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Fine Home
4074 N. Washington Blvd.
(Rte. 301 between Myrtle & Northgate)
Superb golf illustration by English illustrator Andrew Johnson to attract duffers to North Berwick (Scotland) via London and North Eastern Railways. The poster was recreated in as a numbered. limited edition lithograph by Army Bergin for Society Re, 1997. 47" x 36.75"
Large panel from the Dallas studio of Jacques Lamark. A grand urn filled with urn executed in grisaille style on gold leaf. This will be stupendous in a high ceiling room with contemporary furnishings. On burlap canvas, signed. 32" x 60"
Curtis Jere wall sculpture. Steel ribbons artfully bent and curled, then given a textured finish and painted black, brown and faux verdigris. Brass accents on the green ribbon. Signed. Made by Artisan House in California: 1995. 46.5" x 32" x 7.5" deep.
Sculpture by neon artist Al Blankschein of Milwaukee. One tube coils around the other, as seen in this close-up. The light is purple, pink, red, orange, green and blue and green. No special wiring needed, just plug the base into the wall. Made in Milwaukee, 2003. 11" x 11" black base, 84" overall height.
Man Ray (American 1890-1976)
Limited edition lithograph, untitled and undated. Man Ray (born Emmanuel Radnitzky) was a significant avant garde artist best known for his surrealist photography. This mysterious image is a metaphor for the artistic imagination--the kernel of an idea, barely formed waiting to grow into something beautiful. 24" x 31" in box frame.
George Braque (French 1882-1963)
"L'oiseau at son nid". Braque as an innovator and rebel his entire career. He was an original Fauvist and with Picasso fathered cubism. This edition of "The Bird and His Nest" was published in art journal Dernier le Mirror in 1947. 31" x 24" in wood frame with custom mat.
Cover of Interview Magazine (Nov. 1983?) signed by Andy Warhol and featuring Jon-Erik Hexum photographed by Warhol. Hexum was a model turned actor who starred in the TV series Voyagers! and Cover Up. He died in a tragic freak accident involving a prop gun n the set of Cover Up. Signed body in marker on left side. 16.5" x 23" framed.
Henri Riviere (French 1864-1951)
Brume Matinal au Loguivy (Misty Morning at Loguivy)
Chromolithograph circa 1894
17-3/4" x 23-1/2" in Rococo Revival frame
Riviere was a post-impressionist painter and print maker. Although Parisian through and through he adored the life and landscapes in Brittany. In this scene of cows in a rocky meadow under morning mist, he captures the rugged and peaceful apartness of France's western most province. Loguivy is on the northwest coast.
Very large original. limited edition lithograph inspired by Tarkay. Three Tarkay-like languid women sit with their thoughts while couple dance in the background. Signed Marni. 63" x 49" framed.
Beautifully framed, high quality reproduction of "Lovers on Red Background" a 1983 work by Marc Chagall (Russian-French 1887-1985). Chagall's innocent and dreamlike modern style is instantly recognizable and a welcome addition to any room. Lush reds and blues in a gold frame with back matts. 31" x 43"
SPIRIT MASK of the PUNU
The Punu People (in present day Gabon) create magnificent ceremonial masks of female ancestors (Mukadja) to be worn by stilt-walking dancers in ceremonies and rites. The masks are idealized beauties with elaborate hair-dos and ritual scarring on the forehead, as worn by real Punu women. The face is white because she is a spirit. We have never seen a Mukadj mask with raffia attached. East Africa, early 20th C. Mask = 8" x 7" x 12" Overall size @ 14" x 32"
Original painting by accredited artist Renata Wilson of Sarasota and Burlington, ON. The title, "Beach with Blues" says it all. Oil on canvas, signed lower right, unframed. 28" x 40"
Itzhak Tarkey "Posing Model" signed serigraph. 53" x 43"
Tarkay is one of the most popular and imitated artists in the world. His serene and evocative images of demure socialites and single women in old world parlors, terraces and cafes combine the style of Toulouse-Lautrec, the technique of Matisse and eye of Renoir into a singular vision.
Large, original painting of a Mexican courtyard. Stone and stucco walls enclose a flagstone patio filled with flowering plants. It's a colorful and captivating scene. Oil on canvas. Signed lower right. 43" x 57"
Celebrated artist Kerry Hallam (England: 1937) draws inspiration for his color saturated post impressionist paintings from the opulent light and distinct palette of the Riviera. We have 3 signed serigraphs currently, including this scene from St. Tropez. 50" x 43"
Eleventh hole at Mauna Kea Golf Club, Hawaii as seen by Peter Ellenshaw, the Academy Award winning artist best known for designing the idealized London of Marry Poppins (and Mary Poppins Returns). Limited edition lithograph from 1994. Signed and numbered by the artist. 43" x 31.25, framed.
Scott Hile Metal sculpture. Four big, big blooms of hand fashioned cut and brushed steel finished in a glorious rainbow of lush enamels. Hang it horizontal over a bed or sofa, or vertical on a narrow wall or among other art pieces. 16-1/2" x 65" x 8" deep.
Beautiful bronze sculpture of 15 dolphins swimming free under the sea. It's a captivating 4-1/2 foot, marine artwork that's perfect for the Gulf Coast. Bronze and steel with verdigris patina. Made by SPI. 21" x 15" x 54" tall
James Wymore Welch (American 1928-2009)
"Horse of the Gods" 1977
Paint and gold on canvas 77" x 33"
Fascinating cross-cultural art work combining ancient Celtic and Japanese traditions. The red figure is taken from the White Horse of Uffington, a 3,000 year old chalk figure carved into a hill in England. Welch painted it in red on gold as if it were on a Japanese screen. The abstract figure, color and proportions make it a great accessory to Mid-Century modern decor.
Welch was a career NCO in the US Army as well as an abstract artist and sometimes lecturer.
Original oil painting signed Wm. Larsen. This 4' wide picture of a hunt setting off is brimming excitement and motion with eager beagles and horses ready to run. Beautifully executed oil on canvas in an ornate frame. Perfect for a clubby den or great room. 48.5" x 38.5" x 3.5 deep.
"Abstract Balloons"
Acrylic on canvas with strings 22.5" x 30.5"
Welch was a career NCO in the US Army as well as an abstract artist and sometimes lecturer. The casual composition is carefully plotted as to the size, position and color of each balloon as well as the length of the pieces of real string attached to them.
Modern impressionist picture of a picturesque Celtic fishing village. The artist has beautifully captured the color and tranquility of this enchanted place. Oil on canvas, signed. 26" x 22" in ornate gold frame.
Nyoman Gurnasa (Indonesia 1944-2009) watercolor, 1997. Gurnasa was one of the most important figures in modern Indonesian Art. In the late 1960s he broke away from traditional painting to a freer watercolor technique he found more expressive of his culture's music and dance. He said painting a line was like singing and using color was like dancing
Kazutoshi Sugiuri (Japan) uses a special process to create his elegant floral silkscreens on patinated gold leaf
"Melvin's Dream" one of the best known works by American artist, illustrator and author Markus Pierson. It features Pierson's distinctive human coyote's in trippy colors and slightly surreal settings. Framed in 2 parts--27.5" x 44.5. We also have 6 individual Pierson story prints.
Mid Century modern style cityscape in 2 parts signed Long.
Original drawing by Francisco Zuniga (1912-1998) was of Mexico's most important artists of the 20th C.
The best type of gator to let into your house—one that's not real! This colorful crock emerging from a manhole with a great big smile is a limited edition sculpture by Carlos and Albert. She is hand painted cast plaster with wood and metal. Carlos Munoz and Albert Ickenroth create their whimsical works in Mexico and sell them at galleries worldwide. Signed and numbered. 18" x 16" x 23"
LEMONS, SILK & POMEGRANATES
Large, original still life by Sylvia Angeli. Houstonian artist Sylvia Angeli creates moods exploration of scale, texture and color. Her macro closeup of Mediterranean fruit is romantic and inviting--perfect for your living room. Oil on canvas, signed lower right: 1991. 48" x 36"g
Robert Philip Anderson (USA 1926-2005)
Untitled cityscape: 1964. Oil on untreated canvas. Anderson was fascinated by urban life and landscapes and painted them almost exclusively. Some New Yorkers commissioned him to paint their views. Others just collected his paintings. He painted in a vigorous mid-century modern expressionist style that crackles with energy, emotion and narrative vigor. 22-3/4" x 11" framed.
Andre Bardet (1909-2009)
"Premier Soleil a Paris" (First Light in Paris). 20th C French Impressionist Andre Bardet captures early morning in Paris when the sun first shines on the cafes and coffee drinkers.
Oil impasto on raw canvas, framed in gold. Signed A Bardet lower left. France: Late 20th C. 31.5" x 27"
"Bridge over the Oise" Gustave Nebel (Franco-American 1907-1987) was an admired painter and illustrator who worked in the Impressionist style. He was born in Paris and trained at the Ecole des Arts Decoratifs and the Ecole des Beaux Arts. He was married to American actress Lydie Vallois and was an American citizen. His studio was in Cannes on the Riviera.
The stone bridge over the Oise river is likely at Noyon, NNE of Paris. Oil on canvas, signed lower left. 48" x 38" framed.
Original oil painting of a flower strewn pergola high above the Amalfi coast. This rich and colorful picture captures the ravishing emotional surrender of one of the most beautiful places on earth. Unsigned. 43" x 57" in ornate gold frame.
Andre Gisson "Coral Sky"
Enchanting and soothing picture of women and children at the beach under high banks or pink and purple clouds that are also reflected in the water. American Impressionist painter Anders Gittelson (1923-1993) was born in Brooklyn and Frenchified his name to Andre Gisson to stimulate his career. It worked! 23.5" x 20.5"
Italian villas are decorated with frescoes that imitate carved reliefs in Roman or Renaissance style. These matching, framed trompe l'oeil panels give you that look with a torch, doves and elaborate scrolls. Oil on canvas. 36" x 83"
framed trompe l'oeil panel. Oil on canvas. 36" x 83"
Modernist sculpture from Artisan House, the studio of Curtis Jere. The assembly of welded steel rods appears to wist and rise. Signed Curtis Jere. Made in USA: 2013. Steel base included. 8" diameter, 39.5" overall height.
Large and sunny original painting by Steve Ward. In this abstract scene of a flower market the people and buildings are as colorful as the blossoms. Acrylic on canvas, signed. 48" x 24"
Bruce Gilden (American: b. 1946) captures urban life, raw, unfiltered and often too personal in New York, but also significantly during New Orleans Mardi Gras. In this 1977 photograph his camera finds a young man changed into a centaur on an empty street in the French Quarter. The emotions and circumstances of this delightfully strange image of sunshine and shadow, fantasy and decay could fill a book. 11" x 14" signed.
Humpback whale mother and calf sculpture afloat. The two whales seem to float just as they do in their oceanic abode. Cast steel with blue-green and brass bronze finishes. 15" x 6-3/4" x 11" tall
Framed giclee of blue herons by Florida wildlife Art LaMay. Art LaMay are very popular and always sell quickly. Artist signed and numbered in pencil. Framed in dark wood. 46" x 36"
Surrealist artist Salvador Dali is very popular in our area This colorful late print depicts Eve, attached to Adam's rib, holding the apple and a very evil snake to the right and wrapped around the tree and couple. A red robed emerges from bottom right to evict them for the Garden. Signed and numbered in pencil.
Extraordinary chinese wooden pot carved from a section of tree trunk. The carving illustrates the exemplars of Taoism, the Eight Immortals in a pine tree. An elaborate composition very finely carved in deep and full relief. In one section Li Tieguai lays Go with Zhang Guol watched by Lü Dongbin. Early 20th C. 12.5" x 9.25" x 14" tall.
Lithograph after "Sylvette in a green chair" by Picasso. Picasso was fascinated by Lydia Sylvette Corbett (nee David) and created 40 artworks in May 1954 to try to capture this simple, shy, and beautiful "modern woman." This from a special edition of prints authorized by Picasso's widow in 1975. plate signed and numbered in pencil. Framed in gold with white mats. 33" x 39"
Beautiful classical Chinese ladies are minutely detailed mirror images. In addition to being exquisite, they have symbols that bring good feng shui: phoenix = immortality, lotus = purity and perfection and the hand pose is a Buddhist gesture to ward off evil. Hand carved ox bone in rosewood bases. Early 20th C. 17" tall.
Swedish Modern Expressionist painting. Moody and enigmatic scene of buildings in the moonlight reflected in still water. The sky is a chaotic swirl of blue clouds mixed with plumes of smoke or dust or both. Oil on masonite. Signed and dated, 1971. 48.5" x 35.5" in frame.
"Owls" painted by Adam Leontus (Haiti: 1928-1986). Leontus loved the plants and animals of his island home, especially birds. His style is wonderfully free and expressionistic while still true to the details of the subject matter. This picture, like all his popular work, is joyful with a touch of mystery. Paint on board, signed lower right. 25 x 31.5 27.25" x 33.5" x 1.75 in cypress frame.
We don't know much about this pair of hand painted carvings except they are beautiful and fascinating. These are likely bodhisattvas, of figures from Javanese Buddhist mythology because they hold their right hands in the knowledge/ teaching mudra. Or they might be a bride and groom. They wear ornate batik sarongs and elaborate crowns as well as gold ear plugs. Indonesia: 19th C? @3" x 2-5/8 x 11" and 10-1/2 tall.
Seashell made of sand and crushed shells. Large tone-on-tone is simple and makes a statement. Perfect for Sarasota. Signed Foster. Framed by Harris Strong, the upscale art and framing purveyor. 36" square in brass frame.
High Horses, original etching/ serigraph by Guillaume Azoulay (French: born Casablanca 1946). Horses are one of Azoulay's favorite subjects and he shows them in dynamic motion like this furious trio of blue, purple and pink stallions printed on gold leaf. 1993. Signed and numbered 49" x 39" gallery framed.
Hand colored prints of colorful toucans from John Gould's "Ramphastodae, or family of Toucans" (Second edition). These are exceptional prints made even more beautiful by the framing. 22" x 33" Available separately.
Pierre-Jules Mêne (France: 1810-1879) was a prolific sculptor of animals, especially horses. He cast small scale works for home decoration that were very popular during his life and afterward. This a modern casting of a galloping Arabian horse. Mêne admirably captured the grace and athleticism of the animal in motion. Bronze with green finish. Signed P. J. Mêne. 15-3/4" x 8-1/4" x 12-3/4"
Limited edition lithograph from the important avant gardist Cornelis Guillaume Beverloo (1922-2010) aka Corneille. This masterful poster depicts Shakespeare's Othello (Otello in Verdi's opera) at war with himself at the end of the drama through vivid use of color and form. Numbered and signed Corneille. Framed.
Limited edition bronze sculpture by renowned Mexican abstract painter and sculptor Leonardo Nierman (b.1937). It looks to us like an eagle in flight—a symbol of Mexico as well as USA. Mounted on Lucite. Signed, numbered vi/vi. 10" x 7" x 31" tall.
Leonardo Nierman (born 1937) is one of Mexico's most celebrated artists. His paintings and sculptures are in museums and private collections worldwide as well as prominent public spaces in his native land. This sculpture is carved from Mexican onyx. We show it front lit and back lit so you can appreciate its translucence. 14" x 13" x 43.5" tall. Signed.
If you can't take your eyes off this painting maybe that's because it's made with glue. At least that's our best guess for the raised portions of this captivating Op Art canvas. Beautiful jewel tones of blue and violet. Unsigned. Circa 1970. 20.5" x 24.75"
"Dream Fragment" a limited edition acrylic sculpture by American sculptor Michael Wilkinson. Two enigmatic and beautiful floating female faces—are they the dreamers or the dreamed of?—appear captured in rock crystal just like an image vividly remembered. Signed and dated 1999. 6.5" x 5.25" x 11.50. Display stand included.
Enchanting, original, large oil painting depicting a female nude in a pool under a waterfall. Colorful leaves create a rich pattern reminiscent of Gustav Klimt. Oil on canvas, artist signed. 60" x 48" in silver leaf frame.
Cubist carved Stone sculpture will be a fascinating addition to your home or garden. Signed Modigliani/ 1913, it has an enigmatic power much as do the N'gil masks from West Africa that were so influential to early 20th Century artists including Pablo Picasso, George Braque, Amadeo Modigliani and his mentor Carlo Brancusi. Place it shaded spot of your garden surrounded by ferns for a spectacular affect.
Artist and age unknown. 7.5" x 7.5" x 30" tall.
Original landscape painting attributed to American landscape artist Benson Bond Moore (USA 1882-1974). Tall oaks in the front with a view of fields and meadows rolling toward the Blue Ridge mountains in the distance. Probably done on location. Oil on 16" x 13" board in ornate gilt frame. Unsigned.
Hand carved, wood masks play a central role in the culture of the Bambara people of Mali. This mask is from the Ntomo Society which prepares boys for the responsibilities of adulthood after circumcision. The thin lips remind the boys that words must be used sparingly and carefully. It is decorated with incised marks in imitation of facial tattoos, ear poms and a stylized lion on top. 16" x 7" x 6.5" deep.
Charming naive watercolor of a very laid back lifestyle. A house by the water under coconut palms and no need to get dressed. That's the life! Signed F Kriesche, undated. Watercolor on paper. 35" x 30" in cerused wood frame.
Two modern bronzes give their own interpretations of the fluid beauty of the female figure engaged in dance. Modern dance (left) signed with foundry and artist monograms; 3-1/2" x 3-1/2" x 15". Ballerina (right) unsigned 3-1/2" x 7-3/8" x 13-3/4"
Naina Kanodia (India: 1950) is a star of the Indian art world. She deploys l'Art Naif (pioneered by Henri Rousseau) to present the dialogue between modern life and milleniums old culture. Amid the dazzling colors and dizzying patterns of her paintings the humanity of her subjects always shines.
Kanodia's work is collected by billionaires and Bollywood stars. A work this size would command 650,000 rupees in Mumbai or Delhi. Oil on canvas, signed lower left. 36.25" x 46.5" framed.
Working entirely by hand, wood artist Kyle Hawke transforms flat wood into serpentine curves inspired by the flowing wind. Each piece is handcrafted without forms or molds. "Windswept" Cherry: 26" x 2" x 17"high "Windswept" Oak: 30" x 3" x 23"
"Earthstruck" Original wood sculpture by John McAbery. Disk of bay laurel cut with a jagged lightning bolt. McAbery creates "natural designs inspired by Ocean, Land and Sky" in northern California. 2015. 11" x 3" x 16".
Artist William Fisher and his wife enjoy an afternoon at a favorite river in the Maine woods. Illustrator, educator and landscape painter William Fisher (1890-1985), in his later years, enjoyed painting 'large' canvases in a modernist style you might call WPA Impressionist. Oil on canvas, signed. 36" x 30" in rustic frame.
Robert Fabe (1917-2004) is known for his paintings of children and urban housing, often the steep streets of Cincinnati, he called Townscapes. This one has 3 children surrounded by triple decker houses in winter. Oil on canvas. 27.5" x 22" framed.
Original Landscape in the style of Monet. Cypress and oak trees growing on the grassy banks of a canal. Oil on board. Signed G Rullens. Unframed. 20" x 22"
Mid-Century modern style painting of boats with red sails. A vigorous composition with very nice contrast of red and green and strong technique. Artist signed. Acrylic on canvas in silver gilt frame. 40" x 28"
Signed Curtis Jere halo sculpture. Mid century copper artwork from the famous studio of Curtis Jere like an aura or the penumbra around the sun. Copper with verdigris in black stone base. 34" wide, 36" tall.
"Grammy" original limited edition lithograph by American graffiti artist Kenny Scharf. An explosion of imagination and color. Signed and dated 1997. 34.75" x 43.25" unframed.
Maria Keralla is a mysterious artist. We know she was born in Alexandria, Egypt and painted in India. She also taught. That's all we've found. Her picture of poplar trees on either side of a road shows the influence of Cezanne and the Fauvists her stylistic comrades. Oil on board, latter 20th C. 30-1/2" x 28"
Unsigned original painting of fishing boats in a French, Impressionist style. Lovely hues of blue and aqua. Oil on canvas in wide, hand finished gold frame. 24" x 27"
Two views of the Rhine near Arnhem. Pair of vintage, framed oil paintings. Artist signed, oil on canvas. Europe: Mid 20th C. 17" x 15"
Small abstract expressionist painting by Michael Varley. Suggestive of Kandinsky or Miro. Acrylic on canvas, artist signed lower right. 10" x 8"; 15.75" x 13.75" framed.
Original Fauvist painting by Finch Hoyt. We cannot find any bio data on Hoyt which is surprising because he was (is?) an excellent painter with a fine eye for composition and color and confident technique and unique approach. Here Hoyt presents a fishing village rendered in heavily outlined books of color. Notice especially how the highlight on the water seems to illuminate the entire scene. Oil on canvas, signed. 36" x 24"; 44" x 32" carved frame.
African masks are fabulous and fascinating objects that are valued for their craftsman ship, creativity and cultural heritage. This one has a tubular mouth, no eye holes and shallow geometric carving accented with kaolin or black. Origin and age unclear. 7" x 19" x 6" deep.
Original landscape painting by Dr. Lucien Vannerson (American, 1904-1982). Vannerson was self-taught and best known for land- and seascapes painted in the western USA. Oil on board, signed. Circa 1950. 21.25" x 18.5" framed.
Original painting by David Pallock (American 1906-1977). A Mediterranean or South American town with a colonnaded arcade and flower market. Oil on canvas. Dated January, 1967. 40.5" x 29" framed.
Small antique etchings, simply framed, are an elegant and cozy way to accessorize a wall. They are art people like to examine up close and make your home feel intimate and inviting.
Wood art vessel by Paul LaMontagne made of spalded maple, flame wood, canary wood, wedge, purple heart and curly maple. 11 x 3.75 x 16" tall.
Archaic Chinese bronze vases with entwining dragons in high relief. Imperfect, but still beautiful. Late 19th C. 6-3/4 in. diameter, 17-3/4 tall.
Paintings, Prints & Sculpture
Please call, or email, for prices and other information.
© Fine Home Consignments, 2019 All photographs property of Fine Home Consignments.
Fine Home Consignments, a home decor and consignment store in Sarasota, Florida


Saturday: PM Showers, 58 – 71 (Mom, what does F mean?), 40 perhaps chance of rain.
Sunday: Scattered T-Storms, 40 perhaps chance of rain?!
Let's skip to Spree Day on Friday – 81 and Sunny, 0 perhaps chance of rain, woo-hoo!!


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The US03 heavy duty power feeder stand is the most popular feeder stand in the woodworking industry and is used for nearly every power feeder model in the industry. The horizontal arm diameter is 58mm or about 2-1/4".
*Mounts onto a variety of machines such as shapers, & table saws, among others.
The US03 power feeder stand features sturdy cast-iron vertical and horizontal support columns and universal joints that have locking systems, enabling you to position your feeder vertically, horizontally, and at the desired angle.


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Final day highlights: 2016 NACDS Annual Meeting
April 20, 2016 by Chain Drug Review
The National Association of Chain Drug Stores wrapped up the 2016 NACDS Annual Meeting yesterday with H-E-B's Martin Otto giving his first remarks as the new NACDS chairman.
Speaking during the morning Business Program on Tuesday, Otto reinforced key NACDS priorities, including creating a "retailer-supplier marketplace," advocating on behalf of the retail pharmacy industry, and helping to improve the nation's health care delivery system.
"I generally hear that NACDS' meetings are the best in the industry partly because everyone comes to the meetings, and the reason everyone comes to the meetings is that they're the best in the industry," Otto told attendees. "It's also a role of our association to be a leader in improving health care in our country. We need to lead in quality, cost and access."
Otto, too, presented a plaque of recognition to outgoing NACDS chairman Randy Edeker of Hy-Vee.
Also speaking in the Business Program was Gen. Martin Dempsey, former chairman of the Joint Chiefs of Staff. Dempsey's talk included the results of a poll taken at the end of last year in which respondents were asked to list the nation's top concerns.
"Terrorism was No. 1 at 16%, No. 2 was dissatisfaction with the government at 13%, and the economy at 9%," Dempsey said. He later discussed some of the leading threats to national security in an interview with NACDS-TV.
That evening also saw the presentation of the the Robert B. Begley Award to Tim Hayes, former president of Bayer Consumer Health, at the Annual Meeting's dinner and awards ceremony — capped off with a performance by singing icon Tony Bennett.
Other NACDS-TV video highlights from the Annual Meeting's last day include remarks from Johnson & Johnson's Dave Pothast, who also spoke during the Business Program, and comments from Kantar Retail's Bryan Gildenberg, Hamacher Resource Group's Dave Wendland and CPM U.S.'s Matt Fuiks.
Next year's Annual Meeting is scheduled for April 22 to 25, 2017, at The Phoenician, in Scottsdale, Ariz.

redpajama_set_name: RedPajamaCommonCrawl


This week, we return to "Between These Eyes of Ink," a series which dissects and considers quotations and the insights they contain. For our second episode, we're looking at the words of Oscar Wilde, who said "I am the only person in the world I should like to know thoroughly". What pressures, personal or external, might exist behind the phrasing of "should like"? Is it even possible to know another thoroughly? Does Wilde imply that this condition is an achievable one?


The red-orange flames from an erupting volcano shoot skyward, creating a colorful spectacle against the dark blue sky. A full moon lights the landscape.
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I bought the mural on canvas and installed it myself (although the recommendation is for 2 people to perform the installation, I have done enough wallpapering to feel comfortable taking on the job alone). The mural has totally transformed the room and everyone raves about it. I am so happy that I tried this product...I love it!
I was delighted with the quality of this mural and found it pretty easy for 2 people to install.


Culturing of adherent cells/tissues in a sterile natural 3-D environment continuously for over 12 months allows for impressive cell densities exceeding 10^10 all in a compact laboratory tabletop apparatus. This massive concentration of cells (up to 10,000x more than conventional systems) in the Glen Mills / Zellwerk Z®RP Reactor System opens new areas for development in medicine, classic cell and stem cell research, tissue growth for replacements, large-scale biochemical production by perfusion, and others. Equipment complies with GLP, GCP, GTP, and GMP standards.
Download equipment bulletin in PDF format here or visit the manufacturer's web site – Zellwerk GmbH.
Equipment outline – Employing turning shaft technology Z®RP overcomes failings of rotation bottles, t-flasks, fluidized beds, and other methods. The growing cells, immobilized on the ceramic support, are rotated through the air and then dipped into the medium. This motion allows for the optimal controlled perfusion of nutrients and metabolic products without shear stress. The typical system consists of two essential components: the Breeder Package and the Scaffold.
Breeder Package – The fully integrated package consists of 500ml or 5,000ml Bioreactor® fitted with cell supports, the Breeder® which is a sterile, isothermal incubator, and Control System for long-term stable operations and data logging.
Scaffolds – you have a choice between using our scaffold material, Sponceram® or your autoligous, allogeneous or synthetic material.
Adherent cells can develop nature 3-D Extracellular Matrixes (ECM) on the proven zirconium oxide based Sponceram®. Two to twenty-one discs can be installed in the Bioreactor.
Existing Applications – Though still a novel system, years of development have arrived at fully tested machinery backed by a multitude of testing on various biological systems. Several applications include the culture of umbilical cord stem cells, CHO (Chinese Hamster Ovary) production clones, chondrocytes, and hepatocytes. This technology has also been used in the production of (recombinant) proteins, especially complex glycoproteins. Within the Z®RP large amounts of vital cells can be grown in a natural, 3-D state for eventual harvesting.
Future Applications – The Z®RP concept offers many paths for future development.
Drug production: The Z®RP system offers cost-efficient production of recombinant biopharmaceuticals, vaccines and vectors.
Testing – Running trials with your biological materials is the best way to prove whether the Z®RP Equipment is right for you. A program of renting, leases, and purchase can get Z®RP into your laboratory.
Demonstrations at the factory can be arranged before bringing Z®RP into your facility.
To skip setting up a laboratory, just leave the hard work to us. We offer Large Cell Contract Work where all you need to do take home your valuable outputs of cells, tissues, or biochemicals. Just call us now at 973-777-0777 or complete our Request Info Form and we can start the process in bringing this technology to you.
Cell dislodgement and disruption – It is not just a matter of growing your ECM, but we also have the techniques to continuously extract the valuable perfusion bioproducts and to release the cells from the scaffold for extraction. Cell removal from Sponceram is discussed here in this PDF.
Cell disruption and tissue homogenization equipment is available for working from small scale (0.1 to 50ml) on to major industrial quantities of hundreds of liters per hour.


The Church's property holdings internationally have more than doubled in the last 5 years. The combined size of Church premises increased from 5.6 million square feet in 2004 to 11 million square feet in 2009.
- The Church has acquired 66 buildings since 2004 in major population centers around the world.
- The Church has completed 401,003 square feet of construction of new premises in the last 5 months. It currently has under construction another 475,887 square feet, including Churches in Washington D.C., Las Vegas, Quebec, Mexico City, Brussels, Rome and Tel Aviv.
- There are 8,071 Scientology Churches, Missions and groups in 165 nations, double the number five years ago.
- 80 million L. Ron Hubbard books and lectures on Dianetics and Scientology have been sold in the last decade, compared to 5.6 million in the prior decade, and 60 of that 80 million have been sold in the last two years-more than during the first 50 years of Dianetics and Scientology combined.
- The number of individuals completing auditing and training has doubled since 2007.
- Since the Church undertook to publish and reproduce its scriptural materials in-house in 2007, the average price of Mr. Hubbard's books and lectures sold has decreased dramatically.
- There were 12.4 million visitors to the Scientology website in the last year alone coming from 234 countries, with 23 million video views.
- 4.5 million pages of L. Ron Hubbard's writings have been translated in the last 10 years alone compared to a total of 359,459 for the prior 50 years, making him the most translated author in history-according to the Guinness Book of World Records.
- Today there are 196,000 Scientology Volunteer Ministers worldwide-there were 45,000 in 2004. Volunteer Ministers helped over 1.4 million people in the last year alone, a 300% increase over the 2004 figure of 550,000 people helped.


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Long Beach Fleet Services Bureau receives national recognitions for advancements in sustainability
In 2021, the City of Long Beach Fleet Services Bureau garnered multiple national recognitions for its advancements towards improving Citywide operational services through the introduction of newer, cleaner vehicles and equipment and reducing the City's environmental impacts through the implementation of sustainable policies. The City continues to set a precedent for other large fleets, both private and governmental.
"Long Beach has made reducing emissions and transitioning to green technology a priority — and our Fleet Services Bureau is a huge part of that," said Mayor Robert Garcia. "These awards highlight our commitment to responsible government and environmental protection."
Last year, Fleet Services received the following national recognitions:
Heavy Duty Trucking Magazine's Top 30 Green Fleets in America – The City was the only public fleet to be recognized in this publication, which showcases clean heavy duty truck fleets of major corporations and government organizations. The City was listed alongside companies like Amazon and FedEx for its efforts in greening the City's trucks through use of renewable fuels such as renewable natural gas and renewable diesel. In 2021, over half of the fuel used in the City's fleet was renewable.
Leading Fleets Competition – The City received sixth place in this competition that spans both the United States and Canada. It is sponsored by the American Public Works Association and Government Fleet Magazine, which recognizes government fleet operations with high performances in fleet innovation and leadership. The City has placed in the top ten for the last five years, and this year was recognized for continued operations during the pandemic, supporting the City's first responders. Additional recognition came for the City's strong use of data in management of the fleet, saving money and improving efficiency.
2021 100 Best Fleets Green Fleet Award – The City placed ninth in this award that spans both the United States and Canada, up five places from the 2020 competition. It was recognized for its sustainable fleet, especially the adoption of electric vehicles and its complex infrastructure throughout City departments. The City's fleet sustainability efforts netted a reduction of almost 10,000 tons of greenhouse gas emissions in 2021.
National Association of Fleet Administrator's Green Garage Contest – As a first-time applicant, the City received ninth place in this national competition, which recognizes the most progressive and environmentally committed fleet maintenance garages. Fleet Services was recognized for its efforts in reducing waste from vehicle maintenance and recycling materials, retreading thousands of tires, and implementing the use of reusable oil filters and reduction of oil changes for City vehicles, thus reducing both the use of new oil and production of waste oil.
"Over 51% of the City's vehicle fleet is alternatively fueled, proof that we are dedicated to emissions reduction throughout Long Beach," said Fleet Services Bureau Manager Dan Berlenbach. "The dedication of our Fleet Services Bureau staff is the driving force that enables our work to be recognized by other fleet leaders in government and private business. We are constantly learning from each other and using new technologies and other tools to improve everything we do."
Electric vehicles are an increasingly important part of the City fleet's portfolio of sustainability initiatives. Fleet Services is actively partnering with the City's Department of Public Works and Southern California Edison for the development of electric vehicle charging infrastructure throughout the City. That infrastructure will provide crucial support in the City's transition to a zero-emission fleet in future years.
The Fleet Services Bureau is part of the Department of Financial Management. More information about Fleet Services is available here.
Anne Jang2022-01-16T20:28:43-08:00January 16, 2022|Cities, Conservation, Local Government|


Hello and thanks for taking the time to learn about our exciting volunteer trip this August. We hope you're interested in joining us. If you have any questions please email us using the form below or feel free to call John on +1 917 952 3922.


Bible study and daily devotions are a most important tool in strengthening our personal relationship with God. The devotional materials offered here provide a range of reading and study plans that can help everyone in their daily faith walk.
Click on any of the devotional sources shown.


SODELPA Leader Sitiveni Rabuka has promised land security for the Melanesian community in the country.
Speaking at a campaign meeting in Nasinu last night, Rabuka says there have been discussions from past governments on this issue but there has been no outcome in terms of giving the right support that is needed.
Rabuka says Melanesian's have done their part in the development of our nation and they deserve to be given what they hope for.
The former Prime Minister says SODELPA will ensure that security and stability is paramount for all races in Fiji.


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Arthritis Institute
Rheumatology /
Medical College of Wisconsin Arthritis Institute
The Arthritis Institute, founded under the direction of Dr. Daniel J McCarty, has the primary goal of fostering collaborative research within the Division of Rheumatology, with other departments in the Medical College of Wisconsin and with extramural colleagues. Its secondary mission is to provide research training for the next generation of arthritis researchers. All donated funds are applied directly to research projects or research training.
Institute Medical Contributors
Ann K. Rosenthal, MD
Lawrence M. Ryan, MD
Daniel J. McCarty, Jr., MD
Ann K. Rosenthal, MD, is the Chief of the Division of Rheumatology at the Medical College of Wisconsin. She is also the current director of the Arthritis Institute. Dr. Rosenthal's research deals with matrix changes that are involved in degenerative arthritis (osteoarthritis) and in crystal deposition disease such as gout and pseudogout. Her laboratory is located at the Clement J. Zablocki VA Medicine Center and has been funded by the NIH and the Veterans' Administration Research Service. She is director of the Translational Research Unit at Zablocki VA. She is the author of over 70 publications. She has twice been the recipient of a prestigious teaching award by third year students at the Medical College of Wisconsin.
Lawrence M. Ryan, MD, is a past Director of the Arthritis Institute. Dr. Ryan was the first fellow of the Medical College of Wisconsin and the first rheumatology trainee in Wisconsin. He was Chief, Division of Rheumatology at the Medical College of Wisconsin from 1987-2010 and director of the Rheumatology Service Laboratory from 1988 to 2015. Dr. Ryan has been recipient of the Distinguished Service Award of the Medical College of Wisconsin and of the Teacher of the Year Award by the Department of Medicine. His research focus has been on pyrophosphate metabolism as it relates to formation of calcium pyrophosphate crystals in cartilage, other crystal-related joint diseases, and abnormal mineralization in bone and soft tissues. His research efforts have been funded by the NIH and the Arthritis Foundation. He is the author of over 100 publications. He is past recipient of Arthritis Institute funding.
Daniel J. McCarty, Jr., MD, founded the Arthritis Institute at the Medical College of Wisconsin in 1989. He has had an illustrious career and is considered among the deans of rheumatology internationally. He is past president of the American College of Rheumatology (formerly The American Rheumatism Association); editor-in-chief of the premier rheumatology textbook, Arthritis and Allied Conditions from 1972 through 1989; and editor of the premier rheumatology journal, Arthritis and Rheumatism from 1965-1970.
Dr. McCarty joined the Medical College of Wisconsin as Chair of the Department of Medicine in 1974 after having served 7 years as the Chief, Section of Arthritis and Metabolic Diseases at the University of Chicago. He was chair for 17 years. He is currently a Will and Cava Ross Professor Emeritus of the Medical College of Wisconsin. He is a recipient of numerous national and international awards including the Distinguished Service Award of the Medical College of Wisconsin. He is best known in the medical research community for seminal investigations and discoveries related to gout, pseudogout, Milwaukee shoulder syndrome and the remitting symmetrical seronegative synovitis with pitting edema (RS3PE) syndrome. His research was in large part funded by the NIH. He has authored more than 300 publications. Dr. McCarty is a Master of the American College of Rheumatology. View Dr. McCarty's CV (PDF)


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S. 1334 (114th): Illegal, Unreported, and Unregulated Fishing Enforcement Act of 2015
We don't have a summary available yet.
The summary below was written by the Congressional Research Service, which is a nonpartisan division of the Library of Congress, and was published on Jul 28, 2015.
Illegal, Unreported, and Unregulated Fishing Enforcement Act of 2015
This bill revises enforcement mechanisms of several Acts to address illegal, unreported, or unregulated (IUU) fishing.
TITLE I--STRENGTHENING FISHERIES ENFORCEMENT MECHANISMS
(Sec. 101) The bill amends the High Seas Driftnet Fishing Moratorium Protection Act to revise and apply its enforcement provisions to:
the Pacific Salmon Treaty Act of 1985, the Dolphin Protection Consumer Information Act, the Tuna Conventions Act of 1950, the North Pacific Anadromous Stocks Act of 1992, the Atlantic Tunas Convention Act of 1975, the Northwest Atlantic Fisheries Convention Act of 1995, the Western and Central Pacific Fisheries Convention Implementation Act, and the Antigua Convention Implementing Act of 2015. The bill amends the High Seas Driftnet Fishing Moratorium Protection Act to direct the Department of Commerce to prevent a person from violating those Acts in the same manner as if specified enforcement provisions of the Magnuson-Stevens Fishery Conservation and Management Act (MSA) had been incorporated into each Act, including civil and criminal penalties, permit sanctions, and civil forfeiture procedures. Additional enforcement authorities are established with respect to searches and seizures, inspections, shipment detentions, the carrying of firearms, arrests, and the execution of subpoenas.
The bill amends the MSA by making it unlawful for any person to import, export, transport, sell, acquire, or purchase in interstate or foreign commerce any fish taken, possessed, transported, or sold in violation of any treaty or in contravention of any binding conservation measure adopted by an international agreement or organization to which the United States is a party.
Commerce may: (1) engage in international cooperation to help other nations combat IUU fishing and achieve sustainable fisheries; and (2) disclose certain enforcement information to state or federal agencies or internationally to ensure compliance with measures Commerce enforces, including international fishery agreements to which the United States is a party.
The bill amends the High Seas Driftnet Fishing Moratorium Protection Act by requiring Commerce to improve the effectiveness of arrangements made pursuant to an international fishery agreement in conserving and managing fish stocks under its jurisdiction.
Commerce may: (1) develop and publish a list of vessels engaged in IUU fishing or fishing-related activities in support of IUU, including vessels or vessel owners identified by an international fishery management organization or arrangement made pursuant to an international fishery agreement; and (2) take action against listed vessels.
Commerce must identify nations that: (1) violate conservation and management measures required under an international fishery management agreement to which the United States is a party, or (2) fail to effectively address or regulate IUU fishing or practices in the last three years.
The bill authorizes enforcement programs for the fishery laws mentioned in this title and for the identification of those nations through FY2019.
(Sec. 102) The bill amends the High Seas Driftnet Fisheries Enforcement Act by requiring the denial of port privileges and other sanctions for fishing vessels of a nation that receives a negative IUU or conservation certification.
(Sec. 105) The bill amends the Western and Central Pacific Fisheries Convention Implementation Act by prohibiting the transfer from the United States to other nations of fishing capacity, fishing capacity rights, or fishing vessels.
(Sec. 106) The bill amends the Antarctic Marine Living Resources Convention Act of 1984 by removing a requirement that a person must know, or reasonably should have known, that an Antarctic marine living resource was harvested in violation of the Act in order to violate that Act.
(Sec. 107) The bill amends the Atlantic Tunas Convention Act of 1975 to: (1) allow Commerce to issue trade restriction measures against nations or fishing entities that violate such Act, and (2) eliminate an annual reporting requirement on the conservation and management of highly migratory species.
(Sec. 108) The bill amends the High Seas Fishing Compliance Act of 1995 by voiding high seas fishing permits if any other required permit or authorization is expired, revoked, or suspended or if the vessel is no longer documented under U.S. laws or eligible for the documentation.
(Sec. 112) The bill amends the Magnuson-Stevens Fishery Conservation and Management Act to include a prohibition on the import, export, sale, acquisition, or purchase of fish that have been taken or sold in violation of treaties to which the United States is a party.
TITLE II--IMPLEMENTATION OF THE ANTIGUA CONVENTION
Antigua Convention Implementing Act of 2015
(Sec. 203) The bill defines "Antigua Convention" as the Convention for the Strengthening of the Inter-American Tropical Tuna Commission Established by the 1949 Convention between the United States and the Republic of Costa Rica, signed on November 14, 2003.
(Sec. 204) The President shall appoint five Commissioners to represent the United States on the Inter-American Tropical Tuna Commission. (Sec. 205) Commerce must: (1) appoint a General Advisory Committee and a Scientific Advisory Subcommittee. and (2) promulgate regulations for carrying out U.S. responsibilities under the Antigua Convention and the Tuna Conventions Act of 1950. (Sec. 207) The bill incorporates into the Tuna Conventions Act of 1950 the prohibited acts listed in the High Seas Driftnet Fishing Moratorium Protection Act and such Act's enforcement provisions. (Sec. 210) The bill repeals the Eastern Pacific Tuna Licensing Act of 1984.
TITLE III--AGREEMENT ON PORT STATE MEASURES TO PREVENT, DETER AND ELIMINATE ILLEGAL, UNREPORTED AND UNREGULATED FISHING Port State Measures Agreement Act of 2015 (Sec. 304) Commerce may promulgate regulations to carry out the implementation of the Agreement on Port State Measures to Prevent, Deter and Eliminate Illegal, Unreported and Unregulated Fishing, done at the Food and Agriculture Organization of the United Nations, in Rome, Italy, November 22, 2009, and signed by the United States November 22, 2009. The agreement provides tools for nations to address IUU fishing and to prevent IUU-caught fish from entering markets and competing with legally-caught fish. It recognizes that all seafood must pass through a port to get to market and allows nations to use inspections to prevent IUU fish from reaching the market. (Sec. 305) A foreign vessel seeking entry to a U.S. port must submit certain information to Commerce in advance of its arrival. Commerce shall deny such vessel entry if it has entered without authorization, is a listed IUU vessel (a vessel engaged in IUU fishing or fishing-related activities), or there are reasonable grounds to believe that it has engaged in or has supported IUU fishing, but may allow entry if the vessel or a person aboard it needs assistance, if the vessel is going to be scrapped, or to inspect the vessel or carry out enforcement. (Sec. 306) Commerce and the Coast Guard shall conduct foreign vessel inspections and take enforcement actions against vessels found to have been engaged in IUU fishing. (Sec. 307) The bill makes it unlawful for any person to: (1) violate any provision of this bill; (2) refuse to permit any authorized officer to board, search, or inspect a vessel; (3) submit false information; or (4) commit certain offenses enumerated under the Western and Central Pacific Fisheries Convention Implementation Act. (Sec. 308) The bill applies enforcement authorities under the MSA and the Antarctic Marine Living Resources Convention Act to this Act. The bill also imposes civil, criminal, and forfeiture penalties for committing a prohibited act. (Sec. 309) Commerce may assist developing nations and international organizations in meeting their obligations under the agreement. (Sec. 310) The bill affirms that it does not: (1) displace any requirements imposed by U.S. customs laws or any laws or regulations enforced or administered by the Department of Homeland Security, or (2) affect a vessel's ability to enter ports for reasons of force majeure or distress. The bill must be interpreted and applied in accordance with U.S. obligations under international law.


According to the United Nations, by the end of 2016 there will be around 4.7 million refugees from Syria and another 13.5 million displaced from their homes within the country.
This dispersion of people provides many opportunities to share Jesus with people who may have never had a chance to hear of Him.
Immigrant Syrian believers have taken CEF training and are reaching their own people with the Gospel in Sweden, Germany, Austria and America. Among them is Souzan who started a Good News Club with 20 Syrian children attending in New Jersey. Zeinah, in Germany, hasn't settled in a city yet but visits other immigrants and tells them the story of The Wordless Book with a copy she keeps with her. She declares that the stubbornness toward hearing the Gospel of Jesus Christ which once filled the hearts of the people before war has almost disappeared.
In Northern Sweden Tarek and Aseel are using their talents in drama to teach children. Having taken Teaching Children Effectively Level 1 they are able to apply biblical teaching in role plays and deliver the message of salvation to children. They have gained a good reputation among churches in Sweden, where they have been able to organize programs for Syrian immigrants.
Victor is ministering among Syrian children in refugee camps, using what he has learned in CEF training. Children and parents are coming to Jesus. Among the children there was a child who impressed Victor as he prayed powerfully of his stress and need for someone who can take away his burden. The boy found that in Jesus. Another child, age 11, wished that his father would have accepted Jesus before dying in war and asked whether someone can go and tell him about Jesus in the tomb (according to traditions). The minister replied honestly that this couldn't happen, but that he could tell his mother, his elder sister, his relatives and friends. He returned the following week with three boys who wanted to know more about Jesus.
The refugee crisis is a crisis indeed—but it is also an open door to tell others of Jesus.
*All names have been changed to protect the individuals.


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South Carolina's Football Season Implodes With Loss To Appalachian State
Gamecocks bowl eligibility hopes take a huge hit …
When the 2019 University of South Carolina football schedule was first released last fall, it was immediately clear just how difficult a row the Gamecocks would have to hoe … even to emerge with a winning record. By the time the season rolled around, the true dimensions of the challenging campaign to come came into crystal clear focus.
Nonetheless, despite facing what was widely regarded as the toughest schedule in the nation there remained a path to bowl eligibility for fourth-year head coach Will Mushchamp and his team …
First, South Carolina had to win all of the games it was supposed to win (North Carolina, Charleston Southern, Vanderbilt and Appalachian State) while taking two of the three games on its schedule that were perceived as toss-ups (Kentucky, Missouri and Tennessee).
It was generally accepted that South Carolina's remaining five games – against Clemson, Alabama, (at) Georgia, Florida and (at) Texas A&M – were guaranteed losses.
Well, as it turned out the Gamecocks managed to steal a win against one of those five teams – but the rest of the bowl eligibility math hasn't come close to adding up. Not only did Muschamp's team lose two of its three toss-up games – it has also dropped two of the four games that were supposed to be guaranteed wins when the season opened.
Yeah … and you thought the nadir of the Muschamp era was the Belk Bowl loss last December?
It wasn't … and the scary thing is we probably haven't seen the bottom of the slide yet.
(Via: Travis Bell Photography)
The latest loss? A deflating 20-15 defeat at the hands of Appalachian State – a Sun Belt Conference foe which staved off a furious fourth quarter rally from the Gamecocks (4-6, 3-4 SEC) to notch its second consecutive win over a power five conference opponent.
The consequences of this defeat are painfully obvious. To become bowl eligible, South Carolina must now travel to College Station, Texas and beat Texas A&M for the first time ever prior to returning home and defeating arch-rival (and defending national champion) Clemson for the first time in six years.
How likely is that? ESPN's matchup predictor gives the Gamecocks a 22.1 percent chance on the road against the Aggies and an 8.8 percent shot at home against the Tigers.
Should things unfold that way, the Gamecocks are looking at a 4-8 campaign – easily their worst season of the Muschamp era (as well as the second consecutive year in which his program has failed to live up to expectations).
South Carolina isn't just losing … it is losing ugly.
The Mountaineers (8-1, 4-1 Sun Belt) held South Carolina to an embarrassing 21 yards rushing (on 27 carries) on Saturday night – forcing offensive coordinator Bryan McClendon to rely exclusively on the arm of true freshman quarterback Ryan Hilinski. Sadly, the 6-foot-3, 230-pound native of Orange, California was not up to the task – missing a wide open Bryan Edwards in the back of the end zone on the final play of the game.
Even had Hilinski – who has had issues overthrowing open receivers all year – managed to connect with Edwards on the play, it would not have counted. South Carolina was called for holding – one of eight penalties assessed against the Gamecocks on a frigid early November night.
McClendon's offense was every bit as cold as the temperatures, continuing to struggle on third down (converting on only four of eighteen chances) and failing to score a touchdown until the 2:58 mark of the fourth quarter.
The lone bright spot (aside from the continued domination displayed by punter Joseph Charlton)?
Edwards …
South Carolina's top offensive threat bounced back from a knee injury in the first half to catch nine passes for 90 yards and a touchdown against the Mountaineers. Edwards' 23-yard score late in the game enabled him to break the school record of 3,042 career receiving yards set by Alshon Jeffrey from 2009-11.
Edwards now has 3,045 career receiving yards for his Gamecock career, which means you will see his name in garnet-and-black paint at Williams-Brice Stadium next season even after he takes his talents to the NFL. Earlier this year against Tennessee, Edwards broke the school's all-time receptions record – previously held by the late Kenny McKinley.
With two more receiving touchdowns, Edwards (above) will be the school's all-time leader in that category, too – one more fond memory for Gamecock fans in what has been an otherwise forgettable year.
For the Mountaineers, though, the memories are all good …
Prior to this season, Appalachian State had not beaten a power five opponent since its historic upset of Michigan in Ann Arbor in 2007, when it was still competing in the Football Championship Subdivision (FCS). Now it has beaten power five teams twice in one year – a promising trajectory indeed for first-year head coach Eliah Drinkwitz.
Odds are Drinkwitz's squad will find itself back in the national rankings following its road win against the Gamecocks.
As for Muschamp's trajectory? After this loss, it is approaching terminal velocity. The embattled coach was able to survive a 4-8 campaign during his third season at Florida, but he was fired the following year – his fourth in Gainesville – when Gator fortunes failed to revive
During his four seasons at Florida Muschamp was 28-21 overall and 17-15 against SEC opponents.
After nearly four seasons in Columbia, S.C., the 48-year-old Rome, Georgia native has posted a 26-23 overall record and a 15-16 mark against SEC opponents. He is 1-3 against Georgia, 1-3 against Florida, 1-2 in bowl games and 0-3 against Clemson.
Even worse, there is little reason for optimism in the campaign to come …
Muschamp (above) probably would have been canned by now were it not for his massive $22 million buyout (which drops modestly to $18.6 million at the end of the year). Also, he has the support of athletics director Ray Tanner – the man who negotiated the massive buyout.
Frankly we believe both should be fired … irrespective of the cost.
Will that happen? We shall see …
The University is a glorified goat rodeo at the moment, with its governing board bitterly divided and its new president entering under a cloud of controversy. Tanner and Muschamp could both wind up benefitting from the ensuing paralysis.
Banner: Travis Bell Photography
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A couple of weeks ago opened one NYX store 5 minutes away from my home!
Some will say that's amazing, but I say that's a disgrace, especially for my wallet.
For the opening day, they had a 20% off everything in store, so I decided to go and to stock on on some of the most hyped products of the brand, that I can say that Youtube made me buy them.
So in this post, I will share with you everything that I bought and my first impressions of the products.


text:
The Truth According to Wikipedia (en español La verdad según Wikipedia) es un documental neerlandés sobre Wikipedia dirigido por IJsbrand van Veelen. El documental examina la fiabilidad de Wikipedia, y la dicotomía entre el uso de expertos frente a los editores aficionados. La película incluye comentarios de los cofundadores de Wikipedia, Jimmy Wales y Larry Sanger, el autor de The Cult of the Amateur, Andrew Keen, el director ejecutivo de O'Reilly Media, Tim O'Reilly, y el exeditor en jefe de la Enciclopedia Británica, Robert McHenry. Keen argumenta que los expertos deben servir como guardianes de la información durante el fenómeno de la Web 2.0, este punto de vista es apoyado en el análisis de Sanger.

El documental se estrenó en la conferencia Next Web de Ámsterdam en abril de 2008 y fue transmitido por la televisión VPRO en los Países Bajos. Posteriormente fue puesto a disposición a través de la televisión pública estadounidense. The Truth According to Wikipedia recibió una recepción generalmente positiva, con comentarios favorables por parte de Film Quarterly, y en un análisis publicado por el Centro de Estudios Estratégicos e Internacionales.

Contenido

El director IJsbrand van Veelen examina varias interrogantes sobre Wikipedia, incluyendo si dañará a las enciclopedias tradicionales como la Enciclopedia Británica y la fiabilidad de Wikipedia en particular. Van Veelen también aborda la idea de que la información quiere ser libre. Las personas que son entrevistadas y aparecen como expertos en el documental incluyen a los cofundadores de Wikipedia Jimmy Wales y Larry Sanger; el autor de The Cult of the Amateur, Andrew Keen; la editora de Wikipedia y autora de Cómo funciona Wikipedia, Phoebe Ayers; el editor de la Wikipedia en suajili, Ndesanjo Macha; el director ejecutivo de O'Reilly Media, Tim O'Reilly; el autor de We Think, Charles Leadbeater, y el exeditor en jefe de la Enciclopedia Británica, Robert McHenry.

Los temas de discusión incluyen cómo las contribuciones de los usuarios, tanto aficionados como expertos, afectan a Wikipedia, y en términos más generales, el fenómeno Web 2.0. Andrew Keen es un personaje destacado en el documental, y plantea la tesis de que la veracidad de la información debe ser determinada por los expertos que a su vez deben funcionar como guardianes de dicho material. El argumento de Keen es apoyado en el documental por los comentarios de Larry Sanger, que abandonó Wikipedia luego de un conflicto con Jimmy Wales con respecto al deseo de Sanger de que los expertos tuvieran una influencia adicional en el proyecto.

Producción

The Truth According to Wikipedia fue dirigida por IJsbrand van Veelen. Van Veelen había dirigido anteriormente Google Behind the Screen. Las entrevistas fueron realizadas por Denters Marijntje, Martijn Kieft y IJsbrand van Veelen. Marijntje Denters y William de Bruijn investigaron y recopilaron la información del documental. Judith van den Berg sirvió como productora y Jos de Putter y Doke Romeijn sirvieron como editores. El documental utiliza 60 segundos de imágenes de un vídeo realizado por Chris Pirillo, que más tarde objetó que tal uso se hizo sin obtener su permiso o sin acreditarlo por el contenido. El documental fue lanzado en 2008, la polémica sobre la censura de Wikipedia en China estaba en marcha para el momento del lanzamiento. La película se estrenó a nivel mundial en la conferencia Next Web de Ámsterdam el 4 de abril de 2008.<ref>

Enlaces externos
The Truth According to Wikipedia, YouTube, cuenta VPROinternational (en inglés)
The Truth According to Wikipedia, en watchdocumentary.com (en inglés)

Historia de Wikipedia

redpajama_set_name: RedPajamaWikipedia


This iconic Sydney project was completed with Design Landscapes for Sydney City Council.
This job spread over an approximate 12 month period while the park was redeveloped – ensuring the forward-thinking design was implemented correctly in every stage.
For this project, Stainform provided six pedestrian bridges throughout the park, our custom balustrades, a coreten aquaduct and bespoke seating.
Stainform kept up with all stages of progress and successfully completed each job within the scheduled time frames.


text:
This south and that north — Ashley Hay
Ripped in half? — Natasha Cica
Class, identity, justice — Christos Tsiolkas
The tyranny of closeness — Mat Schulz
The art of the salon — John Armstrong
A little moment — Nick Brodie
From Bosnia to Australia — Sanja Grozdanic
Lords of the ring — Tim Bonyhady
Behind the scene — Robyn Archer
Stranger than the dreams of Ptolemy — Pat Hoffie
Negotiating botanical collections — Anna Haebich
Atrocity, remembrance, spectacle — Eugene Yiu Nam Cheung
Asking the relevant questions — Julienne van Loon
Climate of stagnation — Kate Dooley
Brexit, Australian-style — Stuart Ward
The kindness of strangers — Irris Makler
Siege mentality — David Morris
Squats, squares and city plans — Mitra Anderson-Oliver
Come together — Esa Laaksonen & Silvia Micheli
Wheat, wages and weapons — Lilian Pearce & Will Bakes
Memory and migration — Katarzyna Kwapisz Williams
Out of time — Gabriella Coslovich
Island stories — Frank Bongiorno
The breathing artist — Peter Hill
Strangers in a familiar land — Hans van Leeuwen
Red plague — Michael Cooney
Shadow life — Susan Varga
Belonging — Roberta Esbitt
London calling — Andy Cairns
Sous le soleil exactement — Tadhg Muller
A seat at the table — Rachel Maher
The signal line — Brendan Colley
At the Russian restaurant — Lee Kofman
Refugium — Arnold Zable
Brisbane, late 1960s — Anthony Macris
Definition: wog (n); a thing — Natalie D-Napoleon
Creatures — Julia Anastasia Pelosi-Thorpe & Maria Borio
Aplonis fusca — Nathaniel Dolton-Thornton
Unicornered — Jaya Savige
Mother-daughter trip — Anna Jacobson
At the Russian restaurant: Audio edition — Lee Kofman
All mod cons — Kean Wong
The skies of Middle Europe — Stephen Orr
Black Russian — Melissa Lucashenko
Out of nature — Tamara Thiessen
Human rights — Sally Wheeler
In Conversation (1)
Underwog — George Megalogenis
A little moment
Plagues past and present
by Nick Brodie
Come, my people, enter thou into thy chambers and shut thy doores about thee; hide thy selfe as it were for a little moment, until the indignation be overpast.
Isaiah 26:20 (as translated in the King James Bible of 1611)
MY GRANDFATHER WAS born in a pestilential year. Surviving the influenza pandemic that struck Australia in 1919, Pa's mother called him the luckiest baby in town. Great-grandma Frances's own father had died from influenza in an earlier regional outbreak in the foothills of Australia's Snowy Mountains, so she likely felt the threat to her baby especially acutely. But 1919 was something extraordinary, an experience that, much like the war it followed, marked those generations who survived it. Months of border closures, quarantines, hospitals, anxiety, sickness and death understandably helped 1919 enter Australian popular memory as the year of the 'Spanish flu'. No wonder Frances made sure her son understood his good fortune.
Now 2020 is on track to earn a similar distinction, thanks to the global spread of COVID-19. By mid-March, a wounded Italy reeled while a horrified Australia began to close. By Easter, the UK prime minister had been hospitalised with the virus and New York was struggling to bury its dead. Australia's borders – external and internal – were almost entirely closed, its people in various states of domestic lockdown.
Each day still brings fresh fears, new rules, more infections.
Pestilence has grimly stepped into human history again. Like Isaiah's original scribe, quoted above, who recorded those words about entering chambers, and like the hundreds of generations who have translated and read them in the centuries since, we are again closing our doors and waiting for what we hope will be only 'a little moment'. Ancient rabbinical advice recorded in the Babylonian Talmud suggests that legs be scattered in famine and gathered during plague. It is a call to flee or hunker down as circumstances demand. Holed up as COVID-19 spreads outside, I find myself reflecting on such hard-earned wisdom. This is a clear Australian–European exchange, pandemic-style.
MANY OF AUSTRALIA'S great epidemics of the past were transmitted from Europe, and in this way Europe has a special place in our epidemiological history. Some diseases proved instrumental in the colonial project. Smallpox was observed near Sydney in New South Wales in 1789, soon after European colonisation commenced. Most likely it arrived directly on Australia's east coast from either British or French ships, but even if it travelled from northern Australia from a south-east Asian vector, such intercontinental transmission was itself facilitated by European colonial activities to Australia's north. Either way, the effects were dreadful. The ravages of such illnesses on Aboriginal peoples throughout the continent are literally immeasurable. 'All dead! All dead!', explained one afflicted Aboriginal man to Judge Advocate David Collins at the beginning of a terrible two-century story. But while recognising how such disease helped shape the course of Australian history, we should be wary of fixating on disease as the decisive factor. The European malaise that did the most damage to Aboriginal lives in Australia was, of course, colonisation itself.
Beyond the obvious phenomenon of disease as the ally of colonisation, the transportation and transplantation of sickness in a broader sense reveals a strong historical and cultural thread in the European–Australian exchange. While recognising its fictional setting, it is worth recalling that the seventh chapter of Marcus Clarke's novel For the Term of His Natural Life (1874) was titled 'Typhus fever'. In it, a feverish Rufus Dawes overhears some shipmates scheming to seize the ship. Dawes unwittingly prevents this simply by collapsing, prompting his shipmates to summon a doctor whose arrival is so authoritative that order is restored and the mutinous plans forgotten. While used as a narrative device, the story is conceivable precisely because sickness was part of many voyages to Australia, even on ships of free immigrants. Shipboard outbreaks of measles, whooping cough, scarlet fever and the like are part of the migration story of generations.
However, as the arrival of the doctor underlines in Dawes's case, it is not only disease that Europe sent here, but the means of understanding and fighting it. This deep European cultural frame interests me most as I sit in lockdown in regional Australia. I recollect how the patron saint of Europe, St Benedict, included special provision for the sick in his sixth-century monastic rule. I think of places such as the northern English city of York, whose aldermen ordered the clearing of streets and provision of food to the needy while disease ravaged those inside the town's walls in the 1550s. I smile in remembrance of the pardoner in Geoffrey Chaucer's The Canterbury Tales (c. 1387–1400) telling a story about a bunch of drunkards who decide to kill Death because he was responsible for slaying thousands in a pestilence. I chuckle at the friar in William Shakespeare's Romeo and Juliet (c. 1595), locked up on suspicion of being from an infectious house and so delaying the delivery of an important piece of correspondence. I recoil after reading Samuel Pepys's diary entry recording the advent of the Great Plague of London in 1665: 'Great fears of the sickenesse here in the City, it being said that two or three houses are already shut up. God preserve us all!'
Yet what is most striking is how Europe's cultural history seems to have prepared us for just this moment in 2020.
EUROPEAN HISTORY IS replete with accounts of terrible plagues. The Greek historian Thucydides suffered from, survived and then described an affliction that struck Athens with great force in 410 BC. It reportedly arrived from Egypt via Persia. Almost a millennium later, Procopius described another plague taking a similar route from Egypt through Palestine before striking Byzantium in 542. The resemblance between these accounts is rightly treated with some caution, reminding us that lived and narrated history are different things. But scepticism should not make us too dismissive of the potential patterns of human history. When the Black Death struck Italy in 1347, it came from the 'East' – as did COVID-19 in 2020. Sometimes what appears to be literary convention might, after all, point to something real.
In pestilential times, the lines between reality and fantasy seem to blur. While Giovanni Boccaccio certainly lived through the Black Death that ravaged Western Europe from 1347–1351 and beyond, his use of it as a literary conceit in The Decameron (c. 1349–1352) makes it hard to separate genuine historical observations from a broader literary objective. The plague provides the cause and context for Boccaccio's group of Florentine storytellers, and he describes the effects of the disease on city and society in his work's introduction. The sick were barred entry to Florence, but the invisible infection still spread. Some healthy and wealthy people went into private quarantine, while the poor suffered despair and death when compelled to keep to their houses. Some people took every precaution, while others treated the situation as a joke.
Without necessarily accepting Boccaccio's account as one of unvarnished firsthand accuracy, his description of a society that tries to hold off disaster yet succumbs to disorder prefigures the stories of our COVID-19 times. Infectious cruise ships being pressured to leave Australian waters; the sight of a crowded and carefree Bondi Beach, full of visitors flouting government dictate; the long, physically un-distanced lines of the freshly unemployed in the streets – all offer a harsh mirror to Australia's sense of itself as an egalitarian, modern nation. The rising illiberalism of many government orders, however well intentioned, hardly provides exemplary models of democratic norms and process. Boccaccio reminds us that our own response to plague is every bit as mixed as that of our medieval forebears.
Even our sense of our place in history vis-à-vis the Black Death is oversimplified by a tendency to fixate on epidemic disease's economic impacts and effects. The Black Death was a human catastrophe beyond measure, wiping out a huge proportion of the world's population and affecting social structures and economies in the process. But there are persistent popular notions that it was ultimately 'good' for Europe, supposedly freeing its economy from medieval constraints, and these notions are informed as much by twentieth-century historical inquiry as by any fourteenth-century experience. Such capitalistic ideas of an economically beneficial pandemic need regular debunking, and we need to be on guard in case similar arguments arise in connection with COVID-19. Workers' wages did not universally rise after the Black Death, for instance, and when they did it was not always in real terms. Most of the social and cultural changes that are popularly ascribed to that plague, such as the decline in feudalism, were, in fact, already underway. Besides, the disease then became endemic, afflicting Europe regularly for another several centuries. A more useful lesson from the Black Death than one focused on ill-informed claims about wages, trade and inflation is the holistic one that no economy can properly be studied as separate from society.
It can be useful to characterise historic epidemic diseases as short-term disrupters and long-term accelerants. In some ways this seems to be how medieval European chroniclers often recognised them too. The Venerable Bede's History of the English Church and People (c. 731) has a plague strike the Britons and leave them militarily weak, which in turn prompts them to invite the Saxons to come to their aid in 449, thereby laying the foundations of the Anglo-Saxon ascendancy over what became England. Reality was more complex, but Bede crafted a good story. So too did Gregory of Tours, whose The History of the Franks (c. 573–594) records the death of Pope Pelagius II from plague in Rome in 590 – this led to the election of the great reforming Pope Gregory I, who soon led afflicted crowds in procession through the city, culminating in the appearance of an angel and the plague's disappearance. Irrespective of historical actuality, both chroniclers see plague as having longer effects from a disturbing local outbreak. In Bede's case the plague is part of the structural malaise at the heart of British society, facilitating an eventual Saxon takeover. For Gregory, the plague becomes an amplifying context for calls to reform and conversion.
Whether this disruption–accelerant model will hold true for COVID-19 remains to be seen. Early signs are promising, at least in the narrow sense of supporting the theory. In the short term, Australia and Europe alike were crippled by the pandemic. But they have also experienced changes to work cultures, educational practices, digital economies and modes of governance. All offer signs of potential long-term shifts. Yet swift reversion is just as possible, for history also records that unpreparedness does not necessarily beget a new vigilance. In fact, in Griffith Review 17: Staying Alive (2007), novelist Ian Townsend remarks that 'the Australian public's record in handling outbreaks of swift and deadly diseases isn't good' – and in the early days of the pandemic this characterisation remained at least partly true, exemplified by hoarding-generated toilet paper shortages. Such faults clearly sprung in part from a well-founded distrust of some sectors of government. Australians should never forget their prime minister encouraging them to attend the football as this disaster clearly loomed, nor the disgorging of 2,700 passengers from the infected Ruby Princess cruise ship in the middle of Sydney, a mere epidemiological stone's throw from the historic Quarantine Station at Manly. Were a medieval chronicler to write an account of this time, he may be tempted to use such incidents as illustrations of the dangers of putting economy before society – or of too much politics allowing -pestilence to fester and spread.
I DO NOT yet have the luxury of hindsight to put the COVID-19 pandemic into a narrative sequence, but even by Australia's autumn there were signs of what might change and what probably will not. If a plague is thought to be a historical catalyst, it can only work with the ingredients already in the mix. In this present crisis, therefore, I find myself paying attention to those signs of societies under stress. Australia's emergency raising of welfare payments, new provisions for many casual employees, protections for renters, and the quick closing of department stores and airlines all show where significant societal weak points lie. Moreover, as in the bushfire crisis of the last Australian summer, there are signs that Australia's federal system is occasionally dangerously inefficient. In Europe, tensions over the wider European project are again coming to the fore as borders close and nations look to define and look after their own, periodically glancing suspiciously at their neighbours. There's little optimism in the idea that COVID-19 will turn the rising global tide of nationalist sentiment, from which neither Europeans nor Australians are immune.
But there are hopeful signs too. In the very early hours of one morning in March I sat up in bed to witness on my smartphone one of the most iconic images of this crisis: Pope Francis standing alone in the empty Sagrato of St Peter's Basilica in Rome, giving an extraordinary 'Urbi et Orbi' address – a formal message and solemn blessing normally reserved for Christmas and Easter – under a darkening sky. 'For weeks now it has been evening,' he said, giving voice to the world's despair. Yet he also articulated how the pandemic has forced us all to admit that 'we cannot go on thinking of ourselves…only together can we do this'.
And when I reflect on my experiences of the crisis thus far, I think he is right. Yes, there has been plenty of incompetence and selfishness and stupidity, but there is also a sense of solidarity both new and ancient that has spanned continents. Singing from Italian balconies has been enjoyed in Australian houses, offering a warming expression of the Australian–European exchange. Images of clear air in Paris and clean waters in Venice are giving Australians cause to pay attention to the environmental blessings the plague has temporarily brought, perhaps prompting a rethink about our national recalcitrance regarding global climate change.
On balance, therefore, I am hopeful. While I do not expect that COVID-19 will permanently rewrite the structures and habits of the world, I am confident that if we use our little moment of waiting thoughtfully, then we might. Like my great-grandma Frances, we now remember some of history's hardest won lessons. We have also learnt to see our own society's structures all too clearly, especially its economic fixations and social inequities. What remains to be seen is what we do with this knowledge as individuals, nations and a global community. Pestilence might have stepped back into human history, but its biggest footprints are really ours to make.
How to draw a tree
DEPENDING ON YOUR definitions, this particular essay has taken three months to write and the book of essays that it's a part of has taken – again, depending on your definitions – five years. Saplings grow far more quickly than my manuscript has. The production timeline of your average physical book is easily long enough for an... Read more


Simple arcade about funny chameleon. He is to run through the levels, trying not to fall into the pit and not trip over obstacles.
A new friend will accompany Eon on one of his longest journeys. Together they will encounter new adventures, stumble across adversaries never seen before, and travel across a number of exotic lands.
Evil goblins have stolen all presents and scattered them all around Santa's island. Now it's up to Santa to find all these gifts and handle all obstacles on the way.
Breakout Bears is a puzzle adventure game of two bears, Dan and Geri. Dan can shoot at weaker enemies turning them into ice blocks.
Welcome to Huntington, a charming little town where if you look close enough, all your dreams can come true. As you set out on your adventure, you buy a charismatic old tumbledown shop.
Journey underground with the dynamic duo and their friends when they're captured by the evil Hyper Drunk and turned into bubble-blowing dragons.