For centuries, naturopathic doctors in India and other countries have looked for natural ways to prevent and ward off chronic disease. In many cases, they have found unique combinations of diet, massage and physical activity that are more effective than methods prescribed by traditional medicine. In fact, there are 10 chronic diseases that can best be cured with naturopathy treatment.
The one chronic disease that has the urgent attention of medical practitioners is cardiovascular and heart disease. Using naturopathic medicine, it is possible to control many of the key risks that lead to heart disease, including high blood pressure, cholesterol, obesity and lack of physical activity.
In the Western world, cancer is still a mysterious chronic disease that appears to be incurable. Yet, naturopathy centers in India have developed specific regimes of diet and physical activity that can be very effective in controlling cancer risk factors, such as inflammation, high blood sugar levels, and hormonal imbalances.
Practitioners of naturopathic medicine have found that Type 2 Diabetes is actually quite preventable using natural means. In fact, some studies have shown that a steady regime of improved diet and increased physical activity can actually delay the onset of diabetes by as much as a decade.
Modern society can be very stressful, and it's perhaps no surprise that hypertension and high blood pressure – primarily due to high levels of stress and people sitting all days – can be cured by naturopathic doctors. The two keys here are more exercise and a healthier diet.
Many people assume that arthritis is a lifelong and painful condition without a cure. But naturopathy treatment has found that a steady diet designed to reduce sources of inflammation in the joints can be highly successful in reducing pain.
Naturopathic doctors have known for decades that asthma is really the result of imbalances in the body's different pathways. With the correct nutrients, it is possible to reduce or even eliminate these imbalances.
Certain forms of dementia, including Alzheimer's disease, are also possible to cure using naturopathy treatment. Adding fish oil and certain medicinal herbs (such as ginkgo biloba) can have remarkable effects on one's cognitive abilities, even in older adults.
The problem of weak, brittle bones becomes progressively worse with age, but it might be possible to cure this problem by overhauling one's diet. Raw cultured dairy products, for example, are quite effective. And by treating sources of inflammation, it is possible to increase the body's range of movement.
Certain herbs have proven extraordinarily helpful in curing some of the most obvious symptoms of cystic fibrosis. Respiratory problems – such as coughing, trouble breathing and mucous formation in different membranes – can all be alleviated with naturopathic medicine.
In the Western world, obesity is the new norm. Even children under the age of 10 often show signs of obesity. In response, naturopathic doctors have devised a number of unique treatments designed to balance one's diet and provide alternative sources of nutrition.
The important point to keep in mind about naturopathic medicine is that the exact cure can be customized according to your own unique situation. Naturopathy is really a holistic approach to medicine encompassing mind, body and spirit, and subtle changes to one or more of these can often result in amazing synergistic effects.


text:
Manteca Diner closed after tax judgment
Locked front doors of the South Main Street restaurant are covered by paper and a black and white closed sign. - photo by GLENN KAHL/ The Bulletin
Closed means closed after a Manteca restaurant owner was convicted of tax evasion in San Joaquin County Superior Court early in May.
The restaurant on South Main Street – formerly Denny's and more recently the Manteca Diner – is closed, according to signs on its front doors. The restaurant is in the Walmart Shopping Center near the Highway 120 Bypass.
Larger signs atop the building have been removed. The doors are locked tight. The windows are covered with paper to prevent the public from peering inside.
Reports indicate that a children's meal was served raw and parents photographed the dinner that their child was about to eat. More than 30 part-time employees have reportedly complained that they have not received their pay for weeks from owner Abdul Halim, 75, who lives in Tracy. Vendors have complained they are owed thousands for their services.
Hamil was convicted of two felony and one misdemeanor counts of tax evasion in May related to two other restaurants he owned in Lathrop and Stockton. He was placed on 10 years of formal probation. He has reportedly paid more than $800,000 to the state for past sales tax obligations. His conviction requires more than 3,500 hours of community service.
State investigators had reportedly found that he failed to report and pay nearly $525,000 in sales tax collected from his customers between 2007 and 2011.
One hostess who has worked there for the past two years said the owner locked the doors on Sunday without notifying any of his employees of his decision. Longtime employees reported for work on Monday morning with no idea the doors would be locked, she added
A former patron of the restaurant said Wednesday that when the eatery transitioned from Denny's to the Manteca Diner in January, the food went from bad to worse, adding he was not surprised it had been closed down.
The non-payment of a sanitizing system operation at the restaurant reportedly caused the vendor to shut down the service – a must for any restaurant to avoid censure by the county health department.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Table with TikZ I should create a table like the one here as example. I think that the best way to do a table like this one is generate some labels and use them to colorize the nodes in order to make it more automatic. First column are categorized colors and right column are a color spectrum. My question is if you have to face a problem like this one which tools from TikZ would you use to generate such table. I started to code the table in TikZ but I was defining everything: The position of the nodes, all the line intersecting points to create the lines afterwards. The code gets huge, nasty, and horrible to check if i I've placed the colors properly.
Therefore, do you have any suggestions of how would you do this job?

A: This can give you a starting point:
\documentclass{article}
\usepackage{tikz}
\usetikzlibrary{matrix,positioning}

\definecolor{redi}{RGB}{255,38,0}
\definecolor{redii}{RGB}{200,50,30}
\definecolor{yellowi}{RGB}{255,251,0}
\definecolor{bluei}{RGB}{0,150,255}
\definecolor{blueii}{RGB}{135,247,210}
\definecolor{blueiii}{RGB}{91,205,250}
\definecolor{blueiv}{RGB}{115,244,253}
\definecolor{bluev}{RGB}{1,58,215}
\definecolor{orangei}{RGB}{240,143,50}
\definecolor{yellowii}{RGB}{222,247,100}
\definecolor{greeni}{RGB}{166,247,166}

\tikzset{
table/.style={
  matrix of nodes,
  row sep=-\pgflinewidth,
  column sep=-\pgflinewidth,
  nodes={rectangle,draw=black,text width=1.25ex,align=center},
  text depth=0.25ex,
  text height=1ex,
  nodes in empty cells
  },
texto/.style={font=\footnotesize\sffamily},
title/.style={font=\small\sffamily}
}

\newcommand\CellText[2]{%
  \node[texto,left=of mat#1,anchor=east]
  at (mat#1.west)
  {#2};
}

\newcommand\SlText[2]{%
  \node[texto,left=of mat#1,anchor=west,rotate=75]
  at ([xshift=3ex]mat#1.north)
  {#2};
}

\newcommand\RowTitle[2]{%
\node[title,left=6.3cm of mat#1,anchor=west]
  at (mat#1.north west)
  {#2};
}

\begin{document}

\begin{tikzpicture}[node distance =0pt and 0.5cm]

\matrix[table] (mat11)
{
|[fill=redi]| & & & \\
|[fill=redi]| & & & \\
|[fill=redi]| & & & \\
};
\matrix[table,right=of mat11] (mat12)
{
|[fill=orangei]| & |[fill=yellowii]| & |[fill=blueii]| & |[fill=blueiii]| \\
& |[fill=blueii]| & |[fill=greeni]| & |[fill=blueiv]| \\
& & |[fill=bluev]| & |[fill=blueiii]| \\
};
\matrix[table,below=of mat11] (mat21)
{
|[fill=redi]| & & & \\
|[fill=redi]| & & & \\
|[fill=yellowi]| & & & \\
|[fill=yellowi]| & & & \\
};
\matrix[table,below=of mat12] (mat22)
{
|[fill=bluev!95]| & & |[fill=yellowii]| & |[fill=orangei!80]| \\
& |[fill=yellowii]| & |[fill=bluev!80]| & |[fill=blueiii]| \\
|[fill=redii]| & |[fill=blueiii!80]| & & |[fill=bluev]| \\
|[fill=bluev]| & & |[fill=blueiii!80]| & |[fill=bluev]| \\
};
\matrix[table,below=of mat21] (mat31)
{
|[fill=redi]| & & & \\
|[fill=bluei]| & & & \\
};
\matrix[table,below=of mat22] (mat32)
{
|[fill=bluev]| & & |[fill=redii]| & |[fill=redii!90!black]| \\
|[fill=redii!90]| & |[fill=redii!75!black]| & |[fill=bluev]| & |[fill=bluev!80!black]| \\
};

\SlText{11-1-1}{Fibroadenoma [xx]}
\SlText{11-1-2}{Simple Cyst}
\SlText{11-1-3}{Complex Cyst}
\SlText{11-1-4}{Papilloma}

\SlText{12-1-1}{CDI}
\SlText{12-1-2}{CLI}
\SlText{12-1-3}{FA}
\SlText{12-1-4}{Cyst}

\RowTitle{11}{Background echotexture};
\CellText{11-1-1}{Homogeneous adipose-echotexture};
\CellText{11-2-1}{Homogeneous fibroglandular-echotexture};
\CellText{11-3-1}{Hoterogeneous};

\RowTitle{21}{Mass shape};
\CellText{21-1-1}{Oval};
\CellText{21-2-1}{Round};
\CellText{21-3-1}{Irregular};

\RowTitle{31}{Mass orientation};
\CellText{21-4-1}{Lobular};
\CellText{31-1-1}{Parallel to skin};
\CellText{31-2-1}{Non-parallel to skin};

\end{tikzpicture}

\end{document}

A: You don't have to use Tikz;-)

\documentclass{article}

\usepackage{xcolor,array,graphicx}

\makeatletter
\newcolumntype{Z}{>{\zz}p{1em}|}
\def\zzz{\textcolor{\thiscol}{\leaders\vrule height1em\hskip1em}\kern\z@\ignorespaces}

\def\zz\ignorespaces#1{%
\def\thiscol{white}%
\if S#1\expandafter\szz
\else\if R#1\def\thiscol{red}%
\else\if Y#1\def\thiscol{yellow}%
\else\if B#1\def\thiscol{blue}%
\else\if X#1\def\thiscol{black}%
\else#1\fi\fi\fi\fi
\expandafter\zzz
\fi}
\def\szz{\afterassignment\@szz\count@0}
\def\@szz{\edef\thiscol{mycolor-\the\count@}\zzz}

\definecolor{mycolor-1}{rgb}{.8,.4,.6}
\definecolor{mycolor-20}{rgb}{.7,.9,.6}
\definecolor{mycolor-5}{rgb}{.2,.4,.6}
\definecolor{mycolor-4}{rgb}{.2,.7,.3}
\begin{document}
\renewcommand\arraystretch{0}
\setlength\tabcolsep{0pt}
\begin{tabular}{l@{\hspace{2em}}r@{\hspace{2pt}}|ZZZZ@{\hspace{1cm}}ZZZZ}
\multicolumn{1}{l}{\rlap{\rotatebox{60}{something}}}&
\multicolumn{1}{l}{\rlap{\rotatebox{60}{something else}}}&
\multicolumn{1}{l}{\rlap{\rotatebox{60}{ho hum}}}&
\multicolumn{1}{l}{\rlap{\rotatebox{60}{more stuff}}}&
\multicolumn{1}{l}{\rlap{\rotatebox{60}{and more}}}&
\multicolumn{1}{l@{\hspace{1cm}}}{\rlap{\rotatebox{60}{interesting column}}}&
\multicolumn{1}{l}{\rlap{\rotatebox{60}{ABC}}}&
\multicolumn{1}{l}{\rlap{\rotatebox{60}{XYZ}}}&
\multicolumn{1}{l}{\rlap{\rotatebox{60}{EED}}}&
\multicolumn{1}{l}{\rlap{\rotatebox{60}{JHY}}}\\
\hline
stuff& foo &R&&&&  S1 &&&\\\hline
stuff& foo &Y&&&&  S20 &&S5&\\\hline
stuff& foo &B&&&&  S5 &&S1&\\\hline
stuff& foo &X&&&&  S4 &&&S20\\\hline
\end{tabular}

\end{document}

A: You don't have to use TikZ (but you can).
I would use either pgfplotstable (but that would make a hard start) or at least the collcell package to make the creation easier.
If all you want is colored cells define the needed colors with a distinctive name with \colorlet or \definecolor and use that as the cell content that is than grabbed by \collectcell and given to \myBox as an argument.
In this example, this is simply used to use a \cellcolor but can be provided to TikZ that draws a rectangle, or could be the name of a key (think pgfkeys) that in turns can do anything (\cellcolor,  simply text, TikZ).
Code
\documentclass{article}
\usepackage[table]{xcolor}
\usepackage{array,collcell}
\newcommand*{\myBox}[1]{\cellcolor{col@#1}}
\colorlet{col@a}{red}  \colorlet{col@b}{blue}
\colorlet{col@c}{cyan} \colorlet{col@d}{black}
\colorlet{col@e}{green}\colorlet{col@f}{red!50!yellow}
\newcolumntype{C}[1]{>{\collectcell\myBox}#1<{\endcollectcell}}
\begin{document}
\begin{tabular}{l C{c} C{c} p{.5cm} C{c} C{c}}
    Background Echotexture & \multicolumn{1}{c}{Head1} & \multicolumn{1}{c}{Head2} & & \multicolumn{1}{c}{Head3} & \multicolumn{1}{c}{Head4} \\
    Foo                    & a                         & b                         & & c                         & d                         \\
    Bar                    & e                         & a                         & & d                         & f
\end{tabular}
\end{document}

Output

A little bit of TikZ
Here is a more sophisticated approach.
TikZ is used to draw the boxes, nothing more.
pgfkeys is used to define a few simply styles like common and probable.
The . style is a minimalistic style that only draws the border bot doesn't use any filling. The .unknown key is set up so that you can use any color that is then used as an argument to the box style; but I recommend defining styles at least for common cells (the colors in the boxes on the right side surely mean something).
Code
\documentclass{article}
\usepackage{tikz,collcell}
\newcommand*{\cellset}{\pgfqkeys{/cell}}
\newcommand*{\myCell}{\cellset}
\newcolumntype{C}[1]{>{\collectcell\myCell}#1<{\endcollectcell}}
\makeatletter
\tikzset{overlay linewidth/.code=\tikz@addmode{\tikzset{overlay}}}
\cellset{.unknown/.code={\edef\pgfkeys@temp{\noexpand\cellset{box=\pgfkeyscurrentname}}\pgfkeys@temp}}
\makeatother
\cellset{
  head/.code=\rlap{\rotatebox{60}{#1}}\hspace*{1.2em},
  myCell/.style={
    draw=black,
    overlay linewidth,
    inner sep=+0pt,
    outer sep=+0pt,
    anchor=center,
    fill={#1},
    minimum size=+1.7em},
  box/.code={%
    \tikz[baseline=-1ex]
      \node[/cell/myCell={#1}]{};},
  box/.default=none,
  ./.style={box},
  @define/.style args={#1:#2}{#1/.style={box=#2}},
  @define/.list={%
    not present:black,  possible:cyan,
    probable:   yellow, common:  red,
    o:          orange, y:       yellow}
  }
\begin{document}
\begin{tabular}{>{\footnotesize}r *4{C{c} @{}} @{\hspace*{.5cm}} *4{C{c} @{}}}
                                               & head=Fibroadenoma [xx] & head=Simply Cyst & head=Complex Cist & head=Pailloma & head=CDI & head=CLI     & head=FA & head=Cyst      \\[1em]
    \multicolumn{1}{l}{Background Echotexture} &                        &                  &                   &               &          &              &         &  \\
               Homogeneous adipose-echotexture & common                 & .                & .                 & .             & o        & y            & .       & .              \\
        Homogeneous fibroglandular-echotexture & common                 & .                & .                 & .             & blue     & .            & .       & .              \\
               Homogeneous adipose-echotexture & common                 & .                & .                 & .             & .        & .            & .       & .              \\[1em]
                \multicolumn{1}{l}{Mass Shape} &                        &                  &                   &               &          &              &         &  \\
                                          Oval & common                 & .                & .                 & .             & .        & .            & .       & o              \\
                                         Round & common                 & .                & .                 & .             & .        & .            & .       & .              \\
                                     Irregular & probable               & .                & .                 & .             & .        & .            & .       & .              \\
                                       Iobular & probable               & .                & .                 & .             & .        & .            & .       & .              \\[1em]
          \multicolumn{1}{l}{Mass Orientation} &                        &                  &                   &               &          &              &         &  \\
                              Parallel to skin & common                 & .                & .                 & .             & blue     & .            & red     & red!50!black   \\
                          Non-parallel to skin & possible               & .                & .                 & .             & red      & red!30!black & blue    & blue!50!black
\end{tabular}
\end{document}

Output

redpajama_set_name: RedPajamaStackExchange


text:
Lionville is a census-designated place (CDP) in Uwchlan Township, Chester County, Pennsylvania, United States. The population was 6,189 at the 2010 census. Prior to 2010 the CDP was recorded as Lionville-Marchwood. "Marchwood", however, refers only to the housing development begun in the early 1960s that is located south of the 100-113 intersection.

Lionville is bisected by two major local highways, PA 100 and PA 113. The area contains residential neighborhoods, hotels, restaurants, and other businesses.  The original name of the village was Welsh Pool, but to honor the local Red Lion Inn the name was changed to Lionville, since a borough of Red Lion, Pennsylvania, already existed. The area of Lionville along Village Avenue is a protected historic district. The Friends Meeting House was used as a hospital by the Continental Army during the American Revolutionary War.

Lionville has an independent ZIP code and post office, but it has never had mail delivery. Many of the long-term residents who picked up mail at the now-closed general store or fire station locations now use a Downingtown address.  Because much of the area also falls under the Exton ZIP code, many Lionville businesses use the Exton name instead, especially if they do not have other locations in the area.

Geography
Lionville-Marchwood is located at  (40.052833, -75.645237).

According to the United States Census Bureau, the CDP has a total area of , all of it land.

Demographics

At the 2000 census, there were 6,298 people, 2,574 households and 1,719 families residing in the CDP. The population density was 2,542.9 per square mile (980.5/km2). There were 2,645 housing units at an average density of 1,068.0/sq mi (411.8/km2). The racial makeup of the CDP was 92.32% White, 2.56% African American, 0.11% Native American, 3.72% Asian, 0.02% Pacific Islander, 0.27% from other races, and 1.02% from two or more races. Hispanic or Latino of any race were 1.21% of the population.

There were 2,574 households, of which 32.6% had children under the age of 18 living with them, 55.9% were married couples living together, 8.8% had a female householder with no husband present, and 33.2% were non-families. 26.1% of all households were made up of individuals, and 4.4% had someone living alone who was 65 years of age or older. The average household size was 2.45 and the average family size was 3.02.

24.7% of the population were under the age of 18, 6.4% from 18 to 24, 34.6% from 25 to 44, 25.2% from 45 to 64, and 9.1% who were 65 years of age or older. The median age was 36 years. For every 100 females, there were 96.3 males. For every 100 females age 18 and over, there were 91.6 males.

The median household income was $63,677 and the median family income was $73,500. Males had a median income of $51,294 compared with  $33,199 for females. The per capita income for the CDP was $33,003. About 1.0% of families and 1.9% of the population were below the poverty line, including none of those under age 18 and 6.1% of those age 65 or over.

Education
Lionville is located in the Downingtown Area School District.

The Lionville area is home to three schools: Lionville Elementary (outside of the CDP), Lionville Middle (in the CDP), and Downingtown East High School (outside of the CDP).

Lionville CDP is zoned to Lionville Elementary,  Lionville Middle, and Downingtown East High.

References

Census-designated places in Chester County, Pennsylvania
Census-designated places in Pennsylvania

redpajama_set_name: RedPajamaWikipedia


text:
<!doctype html>

    <meta charset="utf-8">
    <meta http-equiv="Content-Type" content="text/html; charset=utf-8">
    <title>Unity WebGL Player | %UNITY_WEB_NAME%</title>
    <link rel="stylesheet" href="TemplateData/style.css">
    <link rel="shortcut icon" href="TemplateData/favicon.ico" />

Unity WebGL Player | %UNITY_WEB_NAME%

        <canvas class="emscripten" id="canvas" oncontextmenu="event.preventDefault()" height="%UNITY_HEIGHT%px" width="%UNITY_WIDTH%px"></canvas>

%UNITY_WEB_NAME%

Room:

« created with Unity »

    %UNITY_WEBGL_LOADER_GLUE%

redpajama_set_name: RedPajamaGithub


Staying true to your core values, working with investors and overcoming production challenges with Mary, creator of Onist Food.
For this episode, we sat down with Mary, founder of Onist Food, creators of 'the healthy avocado chocolate pot' stocked at Fortnums, Whole Foods, Abel & Cole, Planet Organic and more!! We talked about the challenges faced in producing a chilled product with a short shelf life and the solutions Mary and her team have found to overcome them. We also discussed the importance of staying true to your brand's core values and making sure these are a consideration in everything you do. Onist operates on a 'buy one, give one' initiative where they donate a breakfast to a child in The Gambia for every pot sold. We were so impressed to learn of the success of this charitable action and hear about Mary's plans for future projects and really admired her honesty in discussing the mutual benefits of working with a charity.
Find Mary @onist_food on Instagram and through their website at www.onistfood.com.


text:
layout: search
title: Search
permalink: /search/
sitemap: false
---


Bees definitely have a way of doing things that they like. Some studies have shown a bee's brain is amazing. Quote: The honey bee brain can figure out about 10 trillion computations in a second, which is 625 times greater than what the most advanced computers can do. There most certainly are patterns that the bees will show you, and you can (if you watch closely) figure out how to read what a bee is thinking.
Please watch this video below so I can explain further.
Bee psychology modes and what to do.
A mating congregation – Bees flying in a swarm with lots of queens. I watched a swarm like this for two weeks and it would not move into any hive. Great for catching queens from and making micro colonies.
Bees in searching mode – Hovering bees up and down fences , logs trees etc. Set up a hive to catch them. Old hives that have had bees in them work great.
Bees post queen hatching – Bees excitedly running around hive 2x as fast as normal. This lasts usually only 1-2 days post the bees selecting the right queen.
Bees in normal hive building mode – Bees walk at a normal speed and everything is great. Leave them to do their thing.
Bees in a defense mode – Bees leave hive very quickly and join swarm. Double speed for bees leaving hive- tight swarm no bees falling locked together. Calm them by taking hive inside or solving the reason they are defending, move other new hives further away. Set up visual signals for them to distinguish their own hive eg.. change appearance of entrance hole, placing large coloured objects nearby (not white) and changing the height of entrance hole by propping hive up on something.
Bee modes can be put into a group.
Bees in attack mode – Landing on a hive and marching in with a swarm that has bees locking together. Move hive to another area and place a new hive in its place loaded with a small amount of brood inside placed near the entrance hole. Honey and pollen pots may work also for very aggressive swarms. Dean Haley did a lot of work on this some years back and we have him to thank for cracking a lot of the codes on swarm capture.
Defeated depressed mode – Bees walk 3x slower with head down and wings together- post pest attack bees become sluggish – Boost their numbers by hooking them up to a strong hive or adding brood.
Absent queen – Slow walking and construction. Few flyers- structure changes to stringy pattern, cells are made in an odd pattern. Add brood with queen cells and normal cells.
Bees with pests within hive – Fast running and panic look with wings flapping. Open hive, clear out all visible pests, continue to monitor and if the pests continue, make a trap for them. Trap for phorid fly shown below. Add water, touch of stingless honey, pollen and a very very very small amount of dish soap. Too much soap and you will get no fly in your trap.
Bee psychology and learning to read what's going on.
Sometimes it can take a while to learn to read what your bees are thinking. Our stingless bees are very small and the sheer amount of reactions to their environment is huge. This can create confusion in what you are seeing when trying to identify what is going on. My tips here are to spend as much time with your bees as possible. When they do something watch closely. Spend and hour or two with a chair to see what they are doing. With time and testing things you will see the bees do new things. One test is not enough, try several and then several more. In the end you will discover things you never knew, you never knew. ?
A clear, easily recognised description of bee behaviour that newbies like me don't easily recognise. It can be confusing at times as the different bee behaviours can appear similar to the inexperienced observer like me. I have TH, TC and AA hives. 3 TH are happy only 100 mm apart, the others scattered around. I have printed your summary so I can refer to it when out with the hives and make better sense of the behaviours.
I appreciate you sharing your knowledge in your usual KISS way.
No problem!! I hope it helps you and everyone who sees it.


An emerald cut diamond engagement ring is one of the purest symbols of true. Ranging in a plethora of styles, an emerald cut diamond looks amazing against platinum, white gold and rose gold. If you want a solitaire emerald engagement ring that turns heads, or an emerald shoulder stone engagement ring - you'll find the perfect diamond ring for your partner. All of our diamonds and gemstones are ethically sourced and cut with the 4Cs at the forefront: Cut, Clarity, Colour & Carat.
Named after the technique that was initially used to cut beautiful emeralds, this style of engagement ring was designed with the focus on the diamond being at the forefront. If you want an engagement ring with endless shine, then this modern take on a traditional engagement ring is the perfect way to go. When you buy your emerald cut diamond engagement ring from Shining Diamonds, you can rest assured knowing that your beautiful diamond will sparkle with elegance and beauty. Visit our store in Hatton Garden, London or request a free sample today.


text:
Category Archives: Henry Lamb
"..an enriching local institution.." Reflections by Jack Doveton
Posted by Salisbury Museum in ArchFest, Education, schools, children, Henry Lamb, Interns, placements, work experience, Special Events
Art, Discovery Days, Museum, Volunteers
My name is Jack Doveton, I am 16 years old and I am starting Sixth Form at Bishop Wordsworth's School this September. Having finished taking my GCSEs in the middle of last June, I found myself with a lot of time on my hands. And in order to put this time to the best use, voluntary work at the Salisbury Museum seemed like a brilliant thing to do. After all, I am studying history at Sixth Form and possibly at university so the museum seemed like a particularly fitting place.
I have lived in Salisbury for most of my life so far, and so I had already been to the museum a few times in the past: in Year 7 for example I visited with my art class from school one afternoon to sketch artefacts. Aside from spending a small period of time as a school librarian, this was to be my very first work experience, so naturally I was excited yet slightly apprehensive before starting.
My placement, albeit short, entailed voluntary work at two of the museum's key summer events: the Festival of Archaeology and the Discovery Days. So, after a brief visit and a string of emails, I found myself in the midst of the hustle and bustle which was the festival. As I put a bright orange lanyard around my neck, I realised that for the first time, I had responsibility. When the visitors were in doubt about something, they might turn to me, and so I had to act accordingly. Though in spite of being new to voluntary work, both afternoons of the festival turned out to be fantastic. I was very fortunate to be placed helping out with the running of the Lecture Hall, working with a friendly team of volunteers and even being able to watch the fascinating lectures. They've given me an unexpected, but nonetheless welcome, understanding of archaeological processes in the context of projects – from the restoration of the Mary Rose to Phil Harding's excavation at the museum which have illustrated to myself (along with many others) just how interesting a subject it is. However, it wasn't long until I was walking home on Sunday from the festival, and it felt as though the event had flown by. Soon after I went off on holiday, but when I arrived home it was time to go back for the Discovery Days.
In all, I was only able to help on the last two of the Discovery Days, but these events were, again, a new and enriching experience for me. As a young child, I had participated in many activity days like this, but this was my first experience helping to run such an event. On my first week, the theme was vegetable printing in a style resembling the work of Henry Lamb – but when over 30 children turned up that afternoon, mess was inevitably going to be produced. Despite that, I was once again placed with a friendly group of fellow volunteers and the event was fun to help with. The output of artwork was vast: vegetables of all shapes and sizes (and sometimes hands and feet) were used to make prints in all manners of styles.
In the following week, we were making collage portraits. That week, the emphasis seemed to be more upon quality than quantity, and although the turnout was slightly smaller, the children who were present rose to the challenge and used the watercolours, graphite, paper, pens and pencils to produce masterpieces.
I produced some Henry Lamb-inspired portraits of my own, which I was rather proud of, despite myself being somewhat so terrible at art, particularly drawing faces!
Yet again, I immensely enjoyed helping at an event. This recent work experience has certainly broadened my horizons and I hope to continue to volunteer at the museum: an enriching local institution for everyone.
Thank you Jack…
Please sign up
Posted by Salisbury Museum in Collections, Education, schools, children, Exhibitions, Henry Lamb, Interns, placements, work experience, Wessex Partnership
Cafe, Museum, Visitors, Volunteering
One of the best museums in the country
You will have heard that we have a plan to leaflet the public during the school holidays. A timetable has gone up in the Volunteer cloakroom and we need Volunteers to join in please.
The plan is for a Volunteer to be at St Ann's Gate and another at the High Street Gate every day between Monday 30 July and Friday 31 August. There are two shifts, one from about 11am – noon, the other from about 1.30pm – 2.30pm (a little earlier or later is fine).
The timetable is in the Volunteer cloakroom. Please sign up if you can spare an hour.
YOU DO NOT NEED TO SIGN IN AT RECEPTION, just take a basket of flyers (they are rolled like little scrolls) and make sure you tell your customers that they offer a free drink at the cafe. Lucky recipients may even get an offer of a glass of wine or cream tea!
Please return basket and badge at the end of your shift.
Our successful Festival of Archaeology shows we can beat Salisbury's bad patch, if we work at it.
HENRY LAMB'S PAINTING 'AN INSTRUCTOR…' by Volunteer Alan Crooks
Posted by Salisbury Museum in Exhibitions, Henry Lamb
Museum, volunteer
Henry Lamb's painting: 'An Instructor of the Royal Air Force Co-operation School' (Imperial War Museum)
As a person with a long-standing interest in aviation, my favourite pieces in this exhibition are those created when Lamb was attached to the School of Army Cooperation at Old Sarum.
I was particularly struck by the oil on canvas painting entitled 'An Instructor of the Royal Air Force Co-operation School, 1941' .
A check of the Imperial War Museum's website (from whom the painting has been loaned) describes the painting as a "portrait of a young man in RAF uniform and a sheepskin jacket" and identifies the sitter to be Flight Lieutenant Caradoc Bowen-Davies who was killed aged 24 in a flying accident at R.A.F. Old Sarum on 22nd September, 1941. Henry Lamb subsequently wrote to the War Artists Advisory Committee, "I am terribly dashed by the death this week of that delightful airman […] C. Bowen-Davies. He was night flying. I had palled up with him considerably: he used to come often with his charming young wife".
An online Bowen-Davies family tree shows that Caradoc's wife was Betty Nash, and they had a daughter, Cara Patricia, who was born in 1942, i.e. after Caradoc's death. His parents were Elystan (1883-1947) and Katie Guinlan.
Caradoc Bowen-Davies had been a pupil at Oundle School, an independent school in Peterborough, as he features in the Old Oundelian Memorials on the school heritage website.
Oundle School Memorial to Caradoc Bowen-Davies
Flight Lieutenant Caradoc Bowen-Davies' name is recorded in Flight Magazine (November 13, 1941) under the heading, 'Killed on Active Service'. This was Air Ministry Casualty Communique 89.
It appears that Flight Lieutenant Bowen-Davies (Service No. 33302) may also have been involved in an earlier incident as a thread on a Royal Air Force Commands website (thread concerning 'Unaccounted Airmen') states:
"F/Lt (Pilot) Caradoc BOWEN-DAVIES – 33302 – the Graves Registration Report Form gives his unit as 41 O.T.U.
The Western Mail of June 7th 1940 had reported the following:
Reported Missing: Now in Hospital
Flight Lieut. Caradoc Bowen-Davies, Cardiff, who a few days ago was reported missing, is in a South of England hospital suffering from wounds to both arms and legs."
Flight Lieutenant Caradoc Bowen-Davies is recorded as being Buried/Commemorated in St Andrews Churchyard, Laverstock, as listed on CWGC (the Commonwealth War Graves Commission).
Here in Force
Posted by Salisbury Museum in Henry Lamb, Special Events
Museum, Visitors, Volunteers
The World War II Dorset Regiment Camp, Colin Murray in command, visited at the weekend, and we look forward to meeting them again at the Festival of Archaeology, 21 and 22 July.
A superb collection of WWII militaria, including an array of weaponry, was enjoyed by many, including Volunteers Sandra Gale, Chris Frost and Mags Kirby. Soldier Chris Penny watches carefully!
Volunteer Ann Hopkins was painting, inspired by Henry Lamb, using pen and water colour to quickly capture the activities of those around her. Watching her at work was a real treat.
Also in attendance was AFPU, Army Film and Photographic Unit re-enactors whose collection based on the recording work of the Army in WWII was particularly interesting.
Posted by Salisbury Museum in Collections, Exhibitions, Henry Lamb
Australia, Collections, Museum, Salisbury, Volunteers
Henry Lamb: Out of the Shadows 26 May – 30 September
My notes from the very interesting Volunteer briefing…..
I was one of a majority at a recent briefing led by Adrian Green, our Director, who, when he asked if we had heard of Henry Lamb, had to admit: "No!"
Lamb's work was last exhibited in Manchester in the 1980s. Thirty years. Adrian argued it was time Lamb came out of the shadows.
Born in 1883 in Adelaide, Australia, of English parents who returned to Manchester soon after his birth, Henry Lamb was expected to follow his father into an academic life. He briefly studied medicine but came under the influence of Augustus John and others in that 'bohemian' group and turned to painting full time. He married 'Euphemia' (not her real name) in 1906 and moved to London. This was a stormy relationship, however, and they parted, she becoming companion to Augustus John and various others in the meantime.
Lamb, and some others in the circle, later went to Paris and eventually to Brittany. There, Lamb became friends with a family, the Favennecs, and painted 'the local colour' for some time. From this period and place we see produced 'Death of a Peasant' 1911, The Lady with Lizards' 1911, 'Baker's Wife' 1911, 'Breton Boy' and sketches of the family. We don't always know from Lamb's portraits who the sitters were, but the particularly poignant 'Death of a Peasant' which is literally that – a portrait of a dying woman – is thought to be grandmere Favennec.
He had a diverse style, some of which was fairly experimental, and there was particularly experimental work in 1912. 'Study for Phantasy' is reminiscent of some of Picasso's paintings.
Then there came the Donegal period, drawings of fisher-folk, and so on. 'Gola Island' is a good example. The 'artificial', graphic element in these paintings is deliberate. But in many ways it is his war work which is most striking. A 1914 self-portrait is telling as he had just signed up as a military doctor. He survived, and was awarded the MC towards the end of the war.
His 2nd WW portraits of 'other ranks' are the most evocative though he did many more formal portraits of officers also, as required. Some of the paintings are very unusual, being of simple activities, eg squaddies crawling under trucks.
The paintings of Poole come from the inter war years when he was recovering from a gas attack and mental health problems after the 1st WW. These tend to be gritty, urban scenes but with a certain charm and certainly interest.
More portraits of upper crust types (friends) and other artists and their families followed, eg Evelyn Waugh (see the front of museum flyer), Romilly John.
He lived his final years in Coombe Bissett which is the museum's connection with him, and had married into the Packenham family (Pansy, second wife) in the 1920s. From his time in Wiltshire there are paintings of the landscape in the area, some realistic, some contrived. Some later paintings were, interestingly, re-workings of much earlier versions.
He died in 1960.
There will be about 90 Henry Lamb paintings on display in the museum, and a new publication to buy. Make sure you come and see it all!


text:
Glen Wallace is a Northern Irish actor, known for portraying the role of Malachy Fisher on the Channel 4 soap opera Hollyoaks.

Career
In 2007, Wallace made his debut appearance in the Channel 4 soap opera Hollyoaks as Malachy Fisher. After a three-episode appearance, he was contracted as a series regular. In 2010, Wallace was nominated for Best Actor and Best Dramatic Performance at the British Soap Awards. Wallace quit Hollyoaks later in 2010, and made his final appearance on 18 November 2010, where his character Malachy died from serious injuries after an explosion from the local restaurant. Wallace appeared in two episodes of Holby City as Andy Bryan in August 2011. From 2014 to 2016, he appeared in the BBC soap opera EastEnders as DS Cameron Bryant. In December 2016, Wallace joined the Scottish soap opera River City as series regular Grieg Roth, a role he played until 2018. In 2021, he joined the cast of the ITV soap opera Coronation Street as Lucas. He has also been in Jamie Johnson since the show moved production to Wales in series 4 when he first joined playing as Duncan Jones, the manager of the football club called Phoenix FC.

Awards and nominations

References

External links

21st-century male actors from Northern Ireland
Living people
Male film actors from Northern Ireland
Male television actors from Northern Ireland
Male soap opera actors from Northern Ireland
People from Ballymena
Year of birth missing (living people)


text:
Q: ASP.NET Core 3.1 with google signin, nginx reverse proxy and docker Resource temporarily unavailable I'm building an ASP.NET Core 3.1 web application with the goal to be hosted on an AWS EC2 instance.
My setup is as follows:

*

*EC2 instance running Debian 10

*Nginx reverse proxy

*certbot for ssl certificate

*Docker running in swarm mode

*ASP.NET Core 3.1 web application (docker)

*SQL Server database (docker)

The web application and SQL Server database are both running in containers and are described in a docker-compose.yml file:
version: '3.5'

services:
  db:
    image: mcr.microsoft.com/mssql/server:2017-latest
    deploy:
      replicas: 1
    environment:
      - ACCEPT_EULA=y
      - SA_PASSWORD=${SA_PASSWORD}
    ports:
      - 1433:1433
    volumes:
      -${MSSQL_STORAGE}:/var/opt/mssql

  ui:
    image: ${PRIVATE_DOCKER_REGISTRY}/${APPLICATION_NAME}/${SERVICE}:${TAG}
    deploy:
      replicas: 1
    ports:
    - 5000:80
    environment:
      ASPNETCORE_ENVIRONMENT: Development
      GOOGLE_CLIENT_ID: ${GOOGLE_CLIENT_ID}
      GOOGLE_SECRET_ID: ${GOOGLE_SECRET_ID}
      DB_HOST: db
      DB_NAME: ${DB_NAME}
      DB_PASSWORD: ${DB_PASSWORD}
      DB_USER: ${DB_USER}

My application when running in local debug mode and in a local docker swarm runs as expected (accessed with http://localhost:5000). I'm able to log in with my google authentication and I'm redirected to the correct page after login.
When I deploy to the ec2 instance however I'm unable to login.
docker service logs -tf {service_name} I see the following:

Microsoft.AspNetCore.Authentication.Google.GoogleHandler[4]
Error from RemoteAuthentication: Resource temporarily unavailable.
fail:
Microsoft.AspNetCore.Diagnostics.DeveloperExceptionPageMiddleware[1]
An unhandled exception has occurred while executing the request.
System.Exception: An error was encountered while handling the remote login.
System.Net.Http.HttpRequestException: Resource temporarily unavailable
System.Net.Sockets.SocketException (11): Resource temporarily unavailable
at System.Net.Http.ConnectHelper.ConnectAsync(String host, Int32 port, CancellationToken cancellationToken)
--- End of inner exception stack trace ---
at System.Net.Http.ConnectHelper.ConnectAsync(String host, Int32 port, CancellationToken cancellationToken)
at System.Net.Http.HttpConnectionPool.ConnectAsync(HttpRequestMessage request, Boolean allowHttp2, CancellationToken cancellationToken)
at System.Net.Http.HttpConnectionPool.CreateHttp11ConnectionAsync(HttpRequestMessage request, CancellationToken cancellationToken)
at System.Net.Http.HttpConnectionPool.GetHttpConnectionAsync(HttpRequestMessage request, CancellationToken cancellationToken)
at System.Net.Http.HttpConnectionPool.SendWithRetryAsync(HttpRequestMessage request, Boolean doRequestAuth, CancellationToken cancellationToken)
at System.Net.Http.RedirectHandler.SendAsync(HttpRequestMessage request, CancellationToken cancellationToken)
at System.Net.Http.DiagnosticsHandler.SendAsync(HttpRequestMessage request, CancellationToken cancellationToken)
at System.Net.Http.HttpClient.FinishSendAsyncBuffered(Task1 sendTask, HttpRequestMessage request, CancellationTokenSource cts, Boolean disposeCts)   at Microsoft.AspNetCore.Authentication.OAuth.OAuthHandler1.ExchangeCodeAsync(OAuthCodeExchangeContext context)
at Microsoft.AspNetCore.Authentication.OAuth.OAuthHandler1.HandleRemoteAuthenticateAsync()   at Microsoft.AspNetCore.Authentication.RemoteAuthenticationHandler1.HandleRequestAsync()
--- End of inner exception stack trace ---
at Microsoft.AspNetCore.Authentication.RemoteAuthenticationHandler`1.HandleRequestAsync()
at Microsoft.AspNetCore.Authentication.AuthenticationMiddleware.Invoke(HttpContext context)
at Microsoft.AspNetCore.Diagnostics.EntityFrameworkCore.MigrationsEndPointMiddleware.Invoke(HttpContext context)
at Microsoft.AspNetCore.Diagnostics.EntityFrameworkCore.DatabaseErrorPageMiddleware.Invoke(HttpContext httpContext)
at Microsoft.AspNetCore.Diagnostics.EntityFrameworkCore.DatabaseErrorPageMiddleware.Invoke(HttpContext httpContext)
at Microsoft.AspNetCore.Diagnostics.DeveloperExceptionPageMiddleware.Invoke(HttpContext context)

My nginx configuration is as follows:
server {
        server_name mydomain.com;

        location / {
                proxy_pass         http://127.0.0.1:5000;
                proxy_http_version 1.1;
                proxy_set_header   Upgrade $http_upgrade;
                proxy_set_header   Connection keep-alive;
                proxy_set_header   Host $host;
                proxy_cache_bypass $http_upgrade;
                proxy_set_header   X-Forwarded-For $proxy_add_x_forwarded_for;
                proxy_set_header   X-Forwarded-Proto $scheme;
        }

    listen 443 ssl; # managed by Certbot
    ssl_certificate /etc/letsencrypt/live/mydomain.com/fullchain.pem; # managed by Certbot
    ssl_certificate_key /etc/letsencrypt/live/mydomain.com/privkey.pem; # managed by Certbot
    include /etc/letsencrypt/options-ssl-nginx.conf; # managed by Certbot
    ssl_dhparam /etc/letsencrypt/ssl-dhparams.pem; # managed by Certbot

}

I'm thinking maybe the reverse proxy configuration is incorrect somehow? Incorrect headers maybe or something else?

A: A common problem with Google Auth when your app is behind a reverse proxy is that the URL doesn't match the URL/domain name you supplied in the Google Developers Console. When using a reverse proxy, you are changing the request URL from mydomain.com to http://127.0.0.1:5000.
Adding the ForwardedHeaders in your code should fix this so the request keeps the original URL as well as the Forwarded Url

      // This method gets called by the runtime. Use this method to configure the HTTP request pipeline.
        public void Configure(IApplicationBuilder app, IWebHostEnvironment env)
        {
            app.UseForwardedHeaders(new ForwardedHeadersOptions
            {
                ForwardedHeaders = ForwardedHeaders.XForwardedProto
            });

           // other Configure code here


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text:
Aesthetica Art Prize Interview with Winner Poppy Whatmore
The Aesthetica Art Prize is a celebration of excellence in art from across the world and offers artists the opportunity to showcase their work to wider audiences and further their involvement in the international art world. Previous finalists include Julia Vogl, who was shortlisted for New Sensations – Saatchi Gallery and Channel 4′s Prize – and has exhibited at Zabludowicz Collection; Marcus Jansen, a leading modern expressionist who joined a legacy of artists by featuring in Absolut Vodka's artistic campaigns, and Bernat Millet, also shortlisted for National Portrait Gallery's Taylor Wessing Photographic Portrait Prize. The 100 long-listed artists are published in the Aesthetica Art Prize Annual and the short-listed artists are currently exhibited at York St Mary's until 28 April. Aesthetica speaks to the winner of the student prize, Poppy Whatmore about her approach to sculpture and her involvement in the art prize.
A: You work with sculpture, how do you find this medium is able to express your artistic vision?
PW: The thing I love about sculpture is its immediacy – the fact that you can pick any idea in your head; an experience, a feeling, or a surprising everyday image. Sometimes even an intimate feeling excites me. Sometimes it is in the making that I finally see what I want to say, or the material directs me towards a dialogue. I may start with one "artistic vision" or idea only to learn that what I wanted to say was entirely different. I enjoy the process that is always an adventure, an exploration of the self and the world that surrounds me.
I find sculpture a playful medium where you can create your own rules, boundaries, limitations, methodology and make your own decisions. The physical process of sculpture is important for me to express my imagination into reality – carving out and configuring ideas in space. Sculpture for me is a catalyst for extending everyday experiences into material form.
A: How do you begin a sculpture?
PW: It might be an image or form that I see in an everyday object, or it could be a strong feeling that I want to express externally, a personal language or experience. Sometimes, I do not always know what I want to express and while I am working with materials or objects the expression or form appears. Sculpture is the one form that I feel I can express myself honestly. I enjoy the fact that I feel that I am not always in control. This forces a rawness and an honesty in expression. Sometimes the work comes quickly, other times it is a matter of paring down my materials.
For inspiration, I read literature avidly. Sense of narrative and characters of imagination imbue the work. Having supportive friends to bounce off ideas and show sketch ideas can help start a work too.
A: Do you work with any other artistic medium?
PW: As part of the artistic process I do work with other forms. For instance I write lyrics or short poetic lines that can act as a starting point. I am also inspired by literature, in particular characterization and the use of language to create imaginative narratives.
As part of my practice I sometimes make sketch models for ideas, particularly when planning large-scale sculptures, such as The Family Meal, (exhibited at St. Mary's Church York as part of the Aesthetica Prize). In preparation of works, I draw layout plans and three-dimensional drawings. When I have made enough decisions that fit the space and collected enough materials I then enjoy working intuitively, from one idea to another, aiming to align ideas with material forms.
Photography is also important for my practice. Some of the work is fragile and temporary in its existence. In these cases the photograph is the final outcome of the work, owing to the precarious nature of the materials and environment.
A: How does it feel to win the Aesthetica Art Prize?
PW: Winning the Aesthetica Art Prize was an amazing surprise. It felt like all the hard work and preparation for the application and show had paid off. Recognition and financial support will help my future career as a professional artist. Having your work acknowledged by prodigious judges; Frances Guy, Head of Collection and Exhibitions at the Hepworth Wakefield; Kate MccGwire, internationally renowned British Sculptor and Cherie Federico, Director at Aesthetica Magazine gives me belief and confidence in my artwork.
Exhibiting the architectural large-scale work, The Family Meal, in St. Mary's Church has opened up the work to an incredible site. The medieval backdrop of York St Mary's provides a unique setting for the exhibition, creating a dialogue between the historic and the contemporary. It is a privilege to be part of the first major exhibition of the Aesthetica Art Prize: all in all being part of it will be a memorable experience.
Finally, the exhibition gave me an opportunity to exhibit in a professional setting. Along with the help of experienced and patient technicians, Laura Turner, the curator of the York Art Gallery, organized the preparations for the install and chose a great place for the work in the church. The friendly Aesthetica Art Magazine team supported the publicity as well as the preparations for the show. It is an honour to exhibit in the same space as Cornelia Parker and Bruce Nauman, both artists whom I admire.
A: Which artists have inspired you?
PW: Sarah Lucas has inspired me with the use of everyday materials and raw humour in her work. Another female artist who has been an influence is Jessica Stockholder. I appreciate her investigations on the form in space, her bias towards physicality and a materialist's understanding of artistic modernity. Stockholder also introduces methods of re-appropriating domestic objects into an artist's context, using the architecture of the space as a canvas.
The do hit chair of Droog Design characterizes domestic everyday forms and offers a more humanist approach to functional objects. Bruce Nauman's concepts inspire my practice, as my work comes out of frustration about the human condition. And about how people refuse to understand other people. And about how people can be cruel to each other. In Nauman's work, Incident (1973) the viewer is presented with a hypnotic repetition of pointlessly cruel and destructive violence, which is both seductive and alienating. I agree with Nauman's statement: "It's not that I think I can change that, but it's just such a frustrating part of human history."
I like Gordon Matta-Clark's method of breaking down and opening up domestic structures. I have learnt from his works that, "A simple cut or series of cuts acts as a powerful device able to redefine spatial situations and structural components."
A: What do you have planned in the future?
PW: I am really keen to continue exploring the human condition: and I am considering doing a PHD in Fine Art Practice. I also have a few exhibitions and projects planned for the near future. I will explore the notion of the Domestic at the Collyer Bristow Gallery, curated by Day and Gluckman. The exhibition will run from 20th June until October 3rd 2013. I am also working on a collaborative project with David Ben White and Fay Nicholson in London: Structures and Aspirations
I will exhibit in Part One (OVERT/exchange) of Exchange Project at APT Gallery, curated by Claire Undy. The theme of the exhibition is, "Artworks that convey a direct message: the visceral experience of an action on the body/ the weight and materiality of an object/language spoken or written/ an atmosphere conveyed." Part One of the show will run from 26 July until 25 August.
In Manchester, I will work with curator Elizabeth Wewiora and Matthew Pendergast and we hope to confirm Islington Mill's main gallery space for the show in early 2014. The idea would be to work on developing a large structure which would fill the gallery space entirely – housing other people's collections within the space: a hoarders paradise.
Poppy's work is on display at the Aesthetica Art Prize Exhibition at York St Mary's, York until 28 April. Information on her work is also available to purchase in the Aesthetica Art Prize Anthology.
1. Poppy Whatmore, The Nostalgic Act of a Family Meal, 1982-2012, courtesy of Aesthetica.
Celebrating Short Film, Short & Sweet, Roxy Bar & Screen, London
Short & Sweet is a travelling short-film series: an international community of film lovers who father for lively events of short films and socialising. This winter Short & Sweet returns to London.
Review of Chris Burden: Extreme Measures, New Museum, New York
Chris Burden is a master of many modes of expression. But his capacity with design, architecture and engineering dominates his current exhibition, Extreme Measures, at the New Museum.
Review: The Diversity of Berlin's International Art Scene, Based in Berlin, Various Venues.
The Aesthetica Art Prize is a celebration of excellence in art from across the world. We speak to winner Poppy Whatmore about her approach to sculpture and her involvement in the Prize.


If some color or size difference, please kindly understand.
2.The packing weight and size will be base on actual parcel recieved.
Love it, love it, love it!!! Lieferzeit mehr als 3 Wochen, aber es ist wunderschön! Nicht zu groß und nicht zu klein, sowohl Ohrringe als auch Kette. Sehr empfehlenswert!
Beautiful necklace! Was expecting something very cheap looking but it's beautiful! I'm very impressed. Shipping was very fast too. thank you!
I'm so happy with my perches. The necklace exactly like the picture. a little smaller than my expectation but overall I like it.


Image Removed Image Added Denotes which collections you've selected.
The zoom slider allows you to manually move the zoom bar to the desired zoom level, or, click on the + and - to zoom in and out.
Image Removed Image Added Zoom in and out of the pages.
Image Removed Image Added Select either the one page, or two page view.
Image Removed Image Added Search within the BookReader object and navigate through pages.
Image Removed Image Added Image Removed Image Added Play and pause the automatic turning of pages.
Image Removed Image Added View the pages of a BookReader object as thumbnails.
Image Removed Image Added View a BookReader object in the Full View.
Image Removed Image Added Jump to the first slide or view the previous slide.
Image Removed Image Added Jump to the last slide or view the next slide.


Evidently, they thought Wallach would swing at fast balls high and inside. He didn't.
Velasquez with five strong innings so far. Looking pretty good.
I'd like to see the Phillies score some more runs, just in case.
Bryce Harper doubles (4) on a sharp line drive to center fielder Lewis Brinson.
Rhys Hoskins singles on a sharp line drive to left fielder Curtis Granderson. Bryce Harper out at home on the throw, left fielder Curtis Granderson to shortstop JT Riddle to catcher Chad Wallach. Rhys Hoskins to 2nd.
Foolish to try to score there. I thought surely they would hold him since the left fielder had the ball as Harper got to third. Of course, there is always a chance the throws will be off, but it only took routine play to get him at the plate.
Jose Urena strikes out on a missed bunt.
Curtis Granderson lines out to left fielder Andrew McCutchen.
Brian Anderson homers (2) on a fly ball to left center field.
Neil Walker singles on a line drive to right fielder Bryce Harper.
Starlin Castro called out on strikes.
Glad Vince was able to get that K to end the sixth. Might be time to go to the bullpen. Tough call since you never know what to expect, but VV is now going through the order for the third time. Guess I'm glad I don't have to make that call. Sure would help to score a couple runs here.
Scott Kingery singles on a line drive to center fielder Lewis Brinson.
I think the bigger issue is the lack of runs. You kinda have to pinch hit for him (depending on the situation).
Third strike call on Hernandez was a close pitch but as they used to say, too close to take with two strikes.
Kingery with another hit. I hope we are seeing him becoming a solid major league hitter.
Andrew Knapp grounds into a force out, third baseman Brian Anderson to shortstop JT Riddle. Scott Kingery out at 2nd. Andrew Knapp to 1st.
Offensive Substitution: Pinch-hitter Nick Williams replaces Vince Velasquez.
I guess Mattingly was complaining about Kingery's slide into second, but it was directly into the center of the base, so nothing wrong with that. Knapp clearly beat the throw to first.
Williams to pinch hit, so Velasquez done for the day. Solid six inning quality start.
Took a called third strike that wasn't close -- to being a ball. Fast ball well in the strike zone. Not a good at bat.


Khlongdogs is not an open shelter but a resort for dogs and cats who lived on the streets of Bangkok. We believe that these animals suffered enough and now deserve a pleasant and relaxing environment which allows them to enjoy their lives to the fullest. All animals living in Khlongdogs are members for life and will have their place, care and support until they once move on to a better world.
There are two bungalows and one separate room for the dogs which provide sufficient space to house the three main canine teams on the campus. In addition we also have in-house space equipped for intensive and special care for dogs who are injured, sick or handicapped. All rooms are equipped with suitable ventilation and sleeping places. The bungalows also have professional roof insulation to avoid any overheating of the rooms during daytime. All bungalows and rooms are open during the day and allow the dogs to chose between indoor or outdoor facilities. In order to provide the dogs with a clean environment all rooms and foot ways are tiled and can be easily cleaned up. All dogs will sleep indoors during nighttime in order to protect them from mosquitoes and to provide them shelter during the rainy season.
The spacious garden is shared by all teams and provides open areas to play as well as large and small trees to enjoy the shadow or find a suitable hiding place. The ground is soil and sand which allows the dogs to dig holes if they feel like it. The entire dog area is surrounded by a wall to avoid that the dogs get confused or irritated by cars, people or other animals.
All cats exclusively live indoors and occupy more or less the entire second floor of the main residential building. The stairway is equipped with additional levels to allow the cats to jump up and down the different levels, sleep on a certain level and most importantly don't fall down the stairway. The corridor provides several empty shelves and again different levels for cats to climb up to and play at will. Additional sofas, chairs and cupboards are suitable hiding places. All cats also have free access to the adjacent rooms and can freely use the rooms. Cat quarters provide dedicated areas for food and others for cat toilet businesses.
Animals with special needs will be provided with playpens or other special equipment to meet their needs appropriately. The ground floor of the residential building serves as intensive care unit and also houses dogs with psychological problems, acute illnesses, special needs and of course handicapped and paraplegic dogs. We are fully equipped with walking bags, wheel chairs and other special needs equipments.
All dog and cat quarters can be monitored with a professional CCTV system and allow a complete overview of all occupied areas.


Some time ago, a friend of mine sent me a picture of a walking suit, dated 1893, in the collection of the Metropolitan Museum of Art, and informed me that I needed it. I agreed. So, I set out to copy the overall shape and feel as closely as possible, using similar materials, colors, etc.
The stripes have always felt like bee stripes, a veritable "wasp-waist". I was able to find additional photos of the original on the Met website, and used them extensively to mentally deconstruct the original and draft the pattern for it.
For the bonnet, I was inspired by a Victorian bonnet class I took this summer, some lovely fuschia wool flowers I found, some 1890's millinery bees that came through my Facebook feed, and of course the Foundations Revealed Contest theme.
The most difficult parts of the walking suit itself were drafting the bodice, and carefully sewing the bee striping soutache. The center front opening on the original seemed rather clunky and was possibly altered later, so I changed it to a plastron-type opening to give me a smoother front. The suit skirt, upper bodice, and sleeves are an interestingly textured wool, and cotton velveteen forms the layer under the soutache. I used rayon soutache as it looks more like the old silk soutache, and is easier to handle. There was some trial and error in the beginning to stitch all the soutache, and I eventually settled on using a regular presser foot on my machine, and relying on my hem gauge to keep it properly spaced. On mine, as the original, the soutache stripes alternate on the side seams, and do not match. This eliminates bulk at the seam, and allows it to press flat nicely.
The skirt and bodice are both lined with drab cotton sateen, and the skirt is interlined near the hem with hair canvas to help it hold its shape.
The bonnet is made of a simple 1890's wire and buckram bonnet frame, and is covered with leftover cotton velveteen from the walking suit. It is trimmed with purchased wool flowers, and millinery bees I made myself. The bees have a needle felted wool body, which is embroidered with vintage buttonhole silk and black faceted jet beads for the eyes. The wings are trimmed down feathers from my mom's barnyard geese, painted to give them the lacing of bees' wings. The bonnet is lined with cotton broadcloth, and ties with a fuschia ribbon.
Getting the bonnet done in time was a little all-consuming, but I enjoyed it. I think everyone should compete so we can see the amazing talent that is out there!
Stouache is one of my all time favourite things, I love how you've used it in this piece!
That soutache work is mind blowing!
I really admire the work you put into the soutache! I don't know if i would have the patience for it!
I love the pattern you created with the soutache. It looks great from a distance and probably even more amazing in person!
Gorgeous! I love the soutache, and the bonnet is lovely!
The soutache details are spectacular! I love the whole ensemble.
Beautiful silhouette and stunning detail work, Kelsey!
This is such a beautiful ensemble and the execution is perfection.
You look fabulous! This dress turned out so well, your soutache work is beautiful!
Soutache love! Thank you so much for giving us a historical costume entry Kelsey, it's so beautiful! Such 1890s style!
So lovely! And this soutache work is absolutely great!
Thank-you all for your kind comments on my entry! This is one of my favorite projects ever, and I am looking forward to hopefully competing again next year!


Roger Moore, actor in seven James Bond movies, died at 89.
For many reading this, James Bond is Daniel Craig or Sean Connery (only because dad talks about him all the time), but Roger Moore was arguably the suavest 007 ever to hit the silver screen.
He was quick, funny, smooth and stylish, as any Bond should be — but there was something about him that just stuck better than some of the others. After taking over for Connery in 1973 with Live and Let Die, Moore went on to star in six more Bond films up until 1985, making him the longest serving Bond in history (Craig will only appear in five). 1977's The Spy Who Loved Me is often in the discussion as the best Bond movie of all time.
On Tuesday morning, Moore's kids announced that the actor "passed away today in Switzerland after a short but brave battle with cancer."
The news was met with shock, sadness and an outpouring of tributes on Twitter.
#RogerMoore - what a loss. He was a gloriously stylish icon of my youth. His left eye-brow should receive a posthumous 'Oscar'.
In an interview with TIME, Moore said he doesn't believe he's the best Bond. Rather, he put Daniel Craig and Connery above him.
But Moore isn't only being remembered for rocking the pistol, bowtie and bespoke suit. In his later years, Moore was an outstanding force with the UNICEF charity, and also was a primary voice against animal cruelty.
RIP Roger Moore — you will be missed.
Is Moore the suavest Bond?
Moore said people often called him Mr. Bond when he went out, and he didn't mind one bit.


Passed away at the Peterborough Regional Health Centre on Wednesday, February 6, 2019. Steve Metrow of Apsley, in his 85thyear. Beloved husband and dear friend of Marney for 58 years. Cherished father of Anne Gallant (Gord), Jim Metrow (Melanie), and Katherine Borowski (Ralf). Grandpa will be missed by Claire (Sasha), Ethan (Emily), Curtis (Hanna), Colin (Danielle), Jordan and Hailey. Survived by his nieces and nephews. Predeceased by his sister Mary Crumb and brothers Mike Metrow and Joe Metrow. A funeral service will be held on Monday, February 11, 2019 at 2:00 pm at Trinity United Church, 80 Burleigh Street, Apsley with a visitation to commence one-hour prior. A reception will follow in the church hall. As expressions of sympathy, memorial donations may be made to Sleeping Children of the World, Juvenile Diabetes Research Foundation or a charity of your choice, and may be made by contacting THE HENDREN FUNERAL HOMES, LAKEFIELD CHAPEL at www.hendrenfuneralhome.com or by calling (705) 652-3355.