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Home IT Contractor News IR35 Tax Shock Private Sector IR35 Changes from Chancellor Aping Public Sector
IT Contractor News
Shock Private Sector IR35 Changes from Chancellor Aping Public Sector
Private Sector IR35 Changes
The Chancellor didn't mention any private sector IR35 changes in his Budget speech.
There had been leaks to the press that he has been considering making the same IR35 changes that he made in the public sector earlier this year to the public sector too.
When the Chancellor said nothing about this in his Budget speech Contractors thought that they had dodged a bullet.
Perhaps the petition which they hastily cobbled together which got more than the 10,000 signatures needed to bring it to the Government's attention did the trick.
However these hopes were later cruelly dashed.
In the documentation published to go clarify the budget statement was the following:-
Off-payroll working in the private sector:-
"The government reformed the off-payroll working rules (known as IR35) for engagements in the public sector in April 2017.
"Early indications are that public sector compliance is increasing as a result, and therefore a possible next step would be to extend the reforms to the private sector, to ensure individuals who effectively work as employees are taxed as employees even if they choose to structure their work through a company.
"It is right that the government take account of the needs of businesses and individuals who would implement any change.
"Therefore the government will carefully consult on how to tackle non-compliance in the private sector, drawing on the experience of the public sector reforms, including through external research already commissioned by the government and due to be published in 2018."
No Bullet Dodged for UK Contractors
So, UK contractors haven't got away with it after all.
So it looks like the public sector IR35 changes will become private sector IR35 changes.
It's only a consultation but it looks as if they have already decided to implement it.
The only question appears to be whether it is in April 2018 or the following year.
Freelancers Paying less Tax than Permanent Employees
The Chancellor and Prime Minister have both said that it is grossly unfair that "a self employed person earning £100,000 a year pays less tax than a permanent employee earning £100,000 a year."
Much of what they do to contractors is aimed at righting that terrible wrong.
Of course, we all know that this is not comparing like with like.
However, it is likely that the big consultancies have implanted this idea into their heads.
Unfortunately freelancers representatives do not lobby Government as effectively as those companies do.
The big consultancies have always disliked contractors whom they see as rivals.
They would much prefer that companies hired recent graduates from them for over a grand a day rather than hire experienced contractors at half of that.
So, that's why the Government want to roll out private sector IR35 changes too.
Vat Threshold Stays
In other news, the Chancellor has announced that he will not cut the VAT Threshold from £85,000. It will stay there for the next 2 years but he will consult about it beyond that.
There was a budget leak that said he would but he has not.
There must have been some resistance to it amongst Conservative backbenchers.
Slow Economic Growth
The Chancellor is predicting the economy to grow at between 1.3% to 1.6% a year up to the year 2022.
That's way below the long term trend of around 3% a year.
So, it's slow growth for the foreseeable future.
The higher rate tax threshold is to rise to £46,350 from April 2018.
It might be worth findng out what your returns would be from umbrella companies if the Chancellors IR35 proposals are implemented in the private sector too.
Chancellor Hammond
Making Money from IT Contracting
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IR35 Conservative Backbench Revolt Led by David Davies
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95% of Self Employed to Benefit from Rishi Sunak's Contractor Grant
John Roberts 4th December 2017 at 4:26 pm
On an income of 130,000 I would be paying 51,423 in tax and NI (40%) which explains why I'd don't work in the UK.


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Home > News > featured news > Storms Cancel and Delay Thousands of Flights Causing Rough Start to Week for Travelers
Storms Cancel and Delay Thousands of Flights Causing Rough Start to Week for Travelers
TravelPulse | April 15, 2019
Monday morning brought severe thunderstorms, powerful winds and even snow to the Midwest and Northeast, leaving travelers trying to board early flights to deal with delays and cancellations.The National Weather Service revealed thunderstorm and tornado warnings and watches were issued early Monday for parts of Connecticut, Maryland, New Jersey, New York, Pennsylvania and Virginia. Winds reached top speeds of 70 miles per hour in some areas. According to FlightAware.com, over 470 flights within, into or out of the U.S. were canceled already Monday and another 840-plus flights were delayed. Chicago's O'Hare International Airport and Dallas/Fort Worth International Airport were the most impacted by the storm system.
More featured news
Our Travel Expert's guide to: Getting the best airfares
For the most part, booking flights for work isn't like booking flights for your next personal trip. In business travel, time is money. And quite often, travel time can be dead time, with your travellers having to get to the airport, wait around at the airport, and then make their way to their business meeting or event once they get through passport control and customs. This is all time spent not working, so our Travel Experts recommend making the most of direct flights and minimising the number of nights travellers are 'on the road' whenever and wherever possible.
Palm Beaches Becomes First in Florida to Pursue Gold-Star Sanitation Seal
DTPB | June 03, 2020
Discover The Palm Beaches (DTPB), Palm Beach County's official tourism marketing organization, today announced that the destination has signed on to pursue the Global Biorisk Advisory Council's (GBAC) STAR accreditation, making it the first and only Florida destination undertaking the task, and among the first in the nation. DTPB is coordinating the program in collaborating with the Tourist Development Council (TDC) of Palm Beach County and its various agencies.
TripActions Raises $275M AT $7.25B Valuation
TripActions | October 14, 2021
In less than a year, TripActions has secured a second massive funding round – this time $275 million in Series F growth funding. The round was led by Greenoaks Capital with participation from prior investors Elad Gil, Base Partners and all key existing financial investors and values TripActions at $7.25 billion on a post-money basis. The funding comes less than nine months after TripActions' Series E round of $155 million in January. The travel management company's total funding to date is nearly $1.3 billion. Is an IPO coming soon for the six-year-old company? Michael Sindicich, general manager of TripActions Liquid, the company's payment and expense management solution, says while an IPO would be a "natural fundraising opportunity and another milestone in our growth," it is not planned for the near future. "We've got quite a lot of cash. We're making great revenue. We are not in any rush to take the company public at this time," Sindicich says. The vote of confidence from investors, he says, confirms TripActions' belief that travel and expense management is "ripe for a tech makeover." Despite the global impact of COVID-19 on travel, TripActions says it has now exceeded pre-pandemic levels in terms of bookings and revenue and has more than doubled its aggregate travel budget under management from February 2020 through the end of July this year. The gains are due in part to a focus on acquiring new enterprise customers, targeted with the launch of TripActions Enterprise Edition in September 2020. Clients include Heineken, Crate & Barrel, Snowflake, Thomson Reuters and Adobe. "We were there for these customers, they were switching from legacy travel agencies and booking tools, legacy expense platforms, because we were innovating, we were supporting, we were adapting to the way the new world would operate moving forward and that gave them a lot of confidence to actually make a change." Michael Sindicich, general manager of TripActions Also adding fuel to TripActions' growth in the last 18 months: the launch of Liquid in February 2020, first as a payment solution and then in October 2020 adding expense management tools. Sindicich says transaction volume is similar for Liquid as for core travel, and more than 90% of the new companies TripActions is bringing onboard use its full suite of solutions for corporate travel, expense, spend and payment management. "Seventy-percent of expenses happen while employees are on trips," he says. "So we're learning about the power of the end-to-end solution. We built Liquid as a separate team in the beginning... and are now seeing that both platforms together, it's a one-plus-one-equals-three type of situation." Along with continuing to develop these products, TripActions will accelerate development of Lemonade, its personal travel booking solution that launched in October 2020. Lemonade gives employees at TripActions' client companies' access to negotiated rates and exclusive deals, notifications about COVID requirements and around-the-clock support for their leisure trips. The company is also continuing to develop TripActions Team Travel, a self-serve solution that launched in June to facilitate gatherings of distributed employees. Earlier this month it added support for meetings and events to Team Travel, leveraging the capabilities it gained with its acquisition of Reed & Mackay in May. TripActions will also add staff globally, expand its efforts in Europe, the Middle East and Africa – Europe now represents 30% of TripActions' business - and, says Sindicich, continue to look for merger and acquisition opportunities. "We're always looking for companies that would make sense to acquire and work with and add to the portfolio so this could be another deployment of this capital as well," he says. "There's not a prospect we are announcing or have in mind right now, but it would be natural for us to also look at other opportunities as well since we see Reed & Mackay is working so well for us."
An ex-Holiday Inn Executive is Behind a $500 Million Plan to Jazz Up Troubled Hotels
Holiday Inn | April 23, 2021
Ken Hamlet, the former CEO of Holiday Inn, intends to use a $500 million war chest to acquire limited-service hotels (those without facilities such as a restaurant or spa) and reposition them as properties with a more upscale customer experience. Consider it adding more of the Four Seasons experience to roadside hotels, as Hamlet put it. He was CEO of Holiday Inn for nine years in the 1980s and early 1990s, and during that time the business was purchased by IHG and introduced or acquired brands such as Embassy Suites, Crowne Plaza, Hampton Inn, and Harrah's. Rather than starting his fund, Hamlet joined Olive Tree Hotels & Resorts, a hotel investment group where he now serves as CEO, to pursue deals. "I began to think of maybe now is a very good time to take advantage of getting back into the hotel industry and purchasing distressed assets or buying assets that were well-located, well-branded, relatively well-managed, and that were being distressed and only needed additional capital to get them up to 2021 standards," he said this week. The only thing is that there is a litany of hotel investors drooling about hotel investment prospects that did not come true before the pandemic. Investment firms such as CGI Merchant Group, in collaboration with New York Yankees baseball legend Alex Rodriguez, and Bainbridge DXS are also scouring the market for hotel acquisitions of hundreds of millions of dollars in the coming years. Dreamscape Cos., owner of the Rio All-Suite Hotel & Casino in Las Vegas, has more than $1 billion in cash to purchase hotels, including troubled business-transient and convention-focused properties. Olive Tree's capital distinguishes itself by concentrating on limited-service hotels in a mix of the 75 major U.S. cities as well as some secondary and tertiary markets such as Las Cruces, New Mexico. As long as there is a nearby demand driver, such as a hospital, university, or office park, the company can seek a deal. The majority of buyers are looking for troubled hotels in metropolitan markets or resorts in drive-to and leisure destinations. Olive Tree intends to upgrade its guest rooms with more innovative features, such as automated check-ins and co-working-inspired workspaces in public areas. But, in addition to the technology, Hamlet desires enhanced client support, such as staffers adding personal touches to the guest experience, such as a bottle of wine or glass of champagne delivered to a room or hors d'oeuvres and chocolate bars in the lobby. The move is reminiscent of how Holiday Inn became a brand. Kemmons Wilson established the roadside motel business in the early 1950s after becoming dissatisfied with the choices offered on a road trip between Memphis, Tenn., and Washington, D.C. He set out to fix it because there was no consistency or quality in the accommodation experience. Olive Tree intends to replicate the success of existing limited-service hotels that are underperforming. Many of Olive Tree's acquisitions would be branded by major companies such as Marriott, Hilton, Hyatt, and IHG. However, the company is not opposed to maintaining property independence or even launching its brand. It is unclear when any of those acquisition goals will become available. Olive Tree reportedly has one hotel under contract and another "in the works." Due to a mix of bank forbearance on mortgages and several rounds of federal stimulus by offerings such as the Paycheck Protection Program of forgivable small business loans, there haven't been as many distressed hotel properties exchanged throughout the last year. The Olive Tree team does not anticipate having to wait much longer.

redpajama_set_name: RedPajamaCommonCrawl


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Personality of James Garfield
James Abram Garfield was described as a robust muscular man, with a handsome figure. He stood six feet tall with a sizeable unproportioned forehead, light brown hair, and blue eyes. He wore his beard since he was a young adult, and he was also left-handed.
James Garfield was raised in a pugnacious environment; however, he seasoned into a good-natured and friendly fellow. He was extremely tactile. He was a hugger and often slung an arm around the shoulders of whomever he was talking.
James Garfield was also known as a great orator and was among the most popular in his time. He tends to be bold, creative, deconstructing, and rebuilding ideas together with astonishing mental agility. James Garfield also has the capacity and capability to connect disparate ideas to prove his point. He was also a notorious devil's advocate and thrived to shred the Republicans' beliefs during the Republican Presidential Convention in Chicago.
He followed a path of a risky and independent thinker. He enjoyed his metacognition mental exercise because of his intelligent, logical, and analytical mentality; however, he was miserable in managing his day-to-day mechanics and even struggled to implement his ideas. James Garfield loves to brainstorm and think big but end up refraining from doing repetitive tasks at all costs.
James Garfield was an intelligent person with scholarly attributes. He rarely passes up to learn something new, particularly when it has something to do with abstract concepts. That is why James Garfield stood up in providing education to the freed slaves. He found it fascinating to apply his flexible mind to shift from an idea to idea without exerting too much effort. He even drew points from his accumulated knowledge to prove a point and refute his opponent.
He was also known to be an excellent brainstormer. As he enjoyed analyzing problems from every angle to conclude the best solutions, he combined his knowledge and authenticity to present all the possibilities and reject ideas that will complicate the solution without remorse.
James Garfield was a famous and attractive person. He has a way with words and wit that others find intriguing. His confidence, quick thought, and ability to connect made him charming. He was also impressively enthusiastic and energetic. He had no reservations with putting in long days and nights to find a solution to a particular problem or situation.
On the other hand, he also had his set of weaknesses and flaws. Since he enjoyed being challenged intellectually, He tends to be very argumentative. He often tears down the consensus-oriented individual's beliefs and led them to a great deal of tension.
James Garfield was also insensitive to being so rational. He often misjudged others' feelings and magnified the issue tremendously, such as the lenience of Andrew Johnson towards the former Confederate members and even the controversies during the time of Ulysses S. Grant. He often stands up to rational scrutiny, or he would shrug it off.
It was also evident that he had a hard time focusing. Since he was very flexible, he can develop original plans and ideas; however, James Garfield tends to readapt perfectly for the new good ones he came up with. He believed his fresh thoughts are the solution, but it is not always a helpful one.
Relating to romance, if there's one thing James Garfield is good at, it is definitely how he came up with a never-ending stream of innovations and ideas to keep things forward with his wife, Lucretia. He believed that she was the one he would share the love for intellectual exploration. His idea of fun is self-improvement, and they share the same spirit of not being stagnant nor a happy status quo.
There was a point where they faced infidelity, and James confessed his sin to his wife; that is why their relationship was not torn apart. A little time to breathe and the chance to rest is all it takes.
As a friend, James Garfield was loyal and supportive because he wanted his peers to tell him whenever he was right and whenever he was wrong. As James was inclined to suppress his emotions or feelings, he was clueless about handling the situation and would look for a shoulder to cry on.
If there's anything James Andrew liked, it's flexing his mental muscles, and he utilized his never-ending flow of ideas to lead the United States through his degree of spontaneity. Unfortunately, he did not live long enough to see how his vision could have worked out for the nation recovering from the American Civil War and even corruption in the previous administration.
Armed with intellect and vivid imagination, James Garfield attempted to overcome or outmaneuver the obstacles to lead a nation to a more organized and systematic manner despite many understandings and skepticisms.
Family and Descendants of James Garfield
Presidency and Policies of James Garfield
Early life, Education and Career of James Garfield
Brief Biography of James Garfield
Brief Biography of Ulysses Grant


It's been nearly a year since I discovered the Forty Days of Dating project and I'm embarrassed to say I've still only read up to Day 21. In my defense I kinda don't want to get to the end too soon; it's a fascinating experiment made even more beautiful by the presentation, and a good reminder that Life needs to be not only a series of Emersonian experiments but a series of finished projects as well.
Tonight I felt the uncontrollable urge to make a bar chart illustrating my current progress in particular seasons of some shows I'm watching. I blame this behavior on Demetri Martin, Nicholas Felton, XKCD and the ridiculous amount of data I get to sift through at work every day.
The only thing more ridiculous than the existence of this chart is the amount of fun I had making it. Enjoy!


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Pope John Paul II tackles consumerism, the media, relativism, and 'the culture of death.'
When in May 2004 Pope John Paul II warned U.S. bishops that America might yield to a "soulless vision of the world," the pontiff was sounding a theme he's often preached on. Below are excerpts from addresses and homilies in which he cautions against materialism, secularism, and more.
On Consumerism and Materialism
"Christ alone can free man from what enslaves him to evil and selfishness: from the frantic search for material possessions, from the thirst for power and control over others and over things, from the illusion of easy success, from the frenzy of consumerism and hedonism which ultimately destroy the human being." --Homily, March 1, 1998
"The spread of depressive states has become disturbing. They reveal human, psychological and spiritual frailties which, at least in part, are induced by society. It is important to become aware of the effect on people of messages conveyed by the media which exalt consumerism, the immediate satisfaction of desires and the race for ever greater material well-being. It is necessary to propose new ways so that each person may build his or her own personality by cultivating spiritual life, the foundation of a mature existence." -Address to conference on the theme of "Depression," November 14, 2003
"You who have been freed from the nightmare of Communist dictatorship, do not let yourselves be deceived by the false and dangerous dreams of consumerism. They also destroy the future." --Address in Romania, May 9, 1999
"I invited the young people to be increasingly men and women of strong interiority, ceaselessly contemplating, together with Mary, Christ and his mysteries. Indeed, this is the most effective antidote to the snares of consumerism to which people today are exposed. It is urgently necessary to counter the suggestion of the fleeting values of the visible world, broadcast by a certain type of media, with the lasting values of the spirit, which can only be achieved by entering once again into one's own interiority through contemplation and prayer." --General audience, May 7, 2003
On Secularism and Relativism
"An effective proclamation of the Gospel in contemporary Western society will need to confront directly the widespread spirit of agnosticism and relativism which has cast doubt on reason's ability to know the truth which alone satisfies the human heart's restless quest for meaning. ... The Church in the United States is ....called to respond to the profound religious needs and aspirations of a society increasingly in danger of forgetting its spiritual roots and yielding to a purely materialistic and soulless vision of the world." --Address to U.S. bishops, May 28, 2004
"...there is spreading in every part of the world a sort of practical and existential atheism which coincides with a secularist outlook on life and human destiny. The individual, "all bound up in himself, this man who makes himself not only the center of his every interest, but dares to propose himself as the principle and reason of all reality,"(12) finds himself ever more bereft of that "supplement of soul" which is all the more necessary to him in proportion -- as a wide availability of material goods and resources deceives him about his self - sufficiency. There is no longer a need to fight against God; the individual feels he is simply able to do without him." --Pastoral letter to priests, March 25, 1992
"Rather than make use of the human capacity to know the truth, modern philosophy has preferred to accentuate the ways in which this capacity is limited and conditioned.
"This has given rise to different forms of agnosticism and relativism which have led philosophical research to lose its way in the shifting sands of widespread scepticism." --Encyclical "Fides et Ratio"
"However, if globalization is ruled merely by the laws of the market applied to suit the powerful, the consequences cannot but be negative. These are, for example, the absolutizing of the economy, unemployment, the reduction and deterioration of public services, the destruction of the environment and natural resources, the growing distance between rich and poor, unfair competition which puts the poor nations in a situation of ever increasing inferiority. While acknowledging the positive values which come with globalization, the Church considers with concern the negative aspects which follow in its wake." --Address in Mexico City, January 22, 1999
"And what should we say about the cultural globalization produced by the power of the media? Everywhere the media impose new scales of values which are often arbitrary and basically materialistic, in the face of which it is difficult to maintain a lively commitment to the values of the Gospel.
"The negative influences of the mass media, secularism, materialism and consumerism, compounded by the false promises of a few fundamentalist groups, have lured some Catholics into giving up their faith." --Address to bishops in India, June 3, 2003
On the "Culture of Death"
"A model of society appears to be emerging in which the powerful predominate, setting aside and even eliminating the powerless: I am thinking here of unborn children, helpless victims of abortion; the elderly and incurably ill, subjected at times to euthanasia; and the many other people relegated to the margins of society by consumerism and materialism. Nor can I fail to mention the unnecessary recourse to the death penalty ...This model of society bears the stamp of the culture of death, and is therefore in opposition to the Gospel message." --Address in Mexico City, January 22, 1999
On Finding Meaning
"The task now is to present Jesus Christ to those whose faith has grown weak under the pressures of secularization and consumerism and who tend to regard the Church as just another of the many institutions of modern society that influence people's thinking and behaviour." --Address to the church in Oceania, November 22, 2001
"With the help of almighty God, your meeting will also be an additional way to encourage a change in the deepest reasons behind political decisions, so that instead of being guided by a hedonistic life-style and by selfish and excessive consumerism the hearts of men and women will always be attuned to a clear perception of their social responsibilities, even towards the poorest of their brothers and sisters who live in the most remote and forgotten regions of the world." --Address to the "Union Interparlamentaire," November 30, 1998
"...we perceive the search for meaning by our contemporaries, ...the desire of all men and women to understand the deep meaning of their lives, to respond to the fundamental questions on the origin and the end of life and to journey towards the happiness to which they aspire. Over and above the crises of civilizations and the forms of philosophical and moral relativism, it is up to Pastors and faithful to identify and examine the essential questions and aspirations of our contemporaries..." --Address, March 13, 2004
7 Things to Do When Your Husband Fails You
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Google Pixel 6a test: at €459, it excels in photography
July 27, 2022 by paydaydl.com
Numerama has been testing the Google Pixel 6a, the mid-range version of the Pixel 6 that was released last fall. Smaller, but with the same chip, this smartphone has it all.
If Pixel sales were linked to the quality of its products, Google would have caught up with Samsung and Apple a long time ago. Unfortunately for the web giant, making good hardware isn't enough to become a hardware giant. Not being able to maintain consistency from one generation to the next, rejecting its products in many versions (storage, color, etc.) or providing enough stock for its suppliers, today Google remains "small" in the smartphone market, despite the recent release From the premium Pixel 6 and Pixel 6 Pro phones.
To raise the bar, Google will launch the Pixel 6a at the end of July 2022, the mid-range smartphone it announced in early May (oh, a contradiction), priced at €459. This is the successor to the Pixel 4a, our favorite mid-range smartphone for several years. And if you're wondering where the Pixel 5a went, Google abandoned its launch in France, despite the huge demand for its predecessor (a demand it was never able to meet). Another contradiction, which is strategically pointless… While waiting to see if the Pixel 6a will be easy to find in stores, we tested this promising device for a week.
strength point
Google Camera still works wonders
Satisfactory performance and independence
Weak points
No wireless charging
Design could be better (slippery back, extra wide…)
Stunning photo smartphone
How is Pixel 6a defined? If we want to be very popular, we will explain that it is a Pixel 6 smartphone with a Pixel 5 camera (and €200 less, Pixel 6 costs €649). There are of course other differences that we will include after this first part dedicated to the image.
Because yes, the Pixel 6a's strength, like all other Pixels, lies in its amazing image quality. We wanted to kick off this test by showing you several shots taken with the device and two 12.2MP (f/1.7 aperture) and 12MP (ultra wide angle, f/2.2 aperture) devices, just to show you what it's capable of. You will see that at €459, it is far beyond what we are used to seeing.
The image was taken with the Pixel 6a's main sensor. Despite the speed of the boat, it is quite sharp and the colors are perfect. // Source: Nomirama
Portrait shot of a Pixel 6a. Look at the scattering accuracy of completely frozen liquids. You can then set the bokeh effect in the app, everything is default. // Source: Nomirama
The photo was taken with the Pixel 6a's main camera. // Source: Nomirama
Of course, on paper, the Pixel 6a isn't perfect. Its small sensors naturally offer less sharpness than the giant sensors of other flagships (48MP, 50MP, 108MP), like the Pixel 6 itself. But can we really complain about that given the Pixel 6a's photographic quality? As it stands, Google relies on software algorithms to compensate. A photo previewed in the Camera app rarely has anything like the end result, because Google makes everything you shoot better. A magic trick that photography lovers will hate, but which will delight others. The Pixel 6a makes pretty things ugly. It's not pure photography, but it's cool enough to proudly share on social media.
If taken with the Pixel 6a's main camera, the details are surprisingly good for such a small sensor. // Source: Nomirama
This photo was taken at night, with very little light. The Pixel 6a changed reality to make it look like there was light. // Source: Nomirama
Another strength of the Pixel 6a is its ability to edit a photo after you've taken it. Do you close your eyes? Don't panic, the Pixel may have scored an alternate version where your eyes were peeled off. A passerby is included at the last minute, circle it so that Google removes it from the photo. It's called the "magic eraser" and it's cool. Also note that Google is working to better take into account different skin tones and not offer a device designed only for whites.
boats? What boats? // Source: Numirama screenshots
Is Pixel 6a as good at photos as the other Pixel? If the lack of some functionality, such as the Pixel 6's "Motion" mode, is a pity, we can easily say yes. If you are looking for a good smartphone for taking vacation photos, photographing parties or keeping memories of pleasant events, you will find no better than 500 euros. Perfection isn't there, especially in the ultra-wide angle where the Pixel 6a doesn't perform as many miracles as the Pixel 6 and Pixel 6 Pro, but it's hard to find better value for money at such a price. This is the main reason why we recommend the Pixel 6a over a similarly priced Xiaomi or Oppo, which are usually more powerful.
The Google Pixel 6a camera module is located on the back, in a rectangular block in the form of a strip. // Source: Louise Audry for Numerama
What do Pixel 6a and Pixel 6 have in common
In the next two parts, we'll walk you through what the Pixel 6a and Pixel 6 have in common, and then discuss the differences between them. The two smartphones have a lot in common (as is their design), but they differ in some key points.
Let's start with the design. The Pixel 6a is not an exact copy of the Pixel 6, as it is a more "compact" version. With its 6.1-inch screen, compared to the original model's 6.4-inch screen, Google's mid-range smartphone is a lot more fun to handle than its bigger brother. We can always criticize it for having too large bezels, which makes it a little wide in the hand, but the 178g makes up for it well. It's a fun smartphone to handle, without being a "small" device. Don't get me wrong, 6.1 inches is still large.
Pixel 6 on the left and Pixel 6a on the right. // Source: Louise Audry for Numerama
The second common point between the Pixel 6a and Pixel 6 is its "internal" processor: the Google Tensor chip. It's the third device he's entitled to after the two Pixel 6s at the end of 2021. This "custom" chip, designed by Google engineers, has a very special look. Presented as "top of the range", it includes elements that match the best Snapgragon chips of 2019-2020, while developing certain aspects of AI much more. Thanks to her, the Pixel 6a can translate video or call content in real time, transcribe an audio recording or recognize a song without having to open Shazam. It is very important to see Google supply its less expensive smartphone with the same chip as its more expensive smartphone, as Apple with its iPhone SE.
However, we wanted to return to a lie that can be found in several places in Google's connection to its pixels. The brand presents its smartphone as the first "100% Google", which amounts to saying the iPhone is "100% made in the USA", as it is imagined in Cupertino. The pixels may use the Google chip, but they are not made by Google (only Samsung and TSMC can produce such complex chips). Other components of the Pixel 6a (screen, battery, modem, etc.) also come from other suppliers. This marketing slogan bothers us because it is wrong and some people around us have fallen into the trap. Samsung is arguably the only manufacturer that is able to get close to the 100% promise internally, but even that it can't.
Pixel 6a recognizes music all the time, and also has an optical fingerprint sensor. // Source: Louise Audry for Numerama
Other points in common between the Pixel 6a and Pixel 6: it's waterproof (IP67 here, the device has stood our boat pretty well), always (we've always finished the day above 30%), you'll receive several years of updates, you have a very colorful Android interface, and no Still ridiculous, it's only found in the 128GB version. If you want to take a lot of photos, you'll have to buy cloud storage. If you want to store a lot of games, then you should buy another smartphone.
What the Pixel 6a won't do
Now let's move on to the game of differences, which is not easy at first glance. After several days of use, several were discovered.
Pixel 6 on the left and Pixel 6a on the right. Its camera module is thinner. // Source: Louise Audry for Numerama
What's clear is the Pixel 6a's lack of liquidity, despite the Google Tensor chip. How do we explain it? The smartphone suffers from the small amount of RAM (6 GB) and above all from its 60 Hz screen. When you get used to 90 Hz or 120 Hz, the return is painful, the system animation is less beautiful. If you're coming from an old device, you probably won't notice anything.
Another change that pissed us off, but we easily admit it's a matter of habit: There's no wireless charging on the Pixel 6a. It's pretty stupid, especially since some of its competitors, like Nothing Phone (1) or iPhone SE, are taking advantage of it. It must be charged with a USB-C cable, bearing in mind that the charger is not provided in the box. The rest of the changes are minimal, like the lack of an "action" mode in the camera, but we already told you about that.
Google Pixel 6a has an OLED screen. // Source: Louise Audry for Numerama
The last point, rigidity. It's a problem we didn't expect with the Pixel 6, as its slightly curved curves make it very fragile. Two of the Numerama editorial staff have the Pixel 6, and they both broke it by dropping it. Given the design of the Pixel 6a, we don't see how this couldn't happen again (especially since Gorilla Glass is less solid). A word of advice: put a wrap and a protective film on.
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Under the €500 mark, the Google Pixel 6a is undoubtedly the best smartphone on the market. Gifted with photography, it offers a very well-balanced combination of beautiful design, good OLED display, satisfactory performance, one-day battery life and long term updates. It would be more easily recommended than iPhone SE or Nothing Phone (1), two of its direct competitors. Of course, in terms of technical characteristics, there are a lot of devices (Oppo, Vivo, Xiaomi, etc.) that perform better. But the Pixels are meant to be more "a lifestyle," not necessarily focused on Qualcomm's latest processor or supercharged death-killing.
Let's also answer another question: which device to choose between Pixel 6a and Pixel 6? The second is more complete, but costs an additional 200 euros (649 versus 459 euros). For us, the answer is obvious, the Pixel 6a is Google's best value for money. It lacks a few details just to be flawless.
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Data are tidally affected -- Astronomical tides cause significant cycles of approximately 24.84 hours at this site. Because a different portion of the 24.84-hour tidal cycle is averaged in successive daily (24-hour) computations, a systematic secondary oscillation, unrelated to basin hydrology and having a period of about two weeks may be apparent in daily data.
Add up to 2 more sites and replot for "Temperature, water, degrees Celsius, BOTTOM"
Add up to 2 more sites and replot for "Temperature, water, degrees Celsius, MIDDLE"
Add up to 2 more sites and replot for "Temperature, water, degrees Celsius, TOP"


You never know when inspiration will strike. I seem to like the absurd challenge of figuring out what to make for dinner when I get home and root through the fridge and freezer.
If you haven't tried sweet potato noodles (in Korean: dang myun), they're like glass noodles but thicker. They're chewier and slipperier than wheat noodles, and are really light in flavor so you can enhance them with whatever you want – plus they're gluten free!
But maybe that's how it should be. I don't think I would've thought of this in front of a google doc spreadsheet. I needed to see to be inspired. Thank you, wizened carrots of the crisper drawer.
Combine the sesame oil, chili flakes and soy sauce, and set it aside.
Slice the carrots into matchstick sized pieces, and chop the onion. Chop or tear the greens into bite-sized pieces.
Pat the salmon filets dry and lightly salt them on each side. Make sure it's been scaled or you definitely won't want to eat the skin.
Heat the oil in a flat, cast iron or non-stick pan on medium heat until shimmering and hot enough to make a drop of water jump out.
Place the salmon in, skin-side down. Don't touch it for at least 4 or 5 minutes. You'll need patience. When it's ready, you won't have to put in any effort to get the salmon and its skin out of pan. If it's not easy to pick up with a spatula, leave it alone. That's how you get the best crispy skin.
Once your skin is crispy, flip it over and cook for another 2 minutes. Set it aside, covered, or in a low-heat oven.
Cook the noodles in boiling water for 5-6 minutes, until they're a texture you're happy with. Immediately rinse them in cool water to stop the cooking process.
While the noodles are cooking, stir fry the vegetables in the pan you used for the salmon. It should take about the same amount of time to cook as the noodles. At the very end, add in most of the spicy soy dressing, and combine it with the vegetables. Save the rest to drizzle on top of the salmon.
Once everything is done, you can mix the noodles into the saucy stir fry, and give your crispy skin salmon a place of pride on top.


Equinet organised a second high-level meeting with Heads of National Equality Bodies encouraged by and building on the success and added-value of a previous high level meeting (in March 2009 in Brussels) with the participation of the heads of national equality bodies, European Commissioner (Vladimir Špidla) and Members of the European Parliament.
This half-day interactive Equinet high-level meeting with heads of national equality bodies provided a unique opportunity to discuss with key European stakeholders the most pertinent questions related to the promotion of equality and the effective role of equality bodies including those important developments in the legal and policy sphere that influence and provided a background to the work of national equality bodies.
Other relevant stakeholders – including EU Agency for Fundamental Rights (FRA), European Institute for Gender Equality (EIGE), Council of Europe - European Commission against Racism (ECRI), etc.
The agenda of the High Level Meeting can be found here.
The venue of the meeting will be in central Brussels at the Centre Belge de la Bande Dessinée (20 Rue des Sables, 1000 Bruxelles).
The working languages of the meeting will be English and French (interpretation will be available).
A networking lunch providing participants with a unique opportunity not only to get their message across to key European organisations, but also to exchange views with their peers.


text:
Paul Dermée, né Camille Gérard Zéphirin Janssen le  à Liège et mort le  à Paris, est un écrivain, poète, critique littéraire et directeur de revues belge. Il est le mari de Céline Arnauld.

Biographie
Après des études scientifiques, il s'essaie à la littérature en tant que directeur d'une revue liégeoise "Mosane". Il est licencié ès-sciences et ès-lettres.

Il s'installe à Paris en 1910 et rencontre, le premier jour de son arrivée, André Colomer, qui lui présente le lendemain Gérard de Lacaze-Duthiers (qui sera son témoin de mariage, avec André Fontainas - poète et critique d'art - et H.-D. Davray - traducteur d'Oscar Wilde -, à la mairie du Ve). Puis il fait connaissance de Gabriel-Tristan Franconi, Roger Dévigne, Lucien Banville d'Hostel, René Dessambre. Étudiant à la Sorbonne, suivant en auditeur libre les cours de l'École des chartes, il rencontre sa future femme, Céline Arnauld, au Collège de France, au cours de Pierre Janet. Il participe aux "Hurle-aux-Loups" du groupe Les Loups, dont Anatole Belval-Delahaye est l'animateur. Il collabore au journal L'Action d'Art de Lacaze-Duthiers.

Il rencontre ensuite Guillaume Apollinaire. Grâce à ce dernier, il fait la connaissance des peintres Picasso, Juan Gris, Sonia et Robert Delaunay et des poètes Valery Larbaud et Max Jacob. Sa signature autographe figure sur l'un des feuillets signés par les convives du banquet mémorable donné le  en honneur d'Apollinaire à l'Ancien Palais d'Orléans de l'Avenue du Maine, banquet dont il était co-organisateur.

En , il collabore à la revue d'avant-garde SIC (Son Idées Couleurs) de Pierre Albert-Birot, puis en  à celle de Pierre Reverdy Nord-Sud. Ce même mois, il reçoit une lettre d'Apollinaire dans laquelle ce dernier tentant de nommer le nouveau courant littéraire naissant propose le néologisme "surréalisme" : « Surréalisme n'existe pas encore dans les dictionnaires, et il sera plus commode à manier que surnaturalisme déjà employé par MM. les Philosophes. »

Quand Guillaume Apollinaire en appelle au retour des valeurs classiques françaises, lors de sa conférence sur « L'Esprit nouveau » (), Paul Dermée reprend cette idée en expliquant que pour sa part, elle ne rejette pas les avant-gardes mais les inscrit dans la continuité de l'histoire.

Il crée les revues Z, Interventions, et L'Esprit Nouveau.
Il est membre de la Société des Gens de Lettres, Président de l'Union d'Art radiophonique, fondateur du syndicat des journalistes de la Radio, Secrétaire du comité de lecture des pièces radiophoniques. Il contribue en effet à l'essor de l'art radiophonique, aussi bien du point de vue technique, que de la qualité des œuvres.

En 1922, pour la Revue « Le disque vert » consacré à la psychanalyse, il écrit un article sur Sigmund Freud qu'il prétend avoir rencontré en 1913 : J'ai vu Freud à Viene en 1913 et dont il affirmait  avoir entrepris de traduire son « Evangile » .

Découvrant les écrits de Tristan Tzara, il prend le risque (en temps de guerre) de la diffusion de la revue "Dada" en provenance de Zurich. En échange, il reçoit le titre de "Proconsul Dada".

En 1927, il crée avec Michel Seuphor et Prampolini les « Documents internationaux de l'Esprit nouveau »

Sa femme, Céline Arnaud, se suicide peu de temps après le décès de son mari.

Œuvres

 Beautés de 1918
 Légende Lyrique
 Films (conte)
 Soliloques (duodrame)
 Lyromancie (poèmes prophétiques)
 Le Volant d'Artimon
 Le Cirque du Zodiaque
 O Solitude, O fontaines, Jours de fêtes (poèmes figurés, sorte de manifeste de la liberté de l'art et d l'homme)
 2000 ans au Quartier Latin (pièce radiophonique, diffusée à l'occasion du Bimillénaire)
 Œuvres complètes, Victor Martin-Schmets (éd.), Paris, Garnier, 2015.

Notes et références

Voir aussi

Bibliographie
 Laurent Le Bon (sous la direction de) « Dada », catalogue de l'exposition présentée au Centre Pompidou du  au , édition du Centre Pompidou, Paris, 2005
 Anthologie des Écrivains du Ve, Paris et le Quartier Latin, par Gérard de Lacaze-Duthiers (Pierre Clairac Éditeur, 1953)
 Barbara Meazzi, Le Futurisme entre l'Italie et la France 1909-1919, Chambéry, Ed. de l'Université de Savoie, 2010;
 Barbara Meazzi, "Les marges du Futurisme", in Futurisme et Surréalisme, F. Livi (éd.), Lausanne, L'Âge d'Homme, 2008, p. 111-124.

Liens externes

Écrivain belge francophone
Artiste liégeois
Dadaïste belge
Naissance en avril 1886
Naissance à Liège
Décès en décembre 1951
Décès dans le 14e arrondissement de Paris
Décès à 65 ans
Personnalité inhumée au cimetière parisien de Thiais

redpajama_set_name: RedPajamaWikipedia


freestompboxes.org • View topic - How do I get toner transfered onto aluminum enclosures?
Hi. Very frustrated. Cannot make this work.
I've read a few tutorials. It's described as very similar to the toner transfer trick to put an etching mask onto a copper clad board. Except it just doesn't work.
At first I was using this semi-gloss Kodak photo paper that I had laying around from a few years ago. I sanded down the enclosure with 220 grit sandpaper.
My sanding technique is to go across the enclosure at a 45 degree angle one way, then do it the opposite way, then side to side across, then side to side up and down the length of it.
I'm printing using a laser printer, at 600 DPI. I've tried with the iron on max heat for 5 minutes, 10 minutes, 15 minutes, and 20 minutes. Couldn't get more than 40% of the toner to transfer under any circumstances.
Today I picked up a 3 pack of metal sandpaper (coarse, medium, fine) and some 320 grit waterproof. I did the sanding technique described above starting with the coarse, working all the way up to the 320 grit, which I used under running water. Then I tried some Epson Ultra Premium Glossy photo paper (http://www.staples.ca/en/Epson-Ultra-Premium-Photo-Paper-8-1-2-inch-x-11-inch/product_740898_2-CA_1_20001) and this time? Even less stuck.
Has anyone had success transferring a toner mask to aluminum, and can you list the specific products and methods you used? A lot of the resources I've found reference outdated products that are no longer available.
Re: How do I get toner transfered onto aluminum enclosures?
I should say also that I've had reasonably good results transferring onto copper clad boards, so it's not like I'm just an idiot or something.
Well I guess I could still be an idiot but at least I can get toner onto copper without any issues.
If you're using something like a Hammond cast aluminum box, be aware that the top isn't perfectly flat- the box is slightly concave. As such, the iron won't press the image into the center of the box as well as at the edges, and the pressure is important for getting the toner to stick to the box. You might try using a sanding block with a coarser grit to get the box surface flat before sanding it smooth.
If you are not getting good transfer, I would suspect either not enough heat (the toner won't stick if the enclosure does not get hot enough), or a non-flat surface (either the iron or the enclosure).
1. Sand the enclosure flat. Use an actual sanding block, not your hand or a chunk of wood. I start with a low grit, like 80-100. Just because it looks flat doesn't mean it is flat, so I draw all over the top of the enclosure with a marker, and take a pass or two with the sanding block. If 100% of the marker is not gone, the box is not flat.
2. Sand the enclosure smooth. Once it is flat, sanding it smooth is fast and easy. I work my way up in grit, using the sanding block to make sure I keep the top flat. I usually stop at 400 grit, since I have had trouble with getting toner to stick if the box is too smooth.
3. Clean the enclosure. I use liquid dish soap, and then dry it. I then use acetone to remove anything that could possibly ruin the transfer.
4. Make the toner transfer. I use this paper, available at Dollar Tree stores. 8 sheets for $1. A lot of people have used, and had success, with that paper. It works great. I quarter them, and end up with 32 transfer sheets capable of doing 1590BBs. I use a Samsung laser printer, and it works great. Toner Saver off, maximum toner, etc.
5. Transfer. Preheat the iron as hot as it goes. I find a block of wood that fits inside the enclosure, but is just a bit thicker than the enclosure. The idea is to sandwich the transfer surface between the wood and the iron, so as to not put pressure only on the edges. I put the transfer image down, put on a small piece of printer paper, and then the iron. I let it sit for about a minute with a bit of pressure, to make sure the transfer starts to stick. I then move the iron back and forth with pressure for one minute in each direction. At that point, the transfer is usually pretty well stuck. I remove the sheet of paper, and use the tip of the iron for a minute in each direction, just to be sure everything has been transferred.
6. Remove the paper. Some people just peel the paper right off, but I haven't had much luck doing that. After letting the enclosure cool, I soak it in room temperature water. Once the paper begins to absorb a bit of water, you can speed the process along by using your thumb to cut through the coating on the back of the paper,allowing more water in. Remove all the paper with your thumb, toothpicks, bamboo skewers... it is pretty durable.
The enclosure is acting like a heatsink.
In addition to .Mike's suggestions, I would recommend using a toaster oven (dedicated to pedals, is good for baking after painting as well, but NEVER EVER use for food again) to preheat the enclosure.
200F should probably do it.
That's high enough to heat it up and low enough that you can also use that block of wood (increased mass to help it stay hot longer), without it smoking things up.
After soaking it in water, a toothbrush helps a lot for getting that excess paper off (I use a toothbrush for the paper on my copper clad as well).
I AM using a Hammond box, and I have been hand sanding. I'll pick up a block tonight and follow the advice here.
Took the advice here, got great results. Should have used a darker source image, but I didn't really expect to even look this good for a first try, so I'm pretty happy on the whole. Looking forward to using this technique a bunch of different ways.
I know this topic is a little old but thought I'd add this in case anyone is searching through.
Don't forget the toner itself, not all toner and lasers are made alike. From talking to folks making film positives for screen printing Brother lasers are notorious for not putting down a good layer of toner. Also, as a general rule, cheap, non-OEM toner, in any machine, will not work that well.
If your printer also has settings for paper type try playing with those, especially if it has a transparency setting. Laser printers work by giving a static charge to the substrate, powdered toner is attracted to a certain charge, then this is run through a hot roller which fuses the ink to the substrate. The transparency setting usually uses a cooler fuser temperature to stop the transparency sheets melting or distorting in the printer, in turn this means less adhesion of toner to the substrate therefore it will transfer easier.
Another option is to use photoresist, cover the enclosure with photoresist, print your artwork onto transparency (inkjets can be used for this as well and will sometimes produce better positives than lasers) then expose and wash out. This method works but is pretty time consuming and a bit of a PITA. If you mess something up it's a quite a bit of time and work is lost, whereas the toner can easily be removed and redone if you stuff up the transfer. This would only be able to be acid etched as NaOH will breakdown the resist.
Here are a few things I haven't tried but may be worth looking at if you're at your wits end.
The use of vinyl as your substrate. I saw a tutorial where signwriting vinyl was used instead of magazine/photo/glossy/whatever paper. Same deal as most do, print the artwork to a piece of regular print paper, cut a piece of vinyl to the size of the artwork, tightly tape it down and reprint. Then iron on as usual. This works well due to the low adhesion of toner on vinyl. The caveat is that vinyl melting temperature is pretty close to fuser temperature. So again, use the transparency setting for lower fuser temperature and try this at your own risk. If you drop into your local signwriter or digital printer they should be able to supply a meter/few feet for not much, most of this stuff runs about $1-10/meter (610mm wide) here in NZ. The vinyl used in the tutorial was an Oracal Calendered vinyl but I doubt it would make much difference. Get the cheapest stuff, the more expensive stuff generally just has better adhesive, longer life and more formable - not much interest to us.
Doubling up the toner label. Print a blank sheet first (to heat the sheet up and avoid distortion in the prints), reload the still warm blank sheet and print your transfer, reload the sheet and overprint the original. Of course this will require the sheet to be placed in the exact same place in the tray for both prints to line up. If it doesn't work 'out of the box' you could probably make some small jigs to ensure the sheet is in the same place for both passes. The transparency setting may be helpful here as if the sheet runs through too hot you may get too much distortion giving bad registration between passes.
Use a composite black. This is possible on the industrial inkjets with specialised RIP software but I'm not sure if any home lasers will do this. Maybe with a Postscript driver and printing from Corel Draw, Adobe Illustrator or Photoshop something like this could be achieved. On the industrial side, usually black/K prints fine if your substrate is white/opaque, if we're printing on a clear material often we'll see that it's still slightly transparent and/or not a true black. In theory you can achieve black with 100% CMY, in practice this usually doesn't work unless your CMY are completely true in colour, it will also lay down too much ink a lot of the time hence the addition of K in 4 colour printers. As far as I'm aware the transfer acts as a resist because really the 'ink' is a thin layer of coloured 'plastic', not necessarily because it's black. For us we want a nice solid layer of 'plastic' to resist the etchant so if you're having problems printing with pure K the addition of a percentage of CMY in your print may be beneficial. The percentages may or may not matter, I'm not sure, but you could try C:M:Y:K - 50% :50%:50%:100% or just go for broke at 100%:100%:100%:100%.
You've raised some interesting ideas here. Luckily I no longer need them, but it was interesting to read.
I would say that the most critical steps from my observations are sanding the enclosure and ironing evenly.
If you don't sand the enclosure, don't even bother. Taping down the mask onto the enclosure helps. Using the tip of the iron and really going back and forth across the entire image a few times with good pressure and a hot iron helps a ton. It's just about being thorough.
Also the etch resist marker that Fry's sells in the US is much better than a regular marker. It's not as good as baked on enamel spray paint or nail polish though.


text:
State Reps. Holtorf, Pelton, Will and Catlin: The Republican plan for wildfire relief
By increasing funding for wildfire prevention local fire departments, we can make Colorado safer and reduce the cost of living
by State Reps. Richard Holtorf, Rod Pelton, Perry Will and Marc Catlin 1:30 AM MDT on Mar 21, 2022
In January, the Marshall fire swept through Boulder County destroying more than 1,000 homes and displacing the lives of thousands of Coloradans. While this disaster brought national attention to the threat of wildfires destroying homes, property, and lives, the people of Colorado are not strangers to the hazards of uncontrolled fires.
Clockwise from top left: State Reps. Richard Holtorf, Rod Pelton, Perry Will and Marc Catlin
For years, rural Coloradans have been prepared with emergency supplies, evacuation plans for both their families and their animals, and emergency alert systems to ensure they are safe from wildfires. Too many Coloradans have experienced the fear that they will come home to a house no longer standing and only ash and smoke where their personal belongings and history used to be.
Now, suburban Coloradans, too, are experiencing this fear, as the Marshall fire reminded the state that no part of Colorado is invincible from wildfires. We've heard from our constituents, and from people across the state, of their concerns regarding their safety as the threat of wildfire increases.
As representatives for the four corners of Colorado, we too have been experiencing this concern and are well aware that wildfires are a matter of both public safety and affordability – both issues Coloradans are deeply concerned about. Unfortunately, one Coloradan lost their life in the Marshall fire; we know that this was one tragedy too many.
☀ MORE IN OPINION
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That's why we're approaching wildfire legislation from a public-safety perspective.
We know there's nothing more important than the safety of your family. That includes not only protecting your home, but also your health. The effects of out-of-control wildfire are increasingly negatively affecting Coloradan's health, especially that of our kid's with pre-existing health conditions such as asthma.
We also know how financially devastating disasters such as wildfires are to Colorado's families. Not only can a wildfire destroy a family's life savings in one afternoon, but the increased threat of disaster raises insurance premiums for anyone living in an area at higher risk for wildfires. By increasing the amount of funding we give towards wildfire prevention efforts and towards local fire departments, we can make Colorado safer for everyone and reduce the cost of living.
That's why this session, Colorado Republicans have introduced legislation to fight wildfires by supporting fire departments across the state and increasing funding to wildfire-prevention measures. Some of those bills include:
HB22-1007: "Assistance Landowner Wildfire Mitigation" Act, sponsored by Rep. Lynch, which would create state grants for wildfire mitigation services and create a tax credit to reimburse landowners for costs for wildfire mitigation services. (Of the four prime sponsors, two are Republican, and two are Democrat).
HB22-1148: "Wildfire Camera Pilot Program" Act, sponsored by Rep. Catlin, which would implement a remote camera wildfire alert system, increasing surveillance and ensuring people have appropriate time to respond. (Of the four prime sponsors, two are Republican, and two are Democrat).
HB22-1132: "Regulation and Services for Wildfire Mitigation" Act, sponsored by Rep. Holtorf, which would require Coloradans to notify their local fire department before a controlled burn on their land. (Of the two prime sponsors, both are Republican).
SB22-002: "Resources For Volunteer Firefighters" Act, sponsored by Rep. Will, which increases funding for fire departments that rely primarily on volunteer firefighters. (Of the four prime sponsors, three are Democrat and one is Republican).
HB22-1194: "Local Firefighter Safety Resources" Act, sponsored by Rep. Ransom, which appropriates $5 million towards equipment and training for local and volunteer fire departments. It was signed into law March 1. (Of the four prime sponsors, two were Republican and two were Democrat).
Republicans in the House of Representatives are sponsoring other legislation that would protect the lives and property of Coloradans and support fire departments in fighting fires.
This legislative session, Colorado's Republicans unveiled their Commitment to Colorado – our commitment to you is to do all we can to make Colorado affordable, prioritize public safety, and expand educational choice. We know that addressing wildfires is a critical part of improving the lives of Coloradans and ensuring you sleep at night knowing your family is safe from wildfires and that you won't be financially affected by a disaster a wildfire causes.
State Reps. Richard Holtorf, of Arkon, represents the 64th District; Rod Pelton, of Cheyenne County, represents the 65th Dsitrict; Perry Will, of New Castle, represents the 57th District; and Marc Catlin, of Montrose, represents the 58th District in the Colorado House of Representatives.
NOTE: The number of prime sponsors of each bill, and their party affiliation, was added to the column on March 23, at 10:07 p.m.
The Colorado Sun is a nonpartisan news organization, and the opinions of columnists and editorial writers do not reflect the opinions of the newsroom. Read our ethics policy for more on The Sun's opinion policy and submit columns, suggested writers and more to opinion@coloradosun.com.
Follow Colorado Sun Opinion on Twitter, Instagram and Facebook.
Tagged: Colorado General Assembly, Marshall Fire, wildfire, wildfire mitigation


text:
La maison Barnum est une maison construite entre 1817 et 1819 par , un loyaliste originaire du Vermont.

Elle est située à proximité de Grafton dans la municipalité de  en Ontario.

C'est un musée depuis 1940, désigné comme lieu historique national en 1959.

Notes et références

Voir aussi
 Liste des lieux patrimoniaux du comté de Northumberland (Ontario)
 Liste des lieux historiques nationaux du Canada en Ontario

Lien externe

Comté de Northumberland (Ontario)
Lieu historique national en Ontario
Fiducie du patrimoine ontarien
Maison-musée en Ontario
Architecture du XIXe siècle au Canada


Probably my most favorite thing (besides you) about blogging is getting a chance to take a look back at old posts. Blogging for me, started out as an online journal. A way for me to share with my family and close friends what we're doing or planning to do. Never in a million-billion-trillion years did I think this would turn into a business, because how can you call something a job when you love it THIS MUCH?! I feel incredibly blessed and grateful. Thankful that you're here and find what I have to share interesting. I'm blessed that I've made real life friends from this super special online community, and completely in awe of the opportunities that blogging has given to me this past year and hopefully will continue to bring.
So let's take a trip down memory lane and see how we did on our 2013 home goals, shall we?
Not bad…not bad at all actually and quite a dramatic transformation thanks to the navy wall!
It's happening!!! And every color coded, organization overloaded step of the way is making me redonkulously happy! I can NOT wait to share it all with you!
…and I'm over it. I know my daughter loves it but it's just too much, and I did a huge no-no by painting first and then trying to find coordinating bedding and accessories after the fact. Needless to say…her room will most likely be getting tweaked again. Whether it's in 2014 though is hard to say at this point since I want to tackle a few other projects before going back into her room. The one and only thing that is working in her room for me is her bedroom organization. It's been nine months and we're still going strong, so that makes me one happy mommy!
All in all, I'm giving 2013 a B+. We definitely improved upon some things and finished up loose ends that we left off in 2012, but I'm ready for 2014 and all it has to offer!
Great accomplishments! Love the bathroom walls. Don't feel bad, I've painted first them shopped later 🙁 Can't wait to see what you have in store for 2014.


If you have ever been a student at Beddington Infants' School we would love to hear from you. Please contact us at office@beddingtoninfants.org.uk. Here are some past pupils' reflections of their happy times at our school.


It's mysterious, complicated and definitely not all in your head.
Dee Rogers has a busy and stressful job at Vanderbilt University Medical Center. So it would be normal to be tired at the end of the workday.
But in 2014 she started feeling that even a full night's sleep or weekend's rest wasn't rejuvenating.
On a typical Saturday, she'd get up, eat breakfast, put in a load of laundry – then go back to bed for a three- to four-hour nap. Filling the dishwasher was exhausting. Rogers had no social life because she was too tired to go out with friends. She often had to miss work, and took medical leave to secure her job.
Rogers attributed the fatigue, headaches and joint and muscle pain to her rheumatoid arthritis. But her physician, Chad Boomershine, M.D., Ph.D., thought otherwise. Rogers was eventually diagnosed with chronic fatigue syndrome, a complex, debilitating, multisystem and frequently undiagnosed condition affecting between 1 million and 4 million people in the United States and millions more worldwide. The disease, which is not associated with any underlying medical condition, has been called myalgic encephalomyelitis outside of the United States. Boomershine treats about 500 chronic fatigue syndrome patients.
Its hallmark is persistent, profound fatigue. On a bad day, simple tasks can put you back in bed.
Patients with chronic fatigue syndrome are often dismissed by peers and even by physicians who are unfamiliar with the disease.
Chronic fatigue syndrome is so misunderstood and misdiagnosed that the Institute of Medicine, the health arm of the National Academy of Sciences, commissioned a report on the illness. The 235-page document, "Beyond Myalgic Encephalomyelitis/Chronic Fatigue Syndrome; Redefining an Illness," was published in 2015. Vanderbilt's Ellen Wright Clayton, M.D., J.D., the Craig-Weaver Professor of Pediatrics and professor of Law at Vanderbilt University, chaired the committee that wrote it. Italo Biaggioni, M.D., professor of Medicine and Pharmacology, was a reviewer.
The Institute of Medicine asked the committee to define diagnostic criteria for chronic fatigue syndrome; to propose a new process for re-evaluation of these criteria in the future; and to consider whether the disease should get a new name.
The committee read through peer-reviewed reports about chronic fatigue syndrome. It received input from hundreds of patients and their advocates and developed evidence-informed diagnostic criteria.
And for diagnosis, the committee decided, patients must also experience cognitive impairment ("brain fog") and/or orthostatic intolerance. Orthostatic intolerance refers to symptoms that appear when someone stands up and go away when they sit or lie down.
"These more focused diagnostic criteria will make it easier for clinicians to recognize and accurately diagnose these patients in a timelier manner," the report read.
The committee's work attracted some controversy because patients and investigators were worried that the patient testimonies wouldn't be believed. They feared that the committee's recommendations could possibly halt the small amount of research that is being done.
The committee held two open meetings to hear testimony from patients and their advocates.
Chronic fatigue syndrome is more common in females than males. It affects all racial and ethnic groups. It usually strikes people between the ages of 20 and 40, but it also occurs in teenagers. A chronic fatigue syndrome-like illness also has been identified in children younger than 12. The actual number of children and teens affected by the syndrome is unknown.
There are no FDA-approved treatments for chronic fatigue syndrome, Boomershine said.
"It's a big limitation for us as physicians. There's a lot of trial and error involved in treating these patients." He treated one patient for three years before finding a combination of medications that worked.
"Medications that work for one patient might not work for another. Some of the therapies we'd like to use, we can't, because they're off label and insurance won't cover them because there's no indication for chronic fatigue with the medicines," Boomershine said.
Physicians often use antidepressant medications that increase adrenaline to help with the fatigue, and sometimes stimulant medications (Ritalin, Adderall, etc.) are used, but that creates another problem. Because the stimulant medications are controlled substances, prescriptions must be on paper, there are no refills and there are other logistical challenges when doctors prescribe them.
Some patients improve when treated with non-stimulant wakefulness-promoting agents, such as Provigil and Nuvigil. However, these drugs are only indicated to treat sleep apnea, narcolepsy and sleep problems relating to night-shift work – and they cost about $600 a month.
Improving the quality of a chronic fatigue syndrome patient's sleep is important, Boomershine said.
Another challenge is separating chronic fatigue syndrome from other problems these patients face. Many chronic fatigue syndrome patients have fibromyalgia, and vice versa. Fibromyalgia is a syndrome that affects the muscles and soft tissue. Its symptoms — chronic muscle pain, fatigue and sleep problems — mimic chronic fatigue syndrome.
Boomershine prescribed bupropion (Wellbutrin) for Rogers, a medication used to treat both depression and attention deficit hyperactivity disorder. It's made all the difference.
Clayton is proud of the work the committee did on the report and hopes it helps chronic fatigue syndrome patients get the help they deserve.
But there's much more work to be done, Clayton said.
"We're very eager for clinicians to recognize this disorder, to make the diagnosis and at least refer [patients] to a specialist. We developed the name 'systemic exertion intolerance disease' because it describes the symptoms required for a diagnosis," she said. "Do we think that name will stand in perpetuity? Probably not. The history of medicine over the millennia is to change names as you learn more about disease. Look at cancer.
This article first appeared in the Summer 2015 issue of Vanderbilt Medicine magazine. It was written by Nancy Humphrey, publications director for Vanderbilt University Medical Center's News and Communications team. Humphrey oversees publication of the VUMC Reporter, Vanderbilt Medicine, Vanderbilt Nurse, Hope and Momentum magazines.
What kind of specialist should CF patients see?
I have chronic extreme fatigue and doctor's seem to be unable to help my p=oblem. Do you have any suggestions?
I may have CFS and called Dr. Boomershire's office but was told not only did they not take my insurance but they were only taking new patients as of Jan 2018. His office recommended that i call Vanderbllt Rheumatology department but when i did i was told no one there treating CFS patients. Are there other known CFS doctors in the area?
Hi, John. I'm sorry you're having this frustrating experience. I can't cite specific doctors, but if you do a Google search for Nashville doctors who specialize in rheumatology, infectious diseases and/or immunology, those are the physicians in the best position to help. I hope you find some relief.
Hi, Jennifer. I can't cite a specific doctor, but if you Google Memphis doctors who specialize in rheumatology, infectious diseases or immunology, those specialties are your best bet. I hope you find some relief.
Did you find a dr in Memphis that treats CFS?
Thank you, Maura, for your response and well wishes!!! All the best to you!
Hi, great article. So for years since back in high school (which was 10 yrs ago) I developed CFS and it started after I catched mono and it's like I never fully recovered from that. The symptoms would come and go as in for a period I would feel "normal" but then I would get bad flare ups. Recently this summer I've been diagnosed with Add and depression. I've been taking Wellbutrin for a month now and it's actually been making me way more fatigued! Have you found other medications to work for people with CFS other than Wellbutrin? Thanks.


SCONE will host the second all female rugby union tournament, with ten senior teams from throughout the state ready to play and junior women joining the competition this year with an under 17's and under 15's round.
On Saturday night the bar will be open until 9:30pm, with fancy dress optional.
Gate sales will be donated to the local CWA who will be running the canteen on the day.
Girls Ready to Play – November 17, 2017.


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Home » Archives » Sculpture » Essays » The Passions of Jean-Baptiste Carpeaux
The WWI Memorial: An American Acropolis
The Passions of Jean-Baptiste Carpeaux
by	Meredith Bergmann
Sculpture Through the Prism of Gender
by	Gail Leggio, Daniel T. Schultz
Glorious Victorian Art at Yale
by Meredith Bergmann
This is the apt title of a book by James David Draper and Edouard Papet, inspired by and documenting the 2014 retrospective exhibition of the same name at the Metropolitan Museum of Art and the Musée d'Orsay.
We have drained and secularized the word "passion." The classical Latin word meant "suffering" and in Medieval Latin came to refer to the specific suffering and death of Jesus. "Passion" has now become a term of intense enthusiasm, sometimes for a mere hobby. We rush to apply it to the lives of the accomplished and single-minded as well as the doomed. A quick search of the Internet yields The Passions of… Michelangelo, Andrew Jackson, Woodrow Wilson, John Stuart Mill, Mabel Dodge Luhan, Vaughan Williams, Sigmund Freud, John Quincy Adams, Achilles and Aeneas and Emma Goldman.
Jean-Baptiste Carpeaux, according to his webpage on the Musée d'Orsay's site, was "one of the most perfect embodiments of the Romantic idea of the artist cursed by the brevity and brilliance of his career, concentrated into around fifteen years, and by the violence and the passion of an unrelenting struggle with subjects chosen or commissioned." The story of J.B. Carpeaux's short life (1827–75) seems overripe for a Hollywood movie. Critic Roberta Smith summed up Carpeaux's life as if in an elevator pitch:
…it encompasses a volatile mix of raw talent and rawer ambition, incessant work, grasping parents, a tormented marriage, economic struggle, debilitating illness and some Othello-like paranoia.1
There were always constraints of subject matter in Carpeaux's commissioned sculptures, but not in his sketchy, vividly evocative paintings. There we may see his private responses to historic scenes and events. The themes that most moved Carpeaux were passionate ones, whether they were light or dark: explorations of suffering, violence or bestiality or, on the contrary, of ecstasy or even of the fairytale beauty of the imperial court. Among his horrific images are war, shipwreck, cannibalism, severed heads and bitten fingers, orphans and wounded children, dead bodies and the damned. Among his many empathic and sensitive sculpted portraits of women is one whose beauty, once famed, is not dated: the 1869 plaster bust of the delicately sexy dancer, adventuress and eventual marquise, Eugénie Fiocre, which moved a contemporary critic to report that it made his "spine tingle."2
Born to a poor stonemason's family in Valenciennes, in the north of France, Carpeaux moved to Paris with his family and by age fifteen was studying sculpture and winning prizes. By age seventeen he was admitted to the École des Beaux Arts, and in 1854, at age twenty-seven, won the Prix de Rome. He had to delay his departure from Paris so that he could have one of his eyes, by some accounts nearly blinded, treated for damage from marble dust, but once settled in Rome he lived and maintained his studio there for the next eight years. There, his primary sculptural work was on the design, modeling, presentation, bronze casting and eventual marble carving of Ugolino and His Sons (1865–67), his masterpiece (literally the work that proved his mastery). Much of the rest of his time, when he wasn't actually ill, he spent trying to raise money.
Ugolino and His Sons was originally intended to fulfill, as well as to defy, the requirements of the assignment given in the fourth year of academic study: specifically, a freestanding figure designed to be carved in marble, on a theme drawn from the classics or the Bible. Carpeaux, thinking outside the box and designing for a much bigger block, chose to portray five male figures intertwined: three generations from the grim story of Ugolino in Dante's Inferno. Count Ugolino, ruler and then traitor of Pisa, was imprisoned in a tower with his sons and grandsons and left there to starve. Dante implies that Ugolino survived his sons long enough to eat their bodies before he, too, starved to death. The pose is derived from Canto 33 of The Inferno:
I saw, reflected in four faces, my own gaze, and out of my grief, I bit at both my hands; and they, who thought I'd done that out of hunger, immediately rose and told me: 'Father, it would be far less painful for us if you ate of us; for you clothed us in this sad flesh—it is for you to strip it off.'3
The sculptor Carpeaux built up the sad flesh to the point of the greatest muscular expressiveness, so that in places the figures resemble ecorchés, the flayed anatomical figures that students in academies continue to study today. Carpeaux drew his heavily muscled Ugolino from many sources: the Belvedere Torso and works by Michelangelo, but especially from one ancient work that for Michelangelo was profoundly inspirational, the Hellenistic Laocoön.4 This famous marble group shows the Trojan priest Laocoön, who had angered the gods by trying to warn the Trojans not to accept the gift horse, being punished along with his innocent sons, writhing in mortal agony in the coils of a sea serpent. The eighteenth-century art historian Johann Winckelmann had praised its effectiveness: "The pain discovers itself in every muscle and sinew of his body, and the beholder, while looking at the agonized contraction of the abdomen, without viewing the face and the other parts, believes that he almost feels the pain himself."5 Carpeaux, eager to create a pendant, answer and challenge to the Laocoön, grouped his figures into a pyramid of tensed limbs. Three of the four sons' faces are hidden or expressionless, and the beholder is confronted with the horrific face of Ugolino at the pyramid's apex.
Ugolino's shade tells Dante to imagine his horror at knowing his sons must die, and asks:
…if thou for this weep not
at what then art thou wont to weep?6
Carpeaux's exaggeration of physical anguish to convey spiritual anguish does not succeed in evoking pathos in every viewer. A nineteenth-century critic wrote: "The poet's words are only addressed to the imagination, and the instantaneous gesture of the maddened parent, who lifts his hands to his mouth as if to bite them, is really tragic in its wild impotence. But in the statuist's version the same movement, fixed for eternity in marble, becomes something like a grimace: it lacks grandeur, and is at best melodramatic, not tragic."7 In our own time, Roberta Smith responded: "It is quite impressive, although Ugolino looks a bit too much like Vincent Price to be completely convincing."8 In fact, Carpeaux copied a Michelangelo drawing of the Head of a Faun and used his copy, dated 1856–60, as a model for the profile of Ugolino.
There is no way to know what these starved siblings and a devouring father might have meant to Carpeaux in terms of psychology. Carpeaux did give us, however, wonderful insights into his artistic bloodlines. In 1863, thinking of the passions of Rubens, Delacroix and Géricault, Carpeaux wrote, "Emotion est voulue. We can no longer make statues without a motive, merely for the sake of their beauty and for the luxury which they minister to our senses…. We want works like the Descent from the Cross, the Massacre of Scio, the Wreck of the Medusa…. humanity swept away in a blind whirl, generation trampling upon generation, as the dust flies before the storm…. I believe despair is the expression of our era."9
Carpeaux, age forty, met twenty-year-old Amélie de Montfort, who was far above his social station, at a ball. He married her two years later, in 1869. That year he sculpted a beautiful bust of his aristocratic wife in wedding attire, decked with traditional orange blossoms. He also documented his growing cruelty to his new wife in his own sketchbooks, as in one sketch from 1870: Carpeaux Striking Amélie Carpeaux. Egged on by his parents, who believed that some of his children had been fathered by others, he repeatedly brought charges of adultery against Amélie and hired spies to follow her. In other sketches he depicted himself "bullying and berating her": "In another drawing, she holds back one of their offspring while he crashes through a doorway."10 Carpeaux's daughter described her father sculpting an "amusing maquette" of her brother, a toddler, bawling away in protest at being made to model over many "stormy sessions."11
When his son, aged three or four, dislocated his arm in a train door, Carpeaux insisted the child pose repeatedly, against his will and in spite of his tears, for a Wounded Cupid. Carpeaux's daughter remembered that, "The tender father—which he was in his spare time—gave way totally to the artist."12 Encountering one of his models on the street in Paris who was mourning the death of her young son, he got her into a carriage, brought her back to his studio, and in two hours finished a bust of the Mater Dolorosa based on his sobbing model.
As Carpeaux's life progressed, motifs that had leant themselves to life-affirming celebrations became Passions. The beautiful pose of a kneeling, turning figure whose arms twist upward and to the side—which he adapted from the ancient Greek Kneeling Aphrodite for his charming 1858 Fisherboy with Shell and again for the 1868 Triumph of Flora—is transformed, in a sketch in terracotta he worked from 1869 to 1874, into a twisted woman called Despair.
Despairing, indeed, is the face Carpeaux depicted in three painted self-portraits that are among his final works. Two are gaunt and weary but somehow radiant, as though the intensely religious artist were seeing himself as the suffering Christ. One, by contrast, Carpeaux Crying Out in Pain, is actively defiant. Its fierce expression with contorted forehead and open mouth, lips drawn back from the teeth, appears to be inspired by Michelangelo's drawing of a Damned Soul, which along with Michelangelo's Faun, may also have inspired the face of Ugolino. Carpeaux's facial expression as well as his blotchy, cadaverous skin and sunken black eyes recall a drawing he'd made ten years earlier, a gruesome variant on Géricault's painting Head of a Guillotined Man. Carpeaux, as he himself said, was deeply influenced by Géricault's The Raft of the Medusa. But the synthesis of these two inspirations results in a Carpeaux that looks like Ugolino might have looked after he pulled his fingers out of his mouth: dying, but voracious. "I'm no longer anything more than an animal," Carpeaux wrote to one of his pupils.13
Carpeaux was voracious for work. On his deathbed he wished he could model. Years earlier, the great French sculptor David D'Angers, seeing the young Carpeaux practicing modeling clay while blindfolded, had observed, "If you cut off Carpeaux's head, his fingers would go right on modeling the clay."14 The cut-off head and the guillotine, evoking the Reign of Terror that followed the French Revolution, resonate throughout the French national psyche. As a man who had devoured his family life, Carpeaux identified strongly with the criminal and the damned.
But Carpeaux could also model out of gratitude, with renewed faith in himself. By contrast with the huge despairing huddle of Ugolino and His Sons, in the small terracotta sketch Le Trait d'Union (The Hyphen), a clinging, erotic embrace between Amélie and Carpeaux presided over by their young son, he gives us a family group in which disaster was averted. Their son, who in 1872 at the height of his parents' discord had experienced severe convulsions but miraculously recovered, climbs up to clasp his parents' heads together in a kiss. Although the reconciliation was temporary, Carpeaux created what the Metropolitan Museum's great curator James Draper aptly described as a "small, swift monument" to a life-affirming, life-engendering passion.
By the end of 1863, despite another of many bouts of ill health, Carpeaux was working hard on delightful commissions for the façade of the Opéra and the Louvre, both of which feature startlingly realistic young women who are radiant, even delirious, with joie de vivre. The stories of these commissions, for The Dance (1865–69) and the Triumph of Flora (c. 1863), are crammed with incident and tribulation, and yet the results are triumphant: sculpturally innovative (completely upstaging more conservative sculptures on the same buildings) and enduringly joyful.
Carpeaux seems to have found considerable spiritual relief in "capturing" the expressions of real, living people, outgrowing the heated rhetoric of his Ugolino. H.W. Janson wrote that the figures in The Dance, "… slightly embarrass us, as if 'real people' were acting out a Rococo scene. A single leg, detached from this group, might well be mistaken for a cast from nature."15 But Carpeaux derived his giddy ladies from the timeless motif of the Three Graces, and their dancing legs bring mythology to life and life to mythology.
By 1864 Carpeaux had finally managed to land a coveted imperial commission to sculpt a full-length portrait. This statue, however, would not be a portrait of the emperor or empress, but of their eight-year-old son. The Prince Imperial and his full-grown dog, sculpted in marble with real tenderness, not sentimentality, were a great success. The little prince's pose, dignified, alert and grave, may owe something to Donatello's St. John the Baptist as a Child and perhaps even more to his St. George, both also in white marble, which Carpeaux may have studied in Florence.
According to Edouard Papet, chief curator of sculpture at the Musée d'Orsay, "It had been Carpeaux's good fortune to make a name for himself in the midst of the great construction projects of an empire that placed sculpture at the heart of public and private space: monuments and residential buildings were laden with sculpted decoration; a statuomania took over squares and avenues of urban centers then in the throes of town planning and bent on modernization."16 The poet Apollinaire wrote nearly forty years after Carpeaux's death: "Someday we will understand that the Second Empire was an age of style. And the purest expression of this artistic style is to be found in the works of the sculptor Carpeaux, who—more completely than any other—was a man of his time."17
The Second Empire, ruled from 1851–1910 by Napoleon III, was characterized not only by the "fête imperial," with which Carpeaux's work is most famously associated, but also by the emperor's social reforms. Napoleon III encouraged the building of schools (including those for girls) and libraries, agricultural education, increased industry and trade, labor reforms and the redesign of Paris. He also decreed the exhibition of the first Salon des Refusés in 1863, introducing Parisians to shockingly nonacademic paintings such as Manet's Déjeuner sur l'herbe and Whistler's Symphony in White, No. 1: The White Girl.
After the fall of the Second Empire in 1870, Carpeaux, like many other artists dependent on commissions, followed the emperor and his family into exile in London. Carpeaux had hoped to receive a commission to portray Napoleon III while he was Emperor. Instead he was commissioned by the Prince Imperial to sculpt a portrait of the ailing, exiled emperor in 1872. Carpeaux was then seriously ill himself. He rushed to complete the work, and made drawings of the emperor in his coffin. In the finished marble, Napoleon III's bust is trimmed to a herm shape, with no trappings of state or fashion, and even the emperor's proudly waxed moustache, rumpled goatee and carefully observed hair cannot distract from the expression of his eyes: alert but exhausted, and terribly sad. It is a beautiful sculpture and a brilliant, elegiac and intensely moving portrait.
By 1873 Carpeaux and his wife (then separated) and their children were all back in Paris. Carpeaux was diagnosed with bladder cancer and in 1875, after several years of failed surgeries and increasing agonies, he died at age forty-eight. According to Edouard Papet, after his death Carpeaux's works quickly became "relegated to the limbo of the history of taste."18 In their combination of immersion in and mastery of art, with a passionate participation in life, we may rediscover their relevance.
1. Roberta Smith, "Tortured Soul, Golden Touch: Jean-Baptiste Carpeaux, a French Artist of Multiple Passions," The New York Times, March 27, 2014, n. pag. http://www. nytimes.com/2014/03/28/arts/design/jean-baptiste-carpeaux-a-french-artist-of-mul-tiple-passions.html?_r=0
2. James D. Draper and Edouard Papet, with Elena Carrara, Nadége Horner, Laure de Margerie, Jean-Claude Poinsignon, Philip Ward-Jackson, The Passions of Jean-Baptiste Carpeaux (New York: The Metropolitan Museum of Art, 2014), 224.
3. Allen Mandelbaum, The Divine Comedy of Dante Alghieri: Inferno (Oakland, California: University of California Press, 1980), Canto 33.
4. For a moving evocation of Michelangelo's presence at and reaction to the discovery and excavation of the Laocoön, see Kenneth Clark's The Nude (New York: Pantheon Books,
5. Johann Joachim Winckelmann, as quoted in The Nude, 231.
6. Dorothy Sayers, The Divine Comedy 1: Hell (London: Penguin Classics, 1964), Canto 33.
7. Olive Logan, "Carpeaux," Lipincott's Monthly Magazine 25 (June 1880), 670.
8. Smith, "Tortured Soul," n, pag.
9. S. Udny, "A Modern Sculptor" in The Portfolio: An Artistic Periodical (London: Seeley, Jackson & Halliday, 1887) Vol. 18, 203.
10. Passions, 257.
11. Louise Clément-Carpeaux, La Vérité sur l'ouevre et la vie de J.-B. Carpeaux (Paris: Dousset and Bigerelle, 1934-35), Vol. 1, 381, as cited in Passions, 259.
14. Attributed to David d'Angers in Histoire générale de l'art français de la révolution a nos jours, Vol. 2, L'Architecture; La Sculpture, by Georges Gromort, André Fontainas and Louis Vauxcelles (Paris: Librairie de France, 1925), as cited in Passions, 264.
15. H.W. Janson, A History of Art (New York: Abrams, 1971), 488.
17. Guillaume Apollinaire, Chroniques d'art, 1902–18, ed. LeRoy C. Breunig (Paris: Gallimard, 1960), 320, as cited in Passions, 108.


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Twelve Volvo EC200D excavators impress on the road to Sumatra
It's not pulp fiction – twelve of Southeast Asia's most popular excavators are hard at work in Sumatra, Indonesia, on the maintenance of a road for a paper mill that has received a sustainable forest management certification under the Programme for the Endorsement of Forest Certification (PEFC).
In 1993, before APRIL Group, Indonesia's leading manufacturer in the paper and pulp industry, began construction of its first pulp and paper mill on the Indonesian island of Sumatra, the sleepy and virtually inaccessible town of Pangkalan Kerinci consisted of just 200 dwellings. Today, it is not only home to one of the world's largest and most efficient pulp mills, run by APRIL's main pulp and paper subsidiary Riau Andalan Pulp & Paper (RAPP), but also a thriving city of over 100,000 inhabitants, with a small airport, two ports and over 11,000 kilometres of roads.
The latest addition to these roads – a 80-kilometre stretch between Langgam site and Cirenti site – started in August 2019. To ensure the task stays on the three-year construction schedule, Indonesian contractor PT Sumi Gita Jaya — a major player in infrastructure development in the province, as well as the oil and gas industry — added twelve Volvo EC200D excavators to its fleet, which are working alongside its existing fleet of four Volvo SD110 soil compactors.
The IDR 40 billion project (approximately USD 3 million) has now reached the construction stage, with the twelve new EC200D excavators primarily used for canal and trenching work, working nine hours per day for seven days per week. When completed, the road will provide access to the pulp and paper mill, which is capable of producing up to 2.8 million tons of pulp and 1.15 million tons of paper per year.
"The financial aspects were a key factor in selecting the EC200D, particularly as a result of their competitive price and fuel efficiency," said Herland, director at PT Sumi Gita Jaya. "But it was also vital that the machines would be durable and deliver consistent high performance."
As with all of Volvo CE's new equipment, the EC200D also meets Indonesia's new requirements for machinery to operate with diesel containing 50 percent biofuel — a year before the deadline. The EC200D excavators are already living up to their reputation.
"Because they are so reliable, we haven't needed to call on the support of PT Indotruck Utama, the dealer who supplied our machines," Herland. "And our operators really appreciate the cabin comfort, as well as the impressive swing speed."
As the fastest excavator in the 20-ton class, the EC200D benefits from the perfect balance of power and fuel economy provided by its Tier 3 Volvo D5E engine, which delivers 123 kW at 2,000 rpm. Ideally suited to general construction duties, the EC200D is equipped with a 5.7 m boom, 2.9 m arm and 0.8 m3 bucket, delivering a maximum breakout force of 116 kN.
Established in 2000, PT Sumi Gita Jaya is based in Pekanbaru, Riau, and purchased its twelve EC200D from PT Indotruck Utama, one of Volvo CE's local dealers in Indonesia.
Gerrit Lambert
Tel: int +62 8118 692 494
Email: gerrit.lambert@volvo.com
Tel: int +65 9299 5192
Email: ben.shaw@se10.com


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Ebb & Flow (Summer 2023/2024)
Captain: Taylor Smith (US)
Chef/Mate: Margaret Harrington (US)
Captain: Taylor Smith
Taylor grew up in Central Virginia, splitting summers between driving ski boats on the lake and traveling in the family RV to every state with a road to it. After earning a business degree from Appalachian State University with honors, Taylor pursued a passion for living outside of the box. Playing in a touring rock band transitioned to extended trekking in South America, which led to bartending in Breckenridge, Colorado. After a few years of the ski bum life, the dream of setting off for points unknown in a sailboat started to form. He jumped head first into sailing and within a short period he was a licensed captain living aboard and traveling on his own boat.
USCG 100GRT Master, Near Coastal, Auxiliary Sail
PADI Open Water Dive Instructor
STCW A-II/3 Master
STCW 2010 Basic Safety Training
Emergency First Response Instructor
FCC Marine Radio Operator's Permit
Captain Napkin
Chef/Mate: Margaret Harrington
Margaret also hails from the Blue Ridge Mountains of Virginia. She has sailing in her genes from her father who captained classic windjammers in Maine. She began traveling internationally early on and developed a love for traditional recipes and appreciation for the way a good meal can bring families and friends together. Margaret attended the National Outdoor Leadership school before earning her bachelor's degree from the University of Colorado in Boulder. She is a certified yoga teacher and passionate scuba diver. Don't miss the opportunity to slow down and appreciate nature's bounty or learn cooking techniques with Margaret.
Qualifications – Margaret
PADI Divemaster
STCW First Aid, CPR, AED
200HR Yoga Teacher Training