays graphic content about Fountain Square's history and culture. Blue neon provides night interest and represents moving water. In addition to adding beauty, the new gateway creates a locator for Fountain Square as a special place. It is visible from Interstate 65. The project is located on the southwest corner of Virginia Avenue and Leonard Street, just south of the Virgnia Avenue interstate overpass. Dawn Kroh, Green 3 and Eric Fulford, Ninebark, served as the project's landscape architects. Eric Etchison, Smock Fansler, built the base and provided site preparation. The budget for the gateway was $85,000, with $60,000 from the Indianapolis Cultural Development Commission, $5,000 from the Southeast Umbrella Organization and $1,000 from the Fountain Square Merchants Association. As an in-kind contribution, IPL moved an existing street light and power lines. "Fountain Square is a great cultural destination in Indianapolis," said Paul Baumgarten, director of Fountain Square Main Street, SEND. "This project will surely attract many new visitors who will discover the vitality and opportunities within the district." Fountain Square is one of Indianapolis' six cultural districts that received funds from the Indianapolis Cultural Development Commission for enhancement projects that each district's stakeholders identified in grant proposals. The other five cultural districts are Broad Ripple Village, The Canal & White River State Park, Indiana Avenue, Mass Ave and the Wholesale District. Indianapolis Downtown, Inc. and The Corsaro Group serve as program managers of the Cultural Districts program on behalf of the Cultural Development Commission. The Arts Council of Indianapolis managed the grant program and is the program manager for the Commission's Public Art Program.
Wood Plaza Fountain
Category: Outdoor Sculpture; Water Feature/Fountain
The Wood Fountain is an outdoor public architectural sitework on Indiana University-Purdue University's campus. The campus is located in Indianapolis, Indiana. The Wood Fountain is commissioned by IUPUI (Indianapolis University – Purdue University) and completed in 1995. Singh Associates in New York City designed the sculpture, while Tom Fansler III manages the fountain. The purpose of this artwork, according to the Smock Fansler website, was to provide "better places to live," and bring "spaces between buildings and the elements that tie them together…" The sitework used stone to mimic a pyramid in the shape of a diamond. It sits on IUPUI's campus along New York St with the pathways surrounding made out of brick. According to the IUPUI's website, the artwork "is 100 feet long on each of its four sides." There are four levels to the piece with nine slight indentations along each siding. In addition, there are triangles that have been sculpted in to the stone so that water will come down to the base. On the proper front, there is a bronze memorial plaque at the bottom. It reads: THE WOOD PLAZA DEDICATED JUNE 26, 1995 THIS PLAZA WAS NAMED IN GRATEFUL RECOGNITION OF THE SUPPORT OF BILLIE LOU & RICHARD D. WOOD The Wood Fountain is located at The Wood Plaza, which is a place on IUPUI's campus where social events such as the Indy Jazzfest and Explore IUPUI are held. The Wood Plaza was named after an Eli Lilly chief executor, Robert D. Wood and his wife Billie Lou Wood. According to IUPUI's Jaguar Spirit online source, "the Wood Plaza was designed on the same axis of University Library and intended to complement the library architecturally." In a newsletter from IUPUI's Chancellor in December 1996, an award was given from the "local chapter of the American Institute of Architects…with an Achievement award for their design, construction and enhancement of the physical and visual environments of Marion County." The importance of this recognition gives insight into how valuable the Wood Plaza is, not only to the IUPUI Campus, but to the community. Quoted from: http://en.wikipedia.org/wiki/Wood_Fountain_at_IUPUI
Wooden's Legacy
"Wooden's Legacy," a sculpture honoring legendary basketball Coach John Wooden, was unveiled March 2, 2012 just west of the intersection of Georgia and Meridian streets. Mayor Greg Ballard, members of the 2012 Indianapolis Super Bowl Host Committee, sculpture donors and representatives from John Wooden's family were present for the reveal. "Georgia Street is turning into one of the most fascinating streetscapes in the city and perhaps the country," said Mark Miles, chairman of the 2012 Indianapolis Super Bowl Host Committee. "While the community first experienced this area as the Super Bowl Village, with additions like this sculpture and the pillars that were unveiled, Georgia Street has become a civic asset and destination." "During the weeks surrounding Super Bowl XLVI, the Indianapolis community shared our sense of civic engagement, ambition and team spirit through volunteerism with the world," said Mayor Ballard. "With this sculpture, we honor the legacy of a man whose values so many strive to emulate." "Wooden's Legacy" captures the intensity and focus of Coach Wooden with his expressive facial features and pose. Conceived as a moment in his coaching career, he is in a kneeling position, grasping a "signature" rolled up playbook, gazing towards Bankers Life Fieldhouse. He is surrounded by the legs of his team with historically appropriate socks and footwear highlighting key periods of his basketball career and beyond. The base is encircled with the words from Wooden's Pyramid of Success, such as confidence, honesty and cooperation. From www.indydt.com/GeorgiaStreetWooden.cfm "It was an honor to be entrusted with the responsibility of depicting Coach John Wooden," said artist Jeffrey Rouse, who previously lived in Indianapolis. "I am struck by his passion and conviction as both a player and coach. He deeply understood the fundamentals of integrity and what was required of a team to ensure success. I had the good fortune of working with a great team to create this monument to an iconic man, including the Bright Foundry, CGM Precast and RATIO Architects. About John Wooden John Wooden (Oct. 14, 1910 – June 4, 2010) grew up in Martinsville, Ind. where he took his high school team to the State Championship Finals three consecutive years and was named three-time All-American. He went on to play at Purdue University and helped win the 1932 National Championship. He was named All-Big Ten and All-Midwestern for three consecutive years and became known as the Indiana Rubber Man because of his suicidal dives on the hardwood. Wooden spent four years in the Navy and upon returning coached Indiana State University basketball for three years, winning the Indiana Intercollegiate Basketball National Tournament. He became the basketball coach of the UCLA Bruins in 1948 and guided them to 88 consecutive victories, four perfect seasons, 20 PAC 10 championships, 38 NCAA tourneys, seven consecutive National Championships and 10 National Championship titles all together. In 1961, Wooden was enshrined in the Basketball Hall of Fame. He was named Coach of the Year seven times, became the first man to be inducted into the Hall of Fame again as a coach and a player and remains untouched as the winningest coach of all time. Quoted from www.indydt.com/GeorgiaStreetWooden.cfm
Category: Historical; Outdoor Sculpture
This memorial commemorates Indiana casualties of World War II. Indiana lost nearly 12,000 soldiers to the war, and another 17,000 returned home wounded. A unique feature of this memorial is the freestanding column that lists, in order, all the campaigns and operations of the war. Brunner, a native of Fort Wayne, Indiana, designed the memorial.
Yellow Butterfly
Category: Outdoor Sculpture; Temporary
Yellow Butterfly by James Havens of Woodville, Ohio Yellow Butterfly exudes simplicity. James Havens creates his work with the artistic philosophy that "less is more." Inspired by nature, Havens designed this sculpture to stand alone with minimal explanation, as he intends for all his pieces. Havens attended Lincoln Welding School in Cleveland, Ohio. He is a certified plate and pipe welder. He currently serves as an artistic welding instructor at Owens Community College in Toledo, Ohio. Havens also owns and operates Havens Studio and The Rose Bronze Foundry. http://www.inwhiteriver.com/attractioncategory/public-art/
You Are Beautiful I (Fountain Square)
Category: Mural; Outdoor Sculpture
The You Are Beautiful movement was started in 2002 as a way to make grand gestures in public places. Along with distributing over 3 million small stickers with the message "you are beautiful," You Are Beautiful also strives to beautify communities with massive and inspiring installations. The organization believes that when the phrase "you are beautiful" is integrated into a city or community, it creates an immediate positive dialogue. Having collaborated with major cities and organizations around the globe on both temporary and permanent installations, and after planning long-term and fast-track projects, You Are Beautiful seeks to leave the world a little better than when they found it. The Murphy Art Center's "You Are Beautiful" has been a signature element of the Fountain Square commercial center since it was first installed, in 2007. Dave and Holly Combs of the nonprofit arts collective Department of Public Words created the text-based mural in plywood as their first public art project. In 2016, the Department of Public Words redesigned the piece to be made of aluminum and added LED lighting so it could be seen at night. You Are Beautiful now stands as a beacon for the Fountain Square Cultural District's nightlife and entertainment scene. Since their first project, the Department of Public Words has produced several other positive-message murals and installations in the Indianapolis area and in other cities.
Young Abe Lincoln
Young Abe Lincoln, is a public artwork by American artist David K. Rubins (born 1902 in Minneapolis), located outside of the government center near the Indiana State House, in Indianapolis, Indiana, USA. This bronze sculpture is a depiction of a young Abraham Lincoln, an Abraham Lincoln that spent the majority of his formative years in Indiana. Young Abe Lincoln is an oversized, rough style bronze sculpture of an adolescent Abraham Lincoln. He wears a shirt, pants raised above the ankle and is barefoot. His proper left hand holds a book with the index finger holding its place. The sculpture sits outside of the Indiana Government Center in Indianapolis, which is adjacent to the Indiana Statehouse. The sculpture measures 108 inches in height by 30 inches in width by 38 1/2 in depth and sits upon a red granite tripartite pedestal that measures 74 inches in height by 82 inches in width by 92 inches in depth. It weighs over 1,500 pounds. A foundry mark can be seen on the front of the pedastal MODERN/ART/FDRY/N.Y. The artist signature (D.K. Rubins) and copyright date (1962) can be seen on the rear, proper right side base of the sculpture. Based on a forty six inch plaster mold, a three-dimensional pantograph was used to create a rough, hollow framework of the full-size model of the sculpture from wood. The surface layer of this framework was coated with a layer of oil-base non-hardening clay called plastelene and then the detail work of the sculpture was done by hand. A plaster mold was placed over the finished clay framework and allowed to dry. The mold was then removed, creating a positive plaster cast of the framework. This cast is a replica of the clay covered framework. The lost-wax casting method was then used to create the actual bronze sculpture. This process took over five months to complete. "The thoughts that concerned me most in making this statue were the necessities of representing a vital energy, lean physical strength, and a tree-like growth suggestive of the strong roots of character that were growing and manifest as early as his Indiana years. In the rather knotty and active forms of the body, I have tried to express that, as well as the rough warmth of his frontier humanity and the ungainliness of his bony frame. In the simple but rough-surfaced pedestal, and in the quiet shadowed, thoughtful head, I wanted to suggest the very simple, classic character of his mind – as well as the loneliness and tragedy of his life. In the hair, I tried for boyishness and humor. I felt it unimportant to invent a purely imaginary portrait of how Lincoln might have looked at twenty-one years. Our knowledge of his appearance, on which the popular symbol of Lincoln is based, is from photographs taken after his fortieth year; my face, therefore, is a compromise between the unknown Indiana youth and the pre-presidential Illinois lawyer. The true look of Lincoln during his Indiana years is as unimportant as the historical accuracy of his clothing. In favor of representing his character and his contemporary significance to the best advantage, I have subordinated every literal element except the book. In the light of Lincoln's whole life, the axe is unimportant as the book. The placement of the figure was chosen for two reasons: I felt that Lincoln should be placed back among the trees on the plaza, since the forest was his Indiana experience; and it would be difficult to compete in scale with the open plaza and building were the figure to be placed in the open. Too large a figure in sculpture produces an inhuman and unreal effect." —David K. Rubins, This sculpture was created as a commissioned piece for winning a competition to decorate the Indiana State Office Building, The Indiana Employment Security Building, or the Adjacent Plaza in Indianapolis, Indiana. As part of the competition, which was conducted in 1959, the artist was free to choose his own subject matter, location, size of work and whatever material deemed necessary. There were the following suggestions however: 1. Lincoln was an appropriate theme for the Indiana Government area because Indiana was where he had spent a lot of his youth and where he later visited. 2. The Seal of the State be used somewhere and that Indiana be recognizable in the piece. 3. A possible location be the square area extending into the northeast corner of the reflecting pool. 4. The interior of the entrance lobby of the State Office Building is also another option for placement of an appropriate relief of free-standing sculpture. 5. The piece should have a contemporary feel to it, suitable to the times and architecture of the two buildings.[4] As part of the competition each artist was to deliver a small scale plaster model or sketch of their work and letter of explanation to the Indiana State Office Building Commission located on the third floor of the building located at 309 West Washington Street, Indianapolis, Indiana by no later than Tuesday, December 1, 1959. Below is a list of artists that an invitation was sent to: Anthony Lauck, University of Notre Dame Ivan Mestrovic, University of Notre Dame Robert Laurent, Indiana University, Department of Fine Arts Harry Engel, Indiana University, Department of Fine Arts Rudy Pozzatti, Indiana University, Department of Fine Arts Garo Antreasian, John Herron Art Institute David Rubins, John Herron Art Institute Donald Mattison, John Herron Art Institute Robert Weaver James Snodgrass, Contemporary Art Workshop Will Lamm Harold Elgar Richard Peeler Adolph Wolter Walter Lohman Warner Williams, Culver Military Academy Henrik Wueberkrop The pieces were judged by a jury, chosen by the State Office Building Commission, composed of Wilbur D. Peat (Director of the John Herron Art Museum), Henry Hope (Chairman of the Art Department at Indiana University), A. Reid Winsey (Chairman of the Art Department of DePauw University), representatives of the architectural firms who designed the office building (Graham, Anderson, Probst & White and Raymond S. Kastendieck & Associates), and representatives of Associated Indiana Architects and architects for the Employment Security Building. The chosen pieces were given a $500 retainer to present a larger finished model for a second judging. David K. Rubins submitted a 12-inch high model in sculptor's parlance originally and then created a forty six inch plaster model which was selected by the jury as the official sculpture winner. Rubins was then given $32,700 and two years to create the actual statue. On September 26, 1963, Rubins' Young Abe was dedicated to great enthusiasm. Garo Z. Antreasian was selected as the official mural winner. Controversy The creation of this sculpture was postponed several times due to controversy dealing with funding for this piece and because there were arguments of foul play when the winners of the competition were finally chosen. Many citizens of Indianapolis were upset because their tax money was being used to commission this piece. Many thought the money allocated for this artwork could be used for other things, such as helping the mentally handicapped. It was thought that there were already enough memorials commemorating Lincoln in the state of Indiana. $100,000 was allocated for the creation of both the sculpture and the mural in the construction budget of the building. Wilbur D. Peat, Director of the Herron Art Museum in 1960, thought: Art has a place in this building. It will not be a needless luxury or waste of public funds. I don't think the public is so lacking in appreciation that it wants public buildings bare and unadorned. Will Lamm, an entrant in the competition, claimed that the judging committee accepted entrants after the official deadline of December 7, 1959 had passed. He also claimed that at least one member of the committee telephoned the artist, David K. Rubins, after the deadline urging him to submit an entry. Rubins did not submit his entry until December 8, 1959 when the committee meeting to decide the winners was held. It was also added by Lamm that three of the seven judges on the committee were absent when the winners were chosen and the original sculpture idea turned in by Rubins was not created in plaster, as stated in the invitation letter to the artists. Lamm was told by a committee member that his idea might have won had they not accepted the late entry. Many people, including Wilbur D. Peat, Director of the John Herron Art Museum and chairman of the selection committee, brushed Lamm's accusations off as him being a sore loser. John A. Whitehead, Director of the State Office Building Commission, rejected the notion that late entries were accepted. He stated that several of the artists were contacted on the day of judging to determine whether their expected entries would be turned in. Some artists had asked for extensions. He also said it didn't make a difference whether the sculptures were entered in plaster or of another material. It was also controversial that throughout the judging process photography of the potential artworks were banned. Lamm's entry was a sculpture portraying Lincoln's departure from his family to going off on his own. It included a group of seven figures. Indiana Governor Matthew E. Welsh recommended that new State Office Building Commission urge the Virginia Engineering Co., the building's general contractor, to send Rubin a letter postponing the creation of the sculpture. Welsh was an advocate of the art finances being used for the state's program for mentally handicapped. Rubin answered this letter by stating his continuation of the project and that he was going to go ahead and draw up a contract with the architects. He already had a signed contract from the Virginia Engineering Co. after the former commission approved the expenditures for the statue and mural at $68,000. There were several suggestions for the location of this statue on or around the Indiana Statehouse grounds. The Orchard Area, the upper terrace outside the lobby and the center line of the walkway which extends south towards the Indiana Employment Security Building were some suggestions. Created to reside in the state office building plaza, the sculpture was originally located about half a block east of its present location, facing Senate Avenue. It was moved outside of the Government Center off of West Street and Robert D. Orr Ave in 1992. About David K. Rubins David K. Rubins, a native of Minneapolis, studied at the Beaux Arts Institute of Design in New York and the Académie Julian and the École nationale supérieure des Beaux-Arts in Paris. Rubins worked closely with James Earle Fraser, designer of the Buffalo nickel and End of the Trail, for seven years in New York. His awards include the Paris Prize in Sculpture (1924), the Prix de Rome (1928), Fellow in Sculpture Award from the American Academy in Rome and the Grant and Sculpture Award from the National Institute of Arts and Letters. Rubins moved to Indianapolis, Indiana in 1935 to join the faculty at the John Herron Art Institute where he taught until 1967 and then an additional three years after the Herron Art Institute merged with Indiana University.[12] He held the chairmanship of the sculpture department from 1935 to 1968. In 1970, Rubins retired and became an artist-in-residence at Herron.[12] In 1954, Rubins book, The Human Figure, an Anatomy for Artists, was published. Other Indianapolis works of art Rubins is known for is the bust of late Indiana Governor Henry Schricker, the Eli Lilly monument in Crown Hill Cemetery, and a bust of Evans Wollens Sr. Rubins' work has been exhibited at the Minneapolis Institute of Art, National Academy of Design, Indianapolis Museum of Art, Architectural League of New York, and the "American Sculpture Today" show at the Metropolitan Museum of Art in New York. Rubins' inspiration for Young Abe Lincoln came after reading several books on Lincoln and his life, as well as looking at other sculptures of Lincoln. Some of these others sculptures included the Lincoln Memorial in Washington, D.C., the Mount Rushmore depiction by Gutzon Borglum, and the Lincoln sculpture by Henry Hering in Indianapolis' University Park. Quoted from http://en.wikipedia.org/wiki/Young_Abe_Lincoln
Zephyr is a public sculpture created by Indiana artist Steve Wooldridge in 1998. It is located southeast of the Indiana University-Purdue University Indianapolis (IUPUI) University Library and north of New York Street on IUPUI's campus. "Zephyr" refers to a pioneering streamlined locomotive, dating to the 1930s. Each of the sculpture's eight geometric shapes has a meaning that ties the idea of "progress" as embodied in the locomotive to the progress that is possible through education. The rectangular base represents the core of education. The two side-by-side cylinders represent the wheels of progress, while the triangle represents a mode of transportation designed for speed. The small cylinder that supports the hoop signifies fortitude and determination and the hoop itself stands for the circle of life. The long pole represents ambition and the hollow scroll stands for the scroll of knowledge. The artist dedicated the sculpture to today's youth. Steve Wooldridge was born in Sheridan, Indiana, and still lives there today. He attended the Dayton Art Institute where he studied three-dimensional design and sculpture. He graduated from the Herron School of Art in 1963 with a degree in Sculpture. His preferred styles are abstract, assemblage, and minimalism. Wooldridge is known for his site specific sculpture for indoors and outdoors, and he is a member of the Artist Blacksmith's Association of North America. Another one of Wooldridge's sculptures, Spirit Keeper, is also located on the IUPUI campus. For more information about the artist, visit http://fineartamerica.com/profiles/steve-wooldridge.html?tab=artwork Quoted from https://en.wikipedia.org/wiki/Zephyr_(Wooldridge)
ZERO is a wind-powered, kinetic sculpture that mesmerizes viewers with its constant motion and repetitive patterns. The sculpture is made from shapes that catch the slightest breeze and pass the energy from the wind to each spinning arm in a precise order. The title comes from the circular shape of each element and the overall circular form. The artist, Anthony Howe, is a native of Utah and at the time of ZERO's installation, maintained a studio on Orcas Island, Washington. Initially experimenting with sheet metal, he became a full-time artist in 1994 to create the works for which he is best known.

redpajama_set_name: RedPajamaCommonCrawl


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Kenya Bankers Association
Banks Gear Up to Float Kenya's First Private Sector Green Bond
Nairobi, Monday, August 8, 2016 - Banks, under the ambit of the Kenya Bankers Association (KBA), are working to develop a Green Bond Market and have partnered with Nairobi Securities Exchange (NSE) towards raising the country's first bank-supported climate change-aligned corporate debt instruments in the next six to eight months, paving the way for Kenya to join its peers in the Continent in tapping the growing investor demand for green investments. According to Climate Bonds Initiative, the climate-aligned global bond market stands at USD 696 billion with green bonds making up 17 percent or USD 118 billion.
The collaboration is in line with NSE's commitment to develop sustainable capital markets through the United Nations-led Sustainable Stock Exchanges (SSE) Initiative, which provides a framework for innovation within the capital markets, and is reinforced by the Sustainable Finance Initiative championed by KBA on behalf of the banking industry and broader financial services sector. The Kenya effort will be supported by, among other stakeholders, the Central Bank of Kenya, the Capital Markets Authority and the National Treasury and underpins Vision 2030, Kenya's Green Economy Strategy and Implementation Plan, and the UN Sustainable Development Goal on Climate that calls for urgent action to combat climate change and its impacts by the year 2030. Speaking at a consultative forum between banks, NSE and the investment community, KBA CEO, Habil Olaka, said that there is goodwill from the respective stakeholders to float the first bank-supported green bond in the coming months. "We have had advanced discussions with the NSE and Central Bank of Kenya, which resulted in various proposals to be explored. Now that we have industry support, we are able to develop the roadmap and capital raising strategy," he said. "We are also very pleased that National Treasury and Capital Markets Authority have expressed willingness to align public and private sector efforts so as to position Kenya as the leading green bond market in East Africa."
Speaking at the same event, the NSE Chief Executive, Mr. Geoffrey Odundo, said "Following the recently concluded United Nations Sustainable Stock Exchanges (SSE) executive dialogue on Green Finance held during the UNCTAD Conference, we have partnered with KBA to come up with a cooperative finance model which will see a credit-enhanced special purpose vehicle (SPV) formed by KBA. Also under consideration are the establishment of parallel programs at the bank level". "The Exchange will engage with the Capital Markets Authority on the proposed structure and requisite legislation to facilitate issuance of these instruments," he added. So far, banks operating in South Africa and Morocco are already tapping the green finance opportunities in partnership with local municipalities and development finance institutions. However, South Africa is leading in terms of green financing raised via the capital markets - primarily supported by the public sector. The City of Johannesburg raised a USD 142 million Municipal Bond which was 150 percent oversubscribed; the capital targeted clean development projects. Also in South Africa, the World Bank's International Finance Corp (IFC) successfully raised a 9 year, 1 billion Rand Green Bond via the Johannesburg Stock Exchange. The capital flows from the green bonds in Kenya will go towards funding bank clients that require finance for clean and sustainable development projects in the priority areas of energy, agriculture, transport, infrastructure, building and urban planning, and water and waste management. A special focus will also be put on banks' small and medium-sized enterprises (SMEs) clients towards extending preferential rate capital to the segment.
The low-carbon investment category has witnessed monumental growth rates since the segment was first tracked in 2008. It is anticipated by the Climate Bonds Initiative that the climate-aligned bonds universe today stands at USD 694 billion. With the Paris Agreement (2015), further investments are expected from public sector, private sector, sovereign investment, impact investors, pension funds and blended finance. Most climate change mitigation investments are channelled towards renewable energy, energy efficiency and sustainable transport; while adaptation finance has targeted water and wastewater management. In Africa, commitments include investment targeted towards Emissions Reduction; Energy Access and Efficiency; Renewable Energy; Increase Forest Cover; Green Building & Urban Planning; and Climate Change Resilience & Mitigation. In 2011, the African Development Bank (AfDB) mobilised USD 596 million for its regional member countries to use on adaptation projects and another USD925 million for mitigation projects. AfDB mobilised funding from various investors, including the Africa Climate Change Fund, Sustainable Energy Fund for Africa, and Africa Water Facility. In 2013, AfDB raised a further USD 500 million green bond to support climate change solutions across Africa. In addition to these investors, several other funds are targeting projects and initiatives across the Continent; these include The Green Climate Fund, Adaptation Fund, Clean Technology Fund, and the Sustainable Development Investment Partnership.
About the Sustainable Finance Initiative
Commercial banks in Kenya have developed a set of universal principles that will guide them in balancing their immediate business goals with the economy's future priorities and socio-environmental concerns. By establishing the Sustainable Finance Initiative (SFI) and defining the SFI Guiding Principles and Minimum Standards, Kenya follows in the footsteps of other countries, including Nigeria, India and South Africa, which have had initiatives either spearheaded by regulators or banks to promote sustainable development. The SFI Principles are grounded in three main priorities, namely equipping the financial services sector to perform optimally in the area of comprehensive risk management; enhancing business practice, leadership and governance; and promoting industry growth and development by fostering a culture of innovation and inclusivity enabled by new technology. For more information visit http://sfi.kba.co.ke.
About the Nairobi Securities Exchange
The Nairobi Securities Exchange (NSE) is the principal securities exchange of Kenya. Besides equity securities, the NSE offers a platform for the issuance and trading of debt securities. The NSE is a member of the African Securities Exchanges Association (ASEA) and the East African Securities Exchanges Association (EASEA). It is a full member of the Association of Futures Markets (AFM) and an affiliate member of the World Federation of Exchanges (WFE), and a partner Exchange in the United Nations Sustainable Stock Exchanges Initiative (SSE).
About the Sustainable Stock Exchanges Initiative
The SSE is a peer-to-peer learning platform for exploring how exchanges-in collaboration with investors, regulators, and companies-can encourage sustainable investment and enhance corporate transparency, and ultimately performance, on ESG (environmental, social and corporate governance) issues. The SSE is convened by the UN Conference on Trade and Development (UNCTAD), the UN Global Compact, the UN Environment Program Finance Initiative (UNEP FI), and the Principles for Responsible Investment (PRI). For more information on specific exchanges' sustainability efforts, how to become a Partner Stock Exchange, and further opportunities to advance the integration of sustainability within capital markets, visit www.sseinitiative.org.
The Success of East Africa's Debut Green Bond Issue Sets Stage For More Eco-Friendly Finance Offers
Green Bond Market Launched in Kenya
Kenya's Green Investment and Financing Opportunities Worth KSh87 Billion
© 2020 by The Green Bonds Programme - Kenya


TweetThis year's first major group hike took us along the Tea and Horse Trail between Lijiang and Dali. The hiking section covered 11 days and approx 180 km.
TweetAll these were taken on April 25 and 26 during a hike over the range between Xizhou and Fengyu. There are a few I can't identify, so any suggestions and/or corrections will be very welcome. Click on the images to open the gallery and see what they are. Cheers!
This is the first in an occasional, but surely lengthy series in which we explore shorter trails in and around the Dali area. For the weekend of October 22-23, we set off from Xizhou to cross Mt. Cangshan.


One, Heavy machine 1. CNC vertical milling center, processing range: diameter, height 6300, 3000. 2. CNC floor-type milling machine, the specification is: main shaft diameter of 200; X 10 meters; Y 4 meters; The Z axis is 2.4 meters. 3. German F150 type CNC floor-type milling machine, the specification as follows: the spindle diameter of 150; X 10 meters; Y trip is 2.6 meters; The Z axis is 1.6 meters. 4. German UF6 type CNC floor-type milling machine, the specification is: spindle as the pillow, up and down or so Each direction;; X 8 m trip; Y trip is 2.1 meters; The Z axis is 1.3 meters. 5. Russia produces digital display ground boring and milling machine (2 sets), the specifications as follows: the spindle diameter of 175; The X axis stroke 3 meters; Y trip is 2.6 meters; The Z axis is 1.6 meters. 6. A German horizontal lathe, processing range: 2.5 m x 3 m. 7. German 3 x 3.5 m CNC milling machine.
Two, Gear cutting machine 1. 3.15 meters of hobbing machine, outer teeth, 3150 in 2000, maximum modulus of 24. 2. Y31125 gear hobbing machine, the outer profile 1500, maximum modulus of 16. 3. The gear hobbing machine Y3150 (3), Y3180 (8) 4. Y54 gear shaping machine (4), Y58 (4) 5. German hoff CNC gear grinding machine, processing a maximum diameter of 3.4 meters, maximum modulus 32. 6. German hoff CNC gear grinding machine, processing the largest diameter of 0.8 meters, maximum modulus of 18. 7. Domestic CNC gear grinding machine (qinchuan machine tool plant), processing the largest diameter of 1.5 meters, maximum modulus of 24. (molding grinding) 8. Switzerland maag gear grinding machine, processing a maximum diameter of 4.6 meters, maximum modulus 32. 9. Gear milling machine: Y225 (2 sets).
Three, Nc machining equipment 1. German CW1000 machining center 2 units. Processing range: 1200 * 1000 * 1000. 2. Two numerical control turning center. 3. 6 other machining center.
Four, Pieces of production equipment (1) (2 sets) of the CNC flame cutting machine processing range: 10 m x 3 m, cutting the steel plate thickness 200 mm. 2. CNC machine a, can roll width 3000, 80 of steel plate thickness. 3. The co2 gas shielded welding machine (8), Germany automatic welding machine. 4. Large parts sandblasting room 5. Large parts between spray paint.
Five, The heat treatment equipment 1. Structure annealing furnace 8 m * 6 m x 4 m. (2) a body heat treatment furnace (3) a well type carburizing furnace 4. Automatic continuous carburizing furnace is a 5. A high frequency quenching machine.
Six, Testing equipment (1) universal tool microscope (2) the Swiss maag gear involute measuring instrument SP603. Switzerland leica 640 laser tracker 1 4. KMZ1500 three coordinate measuring machine.
Seven, Forging, casting equipment, 1. 10 t power frequency furnace 2 sets, 8 t power frequency furnace 1. 2 2. 5 t hot blast cupola. 3. 30 t has a core holding furnace 1. 4. 3 t die forging 5. 2 t free forging.


Founded in 1990, Gourmand is proud of its achievements and continues to explore new market niches and bring quality products from abroad to the brazilian market.
This was the company´s aim when it started it´s activities in 1990, year in which the brazilian government fostered an opening to imports.
Since then, Gourmand has been innovative, introducing saltless and sugarless products, breakfast cereals, marshmallows, organic products, among many others which had never been seen in this market before.
To comply with this aim, the company has always taken part in the most important International Food Fairs, seeking the most consecrated brands and the best manufacturers, besides novelties in the food segment, to distribute a range of worldwide products in the domestic market.
As time went by, Gourmand also adapted to it´s costumer´s needs and requests, offering the tastiest flavours from the world market, as our motto is to offer you, the Brazilian consumer, the "flavours of the world ".


I've had these socks 'almost finished' for a while, and they were just waiting for me to graft the toes before their official completion. Grafting always gets put on hold by me – I can never remember what to do and have to get out my instructions every time. As part of a New Year resolution to finish my half completed objects, I finally got around to it today. I really don't know why I always put this job off because it took all of 10 minutes!
I hand dyed the yarn for these socks, and as you can see by the little piece in the photo, I just had enough! My dye method is described in this previous post. The colour came out slightly different than I intended, so I decided to knit Cookie A's "Clandestine Socks" instead. I don't know why I chose to knit such a complex pattern in variegated yarn, but once I got going I found the pattern so interesting I couldn't stop! Perhaps a plain coloured version will be completed in the future, but I'm not making any guarantees with my queue in its current state.
The design is assymetric, and there are charts for L and R socks so that they mirror each other. I love the way the twisted rib decreases into the wrapped stitches, and the slight scallop it forms. And in between the fans lies a pretty lace design – Cookie A is so clever!
I find them a little baggy around the lower leg though – if I make them again I would use a smaller needle in this region. There is also a little error in the L Foot Chart with the knit tbl stitches, so for rows 5 and 9 – the knit tbl should be k2tog tbl, and vice versa. If you knit the R sock first this will be clear.
I won't really be wearing them with these shoes – I'm purely copying the styling on the Clandestine pattern!
If you asked me a year ago, I would have said "whoever would knit a pair of socks?" Now, I think I'm hooked because I'm planning which socks to knit next – I blame Ravelry!
I'm especially impressed that you hand-dyed that yarn. Gorgeous.


Here is a quick video I shot of our perspective during this pretty nasty storm. Our van is usually in the garage, but the camper needed to dry out so it is in my stall. At least the hail did not damage it.


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Terry Winters
Rabia Ashfaque
Deformed and Distended: Space Knotted in Circles and Squares
A Lissajous figure, framed within its invisible rectangular confinement, hovers on the top left corner of a canvas. Painted against an indigo-blue background in bleeding tints of white, the figure—a two-dimensional representation of parametric equations used to describe harmonic motion in mathematics—meets its shadow at its bottom right. It shifts further right to merge with…
GridMapsMathematicsPaintingSpaceThird Floor
David A. Willis
The paintings Dark Side of the Moon, Side 1 (Speak to Me) and Dark Side of the Moon, Side 2 (Eclipse), (both made in 2013) are part of a series by Tomas Vu titled Flatlands. Large and highly detailed, they feature a mixture of abstract and representational forms variously rendered through the use of acrylic…
GeometricLandscapeMathematicsPaintingThird Floor
Thyrza Nichols Goodeve
Let's pretend Alexander Ross's large paintings of Green Giant green-bean blobby biomorphic forms contain portraits of magnified specimens of metastasizing mutant cellular structures scraped from the skin of one of Alexis Rockman's futuristic fauna from his Hudson tryptich (Tropical Migrants, 2011), which accompanied Ross's work in the Sandy exhibition. While gloriously abstract and humorous, Ross's…
AbstractionMathematicsPaintingThird Floor


Champlain College's Spring Career Fair will be held on Monday, March 24 in the Argosy Gym from 1:30-5 p.m. will offer a record-breaking number of companies from around the area seeking people for Jobs, internships and networking opportunities.
More than 90 companies, including Dealer.com, Ernst & Young, Fuse, Keurig Green Mountain, MyWebGrocer, National Life Group and Seventh Generation, will be on hand to talk with job seekers during the afternoon. For a complete list of participating organizations, visit http://bit.ly/CC_FairEmployerList.
"Be naturally curious and have a brief introductory 'pitch' ready as you approach the organization's table," encourages Patricia Boera, associate director of Champlain's Career Services. "Doing so will make a good first impression and help the employer become more interested in your conversation."
She added that students and others should not just pass by a company's table because it's not something directly related to their major or past experience. "There may be an organization that specializes in a particular industry. Every organization needs HR folks, techies, someone to worry about the money, someone to promote them, and so forth," she adds.
While the annual Career Fair is aimed at Champlain's graduating seniors and other students seeking internships, the College believes that having it open to the public makes it more effective for the employers and more realistic for the students to experience the competitive nature of finding a job.
It offers everyone who attends a chance to meet employers that are hiring, obtain career information, establish contacts through networking and look for career, internship and seasonal employment opportunities.
First years: Explore and develop new relationships with local businesses and build networking connections to further your professional career in the future (or now!). Free goodies are included.
Sophomores: Internships are an important part of your success and this event will introduce you to plenty of opportunities for whatever major you are. Build up your resume and learn how to make yourself enticing to future employers.
Juniors: Take advantage of this opportunity and find a part-time job or internship to get ready for your senior year and bulk up your resume to make increase your marketability.
Seniors: Many employers are seeking talent to join their team full-time. Part-time jobs can help you get a foot in the door while honing skills that employers look for. Many new graduates complete internships after graduation to help close the gap between "job" and "dream job".


Tim Hayes writes monthly articles and blogs on Horses & Humans. All of his work is U.S. copyrighted. Please feel free to print a single copy of any of his articles for personal use only.
Any and all use of Tim Hayes' work including but not limited to: commercial, reprinting, republishing, internet or otherwise without prior written permission from Tim Hayes is forbidden by federal law. Violators will be subject to civil and or criminal penalties. Title 17. U.S. code section 501 & 506.
Hayes is for Horses® and Be a Better Human be a Better Horse® are both registered U.S. trademarks. Any unauthorized use of either is forbidden. Violators will be subject to civil and/or criminal penalties. Title 17. U.S. code section 501 & 506.


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Margaret Joan (Lesak) Rogers
June 10, 1924 ~ February 22, 2019 (age 94)
Our beloved mother, grandmother, sister, aunt and friend, Margaret Joan Rogers of Columbia, MD, passed away surrounded by her family, on February 22, 2019, after a courageous battle with a rare form of cancer.
She was preceded in death by her husband of 34 years, the Honorable Judge Harold Rogers; and her son, Jeffrey Rogers. She is survived by her sister, Florence Lashick of Bowie, MD and her brother, Richard Lesak (Regina) of Seaford, DE.; her four daughters; Karen Rogers of Montrose, PA.; Pamela Stanitski (Frank) of Elkridge, MD.; Patricia Rogers of Oregon City, OR.; Ann Finneran (Paul) of Columbia, MD.; her four grandchildren; Olivia and Julia Stanitski, Bailey and Keira Finneran; and many nieces and nephews, whom she loved and held dear.
Margaret was raised in Simpson, PA., the daughter of Mary and John Lesak. She was a graduate of Fell Township High School, and furthered her education at Scranton Lackawanna Business College. During her career, she worked for several federal government agencies in Philadelphia, Wilkes-Barre, PA. and Washington, D.C., retiring from the U.S. Department of Agriculture in Beltsville, MD.
Margaret and Harold married in 1948 and moved from Pennsylvania to Maryland, spending the majority of their years together in New Carrollton and then Bowie. Margaret loved being with her family and friends. She enjoyed gardening, spending weekends and summers at the family farm, cooking for her family, and being active in her Beta Sigma Phi sorority. She treasured her family and all of the friendships she made over the years.
Family and friends are invited to visit at Donaldson Funeral Home of Clarksville, P.A. 12540 Clarksville Pike, Clarksville, MD. 21029 on Sunday, March 3rd, from 12:00 p.m. until 4:00 p.m. Flowers are welcome. Tribute gifts may also be made to the Lymphoma Research Foundation. A funeral mass will be celebrated at Saint Louis Catholic Parish, Clarksville at 10:00 a.m. on Monday, March 4th. Interment to follow later at Resurrection Catholic Cemetery in Clinton, MD.


The rustic style of our Black and White Enamel 2 Tier Bucket Stand is a striking way to organize your home or show off your favorite decorative accents. These classic white enamel storage buckets feature black trim, a metal frame, wooden handle, and rustic patina finish for traditional vintage inspired charm. Use this tall tiered storage stand for anything from plants, crafts supplies, fruits and veggies, to washroom essentials and more. Simple yet functional, this tiered display stand gives your style creativity!
Dimensions: 16" x 15.25" x 27.75" H.


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Resilient Love by JC Santo - Release Blitz
Resilient Love
(Navy Love Series Book 3)
JC Santo
How much hurt can one love go through?
An ill mother, a devastating secret and depression. These are now daily battles Joanna Fuentes deals with.
She sat on the sidelines and watched her friends find love, even the ones who weren't searching for it. J.C. was meant to be a distraction from her mother's illness, something for fun to pass the time. She never expected him to be her happily ever after.
Jared Collins enjoyed the single life. Yes, he'd always had the hots for a fellow sailor and friend, Jo, but he never thought he'd act on those physical feelings. And he damn sure didn't think she'd be a game changer when he finally gave into those feelings.
What started off as two friends and a couple drunken nights, escalated into something more; Love. But secrets, unspoken feelings and one huge fight has caused a riff in the once unbreakable friendship of J.C. and Jo.
Will J.C. be able to repair the damage not only to their friendship but also their future relationship? Is he able to be the man Jo needs to pull her out of the depths of despair she's fallen into?
One thing is certain, it will take a resilient kind of love.
#99c
JC Santo a true southern girl born and raised a in Central Texas. When she met her husband who is in the U.S. Navy they had to relocate to Norfolk, Virginia. That's where she has been for the past 5 years being a wife and stay at home mom to 3 boys. In the rare occurrences she gets free time it's usually spent reading a good book. Three things she will never turn away cupcakes, tattoos and arbor mist! Lol you have to sound like Morgan Freeman!
FACEBOOK ✦ WEBSITE


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Michelle Duster Reflects On Life Of Great Grandmother Ida B. Wells In New Biography
Published February 1, 2021 at 2:28 PM MST
Ida B. Wells was many things - journalist, civil rights leader, mother, dangerous Negro agitator. That last one is courtesy of the FBI. The bureau created a file on Wells more than a century ago. It noted that she was a good public speaker and that, quote, "she has addressed meetings of colored people and endeavored to impress upon them that they are a downtrodden race and that now is the time for them to demand and secure their proper position in the world," end quote.
Well, Michelle Duster is author of a new book on Wells. It is titled "Ida B. The Queen." And that's a subject on which Duster is not completely objective because she is also the great-granddaughter of Ida B. Wells. She's on the line now from Chicago.
Michelle Duster, welcome.
MICHELLE DUSTER: Thanks for having me, Mary Louise.
KELLY: So your great-grandmom (ph) - I have seen her described as the most famous Black woman in the whole United States during her lifetime. For people listening who may not be familiar yet with her story, just give us a little bit of a sense of why.
DUSTER: Well, my great-grandmother, Ida B. Wells, was a journalist, a suffragist, a civil rights activist, a social worker. She was one of the founders of the NAACP and the National Association of Colored Women's Clubs. She also founded the Negro Fellowship League, so she was involved in a lot of different movements and initiatives during her time.
KELLY: And I want to go back to the beginning because her childhood is as remarkable in some ways as the woman she grew up to be. She was born into slavery. This was 1862, Holly Springs, Miss. And 1862 - that was right in the middle of the Civil War.
DUSTER: Right, exactly. She was born at a pivotal time in our country's history. So she was born into slavery, but she actually grew up during Reconstruction. She grew up during a time of hope and progress. And I think that's significant as far as what shaped her.
KELLY: And talk about overcoming obstacles. She was orphaned at age 16. She had five younger siblings. And suddenly - 16, so still a child herself - she had to figure out how to take care of and raise all of her sisters and brothers. I can't imagine.
DUSTER: Well, she actually made that choice because friends of her father in particular who were masons had already come up with a plan to separate the children and have them live within different families. And Ida herself protested that and convinced them all that she could take care of her siblings. I think she was influenced by the fact that her mother had been sold when she was enslaved from Virginia to Mississippi and never saw her parents and most of her siblings ever again. And so I think Ida wanted to make sure that her family stayed together - she and her siblings stayed together.
KELLY: And how did she begin trying to earn a living and earn enough money to take care of this family that she was suddenly leading?
DUSTER: Well, my great-grandmother, Ida B. Wells, had the opportunity to take a teaching exam. Things were a lot different then than they are now. And I mean, there was a dearth of teachers. There was a lot of need for people to teach in rural areas. And she was able to take a teaching exam, pass it and was able to get a teaching job in rural Mississippi.
KELLY: And then how did she parlay that, becoming a teacher while still a teenager, into becoming this crusading journalist who she grew up to be?
DUSTER: Well, after working in Mississippi for a couple of years, she ended up moving to Memphis. And while she was teaching, she became involved in what were called lyceums at that time, which are kind of like social clubs. So they were reading, doing readings and plays and poetry and things like that. She started writing for the newsletter, and she ended up becoming a part owner and editor of the Memphis Free Speech.
KELLY: What do you think Ida B. Wells would have made of this past year - a year that has obviously seen huge protests over racial justice, which has also seen the first Black woman elected vice president of the United States?
DUSTER: Well, during my great-grandmother's lifetime, she, you know, was a suffragist, so she was very involved in fighting for women to have the right to vote. She also ran for state Senate in 1930. So considering the fact that she felt that she had the right to not only vote but also run for elected office, I think she would be both proud that we've made this achievement with a Black and Asian female vice president. But I really wonder some - if she would wonder why it took so long from her perspective because she was kind of impatient.
KELLY: That is Michelle Duster, author of a new book about her great-grandmother. The title is "Ida B. The Queen: The Extraordinary Life And Legacy Of Ida B. Wells."
DUSTER: Thank you, Mary Louise. Transcript provided by NPR, Copyright NPR.


I receive a court ordered weekly alimony payment from my ex-husband. He is located in another part of the state. I would like him to be able to wire my alimony payment directly to my TD bank account. Is this possible?
Welcome to TD Helps and thank you for sending us your question, Mariana. If you have a TD Bank deposit account, such as Checking, Statement Savings, Money Market account, you may receive incoming wire transfers into your TD Bank account. To receive a domestic wire you will need to provide the sender with your name, your account number and the following routing number: 0311-0126-6. You'll also want to specify that the funds should be wired to: TD Bank, N.A. Wilmington, Delaware. We post all incoming wires from the Federal Reserve until 6:30pm on the current banking day. A confirmation is sent to you the day the wire transfer is credited to your account. At this time, we may not process incoming Pay Upon Proper Identification (PUPID) wires and will return them to the sender. Please also see the following link for all applicable fees included in our fee schedule: http://bit.ly/1cTejgt. If you have any other questions, please do not hesitate to ask!
HI Sandy Just read the article on wire transfer because I just wired my brother some money that he needed right now to buy food & pay some bills. My bank that did the wired & charged me $20 & your bank (my Brother's) also charged a fee of $15. Is any adjustment that can be made for him to get that $15 back to use for what it was intended for? Thank you you for your time & reply.
Thanks for joining the conversation, Joe. We'd be happy to provide you with some information today. Depending on the account type your brother currently has, there may be a fee for receiving wire transfers. Please see the following link for all applicable fees included in our fee schedule: http://bit.ly/1cTejgt. Please note as we would like to assist your brother directly, we don't have access to his personal information being that TD Helps is considered an unsecured forum. If your brother should have any additional questions, he may reach out to us 24/7 at 888-751-9000 or stop into any TD Bank location during lobby hours. Please visit: http://bit.ly/TDStores to find a TD Bank near him. We appreciate your visit, Joe.


text:
package org.xforth.excel.orm.test;

import org.junit.Test;
import org.springframework.beans.factory.annotation.Autowired;
import org.springframework.test.context.ContextConfiguration;
import org.springframework.test.context.junit4.AbstractJUnit4SpringContextTests;
import org.xforth.excel.orm.test.service.TestExcelService;

import java.io.File;
import java.io.IOException;
import java.net.URISyntaxException;
import java.nio.file.Paths;

@ContextConfiguration(locations = { "classpath*:test.xml" })
public class TestClient extends AbstractJUnit4SpringContextTests {
    @Autowired
    private TestExcelService testExcelService;
    @Test
    public void testImportExcel() throws URISyntaxException, IllegalAccessException, IOException, InstantiationException {
        File file = Paths.get(this.getClass().getClassLoader().getResource("test-import.xls").toURI()).toFile();
        testExcelService.importExcel(file);
    }
    @Test
    public void testExportExcelTemplate() throws URISyntaxException, IllegalAccessException, IOException, InstantiationException {
        testExcelService.dlExcelTemplate(new File("test1.xls"));
    }
    @Test
    public void testExportExcel() throws Exception {
        testExcelService.dlExcel(new File("test2.xls"));
    }

}

redpajama_set_name: RedPajamaGithub