text:
Pompeii All Destinations
Explore Pompeii
Pompeii Tours
All Pompeii Tours
Temple of Apollo (Tempio di Apollo) Tours & Tickets
Pompeii Archaeological Site Tours & Tickets
See Igor Mitoraj Sculptures at Pompeii
Top Activities on the Ground in Pompeii
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26 results | All Pompeii Tours
Pompeii Small Group tour with an Archaeologist
Explore the ancient ruins of Pompeii on this small-group tour. Enjoy skip-the-line access to the ruins and discover what life was like before the catastrophic eruption of Mount Vesuvius in AD 79. Follow your archaeologist guide around the western part of the town and see important buildings and structures such as the Basilica, the Forum, the thermal baths, a brothel, some residential homes, and more.
Pompei Ruins & Horseback riding on Vesuvius with Lunch!
Experience both the power and beauty of Mount Vesuvius with this exclusive experience that combines a guided tour of the ruins of Pompeii with a wine-tasting lunch and guided horseback ride through Mt. Vesuvius National park. Delve into ancient Roman history at Pompeii with an archaeologist guide, sample wines produced on the mountain slopes, and explore the volcanic countryside at more than 1,600 feet above sea level.
The Best of Pompeii Small Group Tour - Unveiling The Buried City
Skip the lines to enter Pompeii on a 3-hour tour that take you through the ancient city that was decimated by the explosion of Mt Vesuvius thousands of years ago. Follow your knowledgeable guide through the UNESCO World Heritage site to see the amazing ruins of ancient shops, temples, homes and more. Wrap up with a walk along the city walls for sweeping views of Naples and Capri. Your small-group tour is limited to 15 people in order to ensure a more personalized experience.
Pompeii guided walking tour ticket included
A guided walking tour of the archaeological site of Pompeii introduces you to the history and remnants of the ancient Roman city, which was buried in volcanic ash after the eruption of Mount Vesuvius in 79 AD. You'll learn how the residents were frozen in time, unaware of the danger, and see ruins such as the Forum, Thermal Baths, and preserved frescoes.
Pompeii Archaeological Site Walking Tour
Due to its massive size, tackling Pompeii on your own can be very tricky, even if you have a map. This Pompeii archaeological site walking tour is led by a guide who knows the grounds well so you won't get lost. Plus, your guide knows the fastest ways to see the most important areas and tells you historical facts as you walk.
Skip-the-line Small-Group Pompeii Tour with a Local Archaeology Expert Guide
Explore the fascinating ancient city of Pompeii with an expert guide on this guided tour. Walk through the cobblestone streets to see the ruins of the forum, bathhouse, individual homes, and even a brothel. Gain fascinating insight into the tragedy of the city from the AD 79 eruption of Mount Vesuvius from your knowledgable guide.
Pompeii Archeological Site Fast Track Entry Ticket
Visit one of the most beautiful UNESCO World Heritage Site. Attracting 2 million tourists per year, Pompeii is one of the most important archeological sites in the world. Discover the ruins of the Roman city. See ancient ruins, destroyed by the eruption of Vesuvius in 79 AD, leaving the city buried under mountains of volcanic ash. Highlights include the Roman Amphitheater, small theater, and public gymnasium. See places where the Romans had their life and held banquets. Discover frescoes frozen in time, and poignant casts of citizens and their pets.
Pompeii Wine Tasting
Get to know the wines produced from Pompeii's landscape on this excursion to the Bosco de Medici Winery with a private guide. You and your party will enjoy personalized attention while exploring the vineyards, cellars, and archaeological ruins. End up with a wine tasting and sample some of the local agricultural products.
Private Tour: Pompeii Tour with Family Tour Option
Go back in time two millennia on this intriguing guided walking tour of Pompeii. Meet your local guide at the entrance of the ancient archaeological site and get ready to explore the incredibly preserved Roman city, which has been frozen since Mt. Vesuvius erupted in AD 79. Highlights include the Forum, a theater, a 'fast food' restaurant and even a brothel. Have children with you? Then choose the family tour, which comes complete with puzzles and maps to engage the little ones.
Naples Shore Excursion: Pompeii Half-day Trip from Naples
Visit Europe's largest archeological site and one of Italy's top attractions on this half-day Naples shore excursion to Pompeii. Your expert local guide offers a comprehensive look at the haunting highlights of Pompeii. See the thermal baths, the Forum, and Lupanare on this tour that is not to be missed, and explore worry-free thanks to Viator's guaranteed on-time arrival to your ship. If time in Naples is limited, this it the best way to see it all!
Pompei VIP: Skip the line with your Archaeologist
Do you want to see the ruins of Pompeii? Do you want to visit corners of the city where tourists don't arrive? Explore the ancient city, its ruins and take a trip back in time. Without waiting for queues at the ticket office (we have PRIORITY LINE) we will leave from the main entrance of the city: Porta Marina Superiore. From there looking at the volcano, the Mt. Vesuvius, we will pass through the Antiquarium, where I will show you the objects found during the last excavations, such as the coin that changed the date of the eruption. Continuing we will pass through the Basilica, the Forum with the market and the main Temples ... we will walk through the decumanus major (Main street of Pompeii), looking closely and from inside the Baths without forgetting the famous Lupanar (red light house uhuh)! We will explore some of the most beautiful domus (houses), The visit will continue through stores and shops, roman restaurants, a visit to the famous bodies, Theatre, Gladiators' Barracks
Pompeii Private Tour with an Archaeologist Guide
Visit Pompeii with a private guide and explore the ruins of the UNESCO World Heritage–listed archaeological site. Once a thriving Roman town, Pompeii was buried beneath a blanket of volcanic rubble for centuries after the AD79 eruption of Mt. Vesuvius. Pay your entrance fee direct, then head inside to learn all about it as you wander amid ancient streets and relics. Later, you'll soak up views of the infamous volcano from the bell tower of the Sanctuary of the Madonna of the Rosary.
Private tour of Pompeii Ruins, Organic Wine tasting and Lunch
Discover two different sides to Pompeii on this private, half-day tour. After pickup from your area accommodation or train station, discover the wonders of the UNESCO-listed archaeological site (entrance own expense). Learn all about the history of Pompeii and the eruption of Mt. Vesuvius from your guide. Then, transfer to an area winery, where you'll discover how wine is made, enjoy a three-course lunch, and sample a number of varietals.
Half day skip-the-line tour of Mt. Vesuvius from Pompeii
Without Mount Vesuvius and its eruption in 79 AD, the world wouldn't have the spectacular ancient ruins of Pompeii. Visit the peak of this magnificent volcano hassle-free with this tour that includes round-trip transportation directly from Pompeii plus time-saving entrance tickets to Mt. Vesuvius park. Hike the trail to the crater's edge with your guide, pausing to admire the sweeping views over the Bay of Naples from the top.
Private tour of Pompeii Ruins + Organic Wine and Lunch tasting
Meeting point Porta Marina Superiore, h: 9.30 am. Explore the amazing ruins of Pompeii on this private guided tour. Pompeii is one of the most significant proofs of Roman civilization and provides outstanding information on the art, customs, trades and everyday life of the past. After the tour of the ruins, enjoy the Tasting Pompeii Tour offered by Bosco de' Medici Winery, a sensorial itinerary inside vineyards and wine cellar. Then at the end of the tour sit-down in the dining room and taste the home made wine and the local products of the Vesuvius. The ticket of entrance to the ruins are not included. Pick up from hotel is not included.
Full day tour to Pompeii with guides, Sorrento, Positano from Naples / Salerno / Amalfi
Designed for guests who wish to enjoy an overview of the Amalfi Coast, visit the famous village of * Positano, explore Pompeii, the world famous summer resort. This tour will be conducted by Positano. The first stop will be Pompeii, which is one of the most famous archaeological sites in the world. Ironically, one of the most ancient disasters preserved time in Pompeii, life as it was in 79 AD. Your private licensed guide will meet you at the ruins. You will have 2 hours to visit ruins. The next stop is the fabled town of Sorrento. Take a stroll around the main square and explore the side streets. You will proceed along the Amalfi Coast to Positano. Enjoy your elegant spot with its designer boutiques, shops, and seaside cafés.
Ravello walk, Atrani, Amalfi
The Ravello-Atrani-Amalfi walk is a trek of about 3.4 km that allows you to walk to Amalfi in 2 hours of walking. The path is almost totally downhill and develops along an ancient stone staircase, with short stretches of dirt road. Therefore comfortable shoes and a good workout are necessary. The walk passes through the towns of Torello and Atrani, passing through the panoramic lemon terraces of the Amalfi Coast.
Private Tour: The Path of the Lemons
Explore the Amalfi Coast's terraced vineyards, olive groves, and lemon fields on a guided hike from Maiori to Minori along the Path of the Lemons. With this tour, you won't have to worry about finding your own way on the trail and can just enjoy the sights and scents of the Mediterranean vegetation as you follow your guide on the old mule trail that was once the only way to travel from village to village.
A Taste of Pompeii Archaeological Park from your Home
A chance to discover Pompeii from home, a way to travel abroad and let you go back in time...staying safe at home.
Zipline & Walking Adventures in Amalfi Coast trought Furore Fjord with guide
Live the unique experience of discovering the Amalfi Coast from above. Book this adventurous tour and launch from the top down, first on foot hiking through the hamlet of Furore, and then end up at the strarting point of the extreme Zipline that will catapult you hanging on a cable in the heart of the Furore Fjord.
Vesuvius and Capri Trekking and Sailboat tour 3 days
Live an unforgettable experience between the mountains and the sea: Vesuvius and Capri. Trekking routes and a night in a tent to experience the magnificence of Vesuvius and then sail on a sailboat and enjoy the view of Capri. A magnificent sunset and a night at anchor will give you magnificent moments; and the dawn that comes from the stacks will leave you breathless. These are the ingredients of a one-of-a-kind experience that will remain etched in your heart
Sunset tour of the Amalfi Coast plus dinner.
The Amalfi Drive, with stops along the way at the best view spots for pictures. Amalfi, ancient maritime republic, one of the most popular seaside resorts in Italy. Take some time to wander along the narrow streets of the town, to the Piazza del Duomo and the Cathedral of St. Andrew with its many decorative styles. Ravello, a rural village unspoilt by tourism, perched on top of the mountain cliff above Amalfi and Minori. Famous for its breathtaking views, Villa Cimbrone and Villa Rufolo. Positano where you will enjoy a very pleasant walk along a narrow downhill street leading to the seafront area passing by the cathedral, several outdoor cafes, hotels, green grocery & ceramic stores plus boutiques. At dinner time we will be pleased to take you to a family run restaurant on the Amalfi Coast where you will have the possibility to try the local Mediterranean diet gastronomy, wine and limoncello.
Pompeii Essentials - 2 Hours Private Experience Inside The Ruins
During Pompeii tour with us you will have a really good time and learn many interesting facts from Roman life. Our guides are passionate about Pompeii history, highly knowledgeable and have a great knowledge of the language.
Hiking Experience - Ravello & Path of the Lemons
Explore the path that connects Ravello to Amalfi admiring the incredible works of Escher together with a professional hiking guide. Route of 11 km.
What are the best On the Ground in Pompeii?
The best On the Ground in Pompeii according to Viator travelers are:
What On the Ground in Pompeii are taking additional safety precautions?
These Pompeii experiences are providing additional COVID-19 safety measures:
What On the Ground in Pompeii are good for avoiding crowds?
These hidden gems in Pompeii may have limited interaction with crowds:
More Tours in Pompeii
Things to do near Pompeii
Things to do in Palermo
Recommended for Pompeii
Day Trips from Pompeii
Pompeii to Naples
Pompeii to Amalfi Coast
Pompeii to Sorrento
Pompeii to Positano


text:
← A Jump to Relax Special Courts
National Financial Reporting Authority (NFRA) and its Duties →
Sub-section (3) of Section 12 of the Companies Act, 2013 is one of the most non-compliant sub-sections of section 12 if not of the Companies Act, 2013. It may be noticed that most medium and small size companies do not comply with this important provision.
A company shall display its name and other information in accordance with this subsection. This non-compliance may attract penalty up to one lakh rupees.
Display of Information Outside offices
Every company on the outside of every office or place in which its business is carried on in a conspicuous position shall paint or affix its name and the address of its registered office and keep the same painted or affixed.
The term "every office and place" include its registered office, corporate office, factories, warehouses, wholesale and retail outlet, manufacturing facilities and other place related to the business of the company.
Such information shall be in legible letters. If the characters employed for such paint or affixing are not in the languages in general use in that locality, then such information shall also in the characters of that language or of one of these languages. {Section 12(3)(a)}
Languages of display
The second part of this requirement deserves careful reading. Where a company has its office at a place where English is not a language of general use, such display of information at that place should be in a language of general use in that locality. The term locality is not defined. In my understanding, locality should be municipal or village limited. Accordingly, where such office is in a locality where the general public uses either of Hindi, Tamil, Mizo or Gaund language, such display of information should also be in these languages. Such display of information in any one of the official language of India or any one of official language the state or official language of the nation where such office is situated may not be sufficient compliance. For example Urdu is one of the official languages of India and also of the state of West Bengal; however, it may not be the language of general use in the district of Darjeeling.
Common Seal
Every company shall have its name engraved in legible characters on its seal; if any. {Section 12(3)(b)}
This may be noted that the common seal is optional under the Companies Act, 2013 with effect from 29th May 2015.
Documents and publications
Every company shall get printed in all its business letters, billheads, letter papers and in all its notices and other official publications:
its name;
address of its registered office;
the Corporate Identity Number;
fax number, if any,
e-mail; and
website addresses, if any. {Section 12(3)(c)}
Documents and bill of exchanges
Every company shall have its name printed on hundies, promissory notes, bills of exchange and such other documents as may be prescribed. {Section 12(3)(d)}
No other documents than mentioned herein has been prescribed by the government yet under the Companies Act, 2013. However, there may be separate requirements under the GST Act and other applicable laws. These details are not within the scope of this discussion.
Clause 12(3)(d) may be a relaxation to the provision of clause 12(3)(c).
Company having website
This is an additional requirement for companies having a website for conduction online business or otherwise.
Every company which has a website for conducting online business or otherwise, shall disclose/publish:
its name,
address of its registered office,
the Corporate Identity Number,
fax number if any, email and
the name of the person who may be contacted in case of any queries or grievances on the landing/home page of the said website.
{Rule 26 of the companies (Incorporation) Rules 2014 as amended by the Companies (Incorporation) Third Amendment Rules, 2016 with effect from 27th July 2016}
Earlier Name in case of name change
where a company has changed its name or names during the last two years, it shall paint or affix or print, as the case may be, along with its name, the former name or names so changed during the last two years as required under clauses (a) and (c). It means old name shall be painted, affixed or printed outside the registered office and every office and documents except hundies, promissory notes, bills of exchange.
The words "One Person Company" shall be mentioned in brackets below the name of such company, wherever its name is printed, affixed or engraved.
Penalty for non-compliance
If any default is made in complying with the requirements of this section, the company and every officer who is in default shall be liable to a penalty of one thousand rupees for every day during which the default continues but not exceeding one lakh rupees. {Section 12(8)}
Removal of Name of the company
if the registrar has reasonable cause to believe that the company is not carrying any business or operation, he may cause physical verification of the registered office of the company. If any default is found to be made in complying the requirement of section 12(1), the registrar may initiate action for the removal of the name of the company from the register of companies. {Section 12(9)}
This entry was posted in Chapter II - CA2013, Companies Act 2013 and tagged display of information, Registered Office, Shifting of Registered Office, The Companies (Incorporation) Rules 2014, website of a company. Bookmark the permalink.
6 responses to "Display of Registered Office Address and Information"
J prasad | April 2, 2019 at 10:16 pm | Reply
What is the size of name plate of regd office fix on front of office
Aishwarya Mohan Gahrana | April 3, 2019 at 8:13 am | Reply
Any size. Contents should be readable for a naked eye.
Ashok Chandak | August 17, 2020 at 11:36 am | Reply
if a company does not display its name out side registered office. Then who is the vigilance authority for penalty.
Aishwarya Mohan Gahrana | August 17, 2020 at 11:42 am | Reply
The Registrar of Companies
sankar | September 19, 2020 at 1:30 pm | Reply
Being the display of name board in English enough? What will be the Penalty if done so? Plz
Aishwarya Mohan Gahrana | September 19, 2020 at 5:30 pm | Reply
Where English is not a language of general use, such display of information at that place should be in a language of general use in that locality.

redpajama_set_name: RedPajamaCommonCrawl


text:
#ifndef BOOST_CHRONO_TYPEOF_RATIO_HPP
#define BOOST_CHRONO_TYPEOF_RATIO_HPP

#include <boost/ratio/ratio.hpp>
#define BOOST_TYPEOF_SILENT

#include <boost/typeof/typeof.hpp>

#include BOOST_TYPEOF_INCREMENT_REGISTRATION_GROUP()

BOOST_TYPEOF_REGISTER_TEMPLATE(boost::ratio, (boost::intmax_t)(boost::intmax_t))

#endif

redpajama_set_name: RedPajamaGithub


text:
// Copyright (c) 2007-2018 ppy Pty Ltd <contact@ppy.sh>.
// Licensed under the MIT Licence - https://raw.githubusercontent.com/ppy/osu/master/LICENCE

using OpenTK;
using osu.Game.Rulesets.Objects.Types;
using System.Collections.Generic;
using osu.Game.Rulesets.Objects;
using System.Linq;
using osu.Game.Audio;
using osu.Game.Beatmaps;
using osu.Game.Beatmaps.ControlPoints;

namespace osu.Game.Rulesets.Osu.Objects
{
    public class Slider : OsuHitObject, IHasCurve
    {
        /// <summary>
        /// Scoring distance with a speed-adjusted beat length of 1 second.
        /// </summary>
        private const float base_scoring_distance = 100;

        public double EndTime => StartTime + this.SpanCount() * Curve.Distance / Velocity;
        public double Duration => EndTime - StartTime;

        public Vector2 StackedPositionAt(double t) => StackedPosition + this.CurvePositionAt(t);
        public override Vector2 EndPosition => Position + this.CurvePositionAt(1);

        public SliderCurve Curve { get; } = new SliderCurve();

        public List<Vector2> ControlPoints
        {
            get { return Curve.ControlPoints; }
            set { Curve.ControlPoints = value; }
        }

        public CurveType CurveType
        {
            get { return Curve.CurveType; }
            set { Curve.CurveType = value; }
        }

        public double Distance
        {
            get { return Curve.Distance; }
            set { Curve.Distance = value; }
        }

        /// <summary>
        /// The position of the cursor at the point of completion of this <see cref="Slider"/> if it was hit
        /// with as few movements as possible. This is set and used by difficulty calculation.
        /// </summary>
        internal Vector2? LazyEndPosition;

        /// <summary>
        /// The distance travelled by the cursor upon completion of this <see cref="Slider"/> if it was hit
        /// with as few movements as possible. This is set and used by difficulty calculation.
        /// </summary>
        internal float LazyTravelDistance;

        public List<List<SampleInfo>> RepeatSamples { get; set; } = new List<List<SampleInfo>>();
        public int RepeatCount { get; set; }

        /// <summary>
        /// The length of one span of this <see cref="Slider"/>.
        /// </summary>
        public double SpanDuration => Duration / this.SpanCount();

        public double Velocity;
        public double TickDistance;

        public HitCircle HeadCircle;
        public HitCircle TailCircle;

        protected override void ApplyDefaultsToSelf(ControlPointInfo controlPointInfo, BeatmapDifficulty difficulty)
        {
            base.ApplyDefaultsToSelf(controlPointInfo, difficulty);

            TimingControlPoint timingPoint = controlPointInfo.TimingPointAt(StartTime);
            DifficultyControlPoint difficultyPoint = controlPointInfo.DifficultyPointAt(StartTime);

            double scoringDistance = base_scoring_distance * difficulty.SliderMultiplier * difficultyPoint.SpeedMultiplier;

            Velocity = scoringDistance / timingPoint.BeatLength;
            TickDistance = scoringDistance / difficulty.SliderTickRate;
        }

        protected override void CreateNestedHitObjects()
        {
            base.CreateNestedHitObjects();

            createSliderEnds();
            createTicks();
            createRepeatPoints();
        }

        private void createSliderEnds()
        {
            HeadCircle = new SliderCircle(this)
            {
                StartTime = StartTime,
                Position = Position,
                Samples = Samples,
                SampleControlPoint = SampleControlPoint,
                IndexInCurrentCombo = IndexInCurrentCombo,
                ComboIndex = ComboIndex,
            };

            TailCircle = new SliderCircle(this)
            {
                StartTime = EndTime,
                Position = EndPosition,
                IndexInCurrentCombo = IndexInCurrentCombo,
                ComboIndex = ComboIndex,
            };

            AddNested(HeadCircle);
            AddNested(TailCircle);
        }

        private void createTicks()
        {
            var length = Curve.Distance;
            var tickDistance = MathHelper.Clamp(TickDistance, 0, length);

            if (tickDistance == 0) return;

            var minDistanceFromEnd = Velocity * 0.01;

            var spanCount = this.SpanCount();

            for (var span = 0; span < spanCount; span++)
            {
                var spanStartTime = StartTime + span * SpanDuration;
                var reversed = span % 2 == 1;

                for (var d = tickDistance; d <= length; d += tickDistance)
                {
                    if (d > length - minDistanceFromEnd)
                        break;

                    var distanceProgress = d / length;
                    var timeProgress = reversed ? 1 - distanceProgress : distanceProgress;

                    var firstSample = Samples.FirstOrDefault(s => s.Name == SampleInfo.HIT_NORMAL) ?? Samples.FirstOrDefault(); // TODO: remove this when guaranteed sort is present for samples (https://github.com/ppy/osu/issues/1933)
                    var sampleList = new List<SampleInfo>();

                    if (firstSample != null)
                        sampleList.Add(new SampleInfo
                        {
                            Bank = firstSample.Bank,
                            Volume = firstSample.Volume,
                            Name = @"slidertick",
                        });

                    AddNested(new SliderTick
                    {
                        SpanIndex = span,
                        SpanStartTime = spanStartTime,
                        StartTime = spanStartTime + timeProgress * SpanDuration,
                        Position = Position + Curve.PositionAt(distanceProgress),
                        StackHeight = StackHeight,
                        Scale = Scale,
                        Samples = sampleList
                    });
                }
            }
        }

        private void createRepeatPoints()
        {
            for (int repeatIndex = 0, repeat = 1; repeatIndex < RepeatCount; repeatIndex++, repeat++)
            {
                AddNested(new RepeatPoint
                {
                    RepeatIndex = repeatIndex,
                    SpanDuration = SpanDuration,
                    StartTime = StartTime + repeat * SpanDuration,
                    Position = Position + Curve.PositionAt(repeat % 2),
                    StackHeight = StackHeight,
                    Scale = Scale,
                    Samples = new List<SampleInfo>(RepeatSamples[repeatIndex])
                });
            }
        }
    }
}


text:
Zalesie – osada w Polsce położona w województwie kujawsko-pomorskim, w powiecie chełmińskim, w gminie Stolno na obszarze historycznej Ziemi chełmińskiej. Stanowi część wsi Trzebiełuch.

W latach 1975–1998 miejscowość administracyjnie należała do województwa toruńskiego.

Przypisy

Trzebiełuch

redpajama_set_name: RedPajamaWikipedia


Breaking into comics is like breaking into a high-tech military compound. The first thing they do after discovering you got in is go seal up your entrance so no one can ever break in that way again.
Other quotes from Devin Grayson.


Available for NEW players only. 6 qualifying bets. Min stake £10. Max bonus £30. No E-Wallets. Min odds EVS (2.0) or over, (1.4) for combos. Horse Racing bets do not qualify. BeGambleAware.org 18+. Terms and Conditions apply.
Upon Signup tick the box titled "Opt me in to receive special offers, price boosts, promotions, and entry into exclusive competitions".
Stake 6 qualifying bets at odds of minimum 1/1 (2.00), each selection in qualifying combo bets must be placed at odds of minimum 2/5 (1.40).
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Get up to £30 Free Bet Token shortly after your qualifying bets has been settled.
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Choosing your wedding or event entertainment is probably the most important decision you'll make about your wedding day or special occasion and it's pretty tough to choose from all the great talent out there. Never fear, Music for Scotland, one of the largest and most experienced suppliers of live entertainment for weddings, corporate entertainment and private parties in Scotland, have you covered. We'll bring you a spotlight on our bands each month to give you an insight into the people behind the instruments so that you can find your perfect match, not just through music but personality!
This week, we chat to Porkpie - an 8-piece group who are now one of the most respected big bands. They've performed at major international venues all around the globe, appearing at coveted events such as international award ceremonies, major global corporate functions and media covered celebrity events and weddings. Read on to find out what makes them tick and what makes them one of the best bands out there!
How many events have you played at?
Well, I have been singing in bands since I was 21 so I would say well over 1500 gigs over the years! It's a lot, I know, and I still play every weekend ..ha ha !
What is the most difficult song to play and why?
What is the most memorable venue you've performed at and why?
What's the best song/piece of music ever and why?
The buffet …haha only kidding.
What advice would you give anyone looking for a band for a wedding/event?
What are your rehearsals like?
They're generally quite good as we get excited to learn new material... As long as all the band members have done their homework before coming along!!
What was the funniest thing to happen to you at a gig?
What's the best way to motivate a shy crowd?
Do you have any signature dance moves?
I can do The Macarena!!!
So there you go folks - Porkpie! Always prepared, whether it's with a spare pair of trousers or the highest quality musicians and equipment! Porkpie have an impeccable reputation and truly love what they do - that passion shows in each of their performances and they're well equipped to keep your guests talking about your epic wedding or event entertainment for years to come! Listen to them now, here or get in touch to find out more or book now!


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;

namespace Adventure.Entities.Common
{
    public class PagedList<T>
    {
        public List<T> Content { get; set; }
        public Int32 CurrentPage { get; set; }
        public Int32 PageSize { get; set; }
        public int TotalRecords { get; set; }
    }
}


If at definition of initial corners, it will be found out that corners of disorder and кастера fall outside the limits the specification at first find the reason of it. If any damages of parts of a suspension bracket the damaged elements of a suspension bracket should be replaced are found out.
If there are body damages it is necessary to correct elements of a body for achievement of necessary values.
To prevent possibility of incorrect reading of initial corners of disorder or кастера, forward (or back) the car part needs to be lifted and lowered some times before inspection.


text:
Zoos have made remarkable progress in improving animal welfare. Today's zoo animals often outlive their wild counterparts and breed so prolifically that surplus offspring can be a bigger problem than fertility issues. But good welfare requires more than just physical health. We must also consider the psychological lives of animals: how they experience the world. In the last two decades, the Detroit Zoo in Michigan has emerged at the forefront of this movement. Conjour has spoken to Dr. Stephanie Allard, Director of Animal Welfare at the Detroit Zoological Society, about the zoo's impressive record and progressive ethos.
Established: 1928 | Size: 125 Acres | Species: 255 (fauna), 700 (flora) | Animal Specimens: 2,400+
Detroit Zoo History
When listening to Dr. Allard talk about animal welfare, one word stands out: responsibility.
"Zoos have a profound responsibility to ensure the welfare of the animals for whom they care. Each individual animal has needs, and we must be sure that they are thriving, not just surviving."
This philosophy is threaded throughout the Detroit Zoological Society. Good is not good enough. Instead, Dr. Allard and her colleagues strive to ensure every animal leads the best possible life. Such commitment has not arisen overnight however. The present Detroit Zoo opened on August 1, 1928 and, for much of its history, existed to entertain. Bears and big cats were kept in concrete grottoes, elephants and chimpanzees performed circus tricks, and visitors could ride the giant tortoises.
Dr. Allard credits Executive Director and Chief Executive Officer Ron Kagan with the zoo's transformation.
Detroit Zoo Philosophy
Kagan arrived at the Detroit Zoo in 1993 and began by embracing an animal welfare lobby often opposed to zoos. In his first year at the helm, the zoo partnered with the Michigan Humane Society to host one of the largest pet adoption events in the United States. Cats and dogs may not be the first zoo animals that spring to mind, but 'Meet Your Best Friend at the Zoo' was so successful it has been held biannually ever since.
Detroit was also the first American zoo to be approved by the Sanctuary Association in 1997. Amongst others, it is now home to a retired racehorse, three orphaned Alaskan grizzly bears, and a lioness, Katie, found guarding an alleged crack house.
Just as important as rescuing animals has been the recognition that some species will never thrive in Detroit. From the zoo's opening, elephants were a star attraction, but staff became increasingly concerned about keeping such large, intelligent animals indoors through Michigan's long winters.
In 2005, Detroit became the first zoo to voluntarily send its elephants to a sanctuary on welfare grounds.
Winky and Wanda lived out their days in sunny California, where they could interact with other elephants and roam an enclosure 30-times larger than their home in Detroit. Far from being an embarrassment, Dr. Allard considers the loss of elephants a source of pride and Kagan has said his only regret is not doing it sooner. Many other zoos have since followed Detroit's lead.
For the animals that remain, commitment to welfare is more than just a philosophy. Under Kagan's leadership, the Detroit Zoo has invested over $50 million in new exhibits. Its amphibian building received the prestigious Exhibit Award from the Association of Zoos and Aquariums in 2002, whilst its polar bear habitat – the Arctic Ring of Life – was commended as a Significant Achievement the following year.
These are more than just guest experiences. According to Dr. Allard, "Innovations in habitat design are also influenced by our commitment to animal welfare and future plans for new habitats will incorporate features that promote the ability of animals to display species-typical behaviors, as well as opportunities to make meaningful choices and to exert control over aspects of their lives."
This commitment was recently demonstrated in spectacular fashion.
A Paradise for Penguins
On the shore of an inlet, lapped by waves and surrounded by snow-capped rocks, lives a colony of penguins. The temperature is near-freezing, but 80 birds of four species thrive here – kings, rockhoppers, macaronis, and gentoos. They squabble with each other, clamber through the snow, and belly-slide in the shallows. Underwater, though, is where penguins truly belong. Reaching speeds of 32km/hr (20mph), they plunge 25 feet beneath the ice and between the kelp. It could be a scene from Antarctica, but the ice and rocks were carved by sculptors, the snow and waves are generated by machine, and the colony has been visited by almost a million people since April.
This is a description of the world's largest penguin exhibit, which opened this year (2016) at the Detroit Zoo.
The Polk Penguin Conservation Center is a flagship of the Detroit Zoo's commitment to animal welfare. Members of the design team, including Dr Allard, travelled to Antarctica to observe wild penguins and experience their natural environment. The climate-controlled building took two years and $30 million to complete, making it the most expensive project in the zoo's history. During design and construction, every effort was made to ensure the penguins thrived in their new habitat, but Dr. Allard believes the biggest improvement has been the tenfold increase in water volume.
"With 326,000 gallons of water at their disposal, the penguins are performing so many more underwater behaviours than we've ever been able to see before." A recent paper in the journal Zoo Biology also reported that penguins display higher activity levels in larger enclosures.
Building a putatively better exhibit is not enough, however. The Detroit Zoo distinguishes between care – what is provided to animals, such as food, water, and enrichment – and welfare – how they experience the world.
Dr. Allard and her colleagues are therefore investigating whether the new standards of care set by the Polk Penguin Conservation Center have translated into greater welfare.
They monitored the behaviour and body condition of 27 birds in the old Penguinarium and plan to compare that information with data being collected now. This evidence-based approach will reveal how the penguins themselves responded to the new exhibit and what matters to them as individuals.
Says Dr. Allard: "At the end of the day, that's what animal welfare is. It's understanding the needs of an individual, how they experience their world, and the responsibility we have to make that world as amazing as we possibly can."
The Center for Zoo Animal Welfare
Although a remarkable achievement, the Polk Penguin Conservation Center is just the tip of the iceberg.
For the Detroit Zoological Society, commitment to animal welfare runs far deeper and applies not just to penguins and polar bears, but to all 300 species in the zoo's collection. However, as this philosophy strengthened, it became clear that the global zoo community was not doing enough to ensure animals thrive in captivity.
Kagan's solution was to establish the Center for Zoo Animal Welfare in 2009.
A global hub for understanding and improving welfare in zoos, CZAW is an epicentre of research, a forum for debate, and a resource for learning.
Science is at the centre of its activities, because identifying what matters to animals is essential to satisfy their needs. Dr. Allard, who oversees the Center, discusses the breadth of research being carried out, on "species ranging from gorillas and giraffes to amphibians and reptiles."
She tells us that, "All projects are designed and selected to better understand the impacts that living in the care of humans have on individual animals, which includes assessing habitat changes and monitoring husbandry and management practices."
A major priority is discovering new and non-invasive means of assessing animal welfare. For example, the zoo is exploring 'infrared thermography', where pictures are taken that represent an object's surface temperature, because the temperature of animals can vary based on emotion.
This is not simply an academic exercise. Dr. Allard emphasizes that she and her colleagues at CZAW "are integrated into the processes at the zoo that contribute to great welfare and collaborate with the other departments to identify areas of inquiry, monitor individual animals and share recommendations and suggestions in order to apply any findings."
Through this team approach, research breakthroughs result in practical benefits.
CZAW also hosts events to exchange knowledge and discuss best practice. According to Dr. Allard, "We have made a commitment to providing training for animal care professionals in order to advance animal welfare and we do so by conducting annual workshops entitled 'From Good Care to Great Welfare'.
"Animal care professionals from around the world join us for five days to discuss factors that impact welfare, and how to assess and improve animal welfare."
This has solidified the Detroit Zoo's status as a world leader in welfare science and policy.
The Detroit Zoo faces a bright future. It has received over a million visitors every year for the past decade and 2016 is on track to be a record-breaker.
Dr. Allard insists the public have been overwhelmingly supportive of efforts to improve animal welfare. This was demonstrated in August, when local communities voted to renew a tax that nets the zoo $11 million annually. The money will be used to convert the 1968 Penguinarium into a Bat Conservation Center.
In this and other projects, Dr Allard's priority is clear.
"Animal welfare is a lens through which the Zoo's plans are examined and evaluated," she says. "As we move forward, we will continue to identify species that need more attention from a welfare standpoint."
But the zoo's ambitions reach far beyond Detroit. According to Dr. Allard, "It is the goal to have each and every animal living in a zoo experiencing great welfare."
She believes promoting the Detroit Zoo's philosophy has already influenced the wider zoo community.
"We are seeing changes in the willingness to discuss welfare topics openly, which is a fundamental goal of the symposia we host. Our fourth international symposium will be hosted jointly with the World Association of Zoos and Aquariums in May 2017 and will focus on ethical challenges facing zoos and on making a global commitment to animal welfare."
Increasing openness is an important first step, but there is still much to be done. Using the Detroit Zoo's transformation as a model, CZAW developed a universal framework which any zoo can apply to put animal welfare at the centre of its operations. The framework is elucidated in a 2015 edition of the Journal of Applied Animal Welfare Science, but Dr. Allard outlines some necessary future developments.
"Zoos must be committed to developing policies that promote great welfare, dedicating resources to designing and implementing programs that support great welfare and continually evaluating practices to ensure welfare needs are being met," she says, adding that "this may mean that zoos will house fewer species, or will make different choices as to which species to house so that they can focus on those that thrive at their institution."
If it happens, this will be the next step in the evolution of zoos: From good care to great welfare. From animals that survive to animals that thrive.
The challenge ahead is daunting, but the Detroit Zoo has proved it is not impossible.
Feature Image: Great Apes of Harambee – Detroit Zoo – Drill and Gorilla – Roy Lewis
Cotton Family Wolf Wilder – Detroit Zoo – Gray Wolf – Roy Lewis
Arctic Ring of Life – Detroit Zoo – Polar Bear – Donna Terek
Polk Penguin Conservation Centre – Detroit Zoo – Jennie Miller
Polk Penguin Conservation Centre – Detroit Zoo – Penguin – Lee Fisher
Detroit Zoo Water Tower: Photograph (c) Kate Renkes 2012. Licensed under CC BY-SA 2.0 via Flickr
Related Topics:Andrew CrumpAnimal WelfareNorth AmericaZoos


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Create a book of memories at your event, as your guests paste one of their photo strips into the album and write their personalised messages in a range of coloured gel pens.
Choose from a red, white, or gold curtain backdrop for a different look to your photos.
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Our fully enclosed photo booths are quite unique.
They are 100% handmade in Australia and have an elegant pinstripe finish, designed specifically to look amazing in wedding, function and party venues.
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I wanted to apply puppet classes to a node using a script, I started looking at the foreman REST API but stumbled upon the foreman_api ruby. I specified hostgroups in foreman and added puppet classes to the hostgroups. The idea is that I want to be able to change the hostgroups using a script.
Running things through irb this is what I came up with for changing the hostgroups.
Hammer-cli looks a little more promising for this sort of programmed changing of foreman parameters. With hammer I was able to add arbitrary classes to a node.
With either method I need to know the id's of the hostgroups or the puppetclasses.
I can get those with either though, but I still need to work them out first.


text:
Borja, 3º ESO A
Coltan (or tantalum) is a black and opaque metallic mineral. It is relatively rare in nature and has gone from being a mere curiosity mineralogical to a strategic technological advancement due to their applications.
Regarding to the major reserves, are two totally opposite positions about where the largest reserves of coltan are in the world. A great reserve is located in Africa, particularly in the east of the Democratic Republic of Congo. But in Australia; Brazil; Canada; China and some African countries like Rwanda; Burundi and Ethiopia are the largest producers of coltan. Russia is also rich in this resource, although its deposits have not been exploited yet.
Coltan mining is cause for geopolitical conflicts. According to international press agencies and the United Nations, the export of coltan has helped finance several sides in the Second Congo War, a conflict that has resulted in an approximate balance of more than 6 million of people dead. Rwanda and Uganda are currently exporting stolen coltan from Congo to the West, mainly the United States.
In the coltan mines thousands of people work in conditions of slavery and only for seven dollars a day. What it is even less worthy if we consider that a ton of coltan is priced in 400,000 in the international market.
The Center for International Study of Tantalum-Niobium, based in Belgium, recommends international buyers to reject the Congolese coltan for ethical reasons, but demand does not cease and indignity continuous.
A material discovered relatively recently is graphene. Although it was first synthesized in 2004, it was not until 2010 that became famous. It is too early to say that graphene will replace coltan, but among the many properties of this material some that are interesting in our case is that it has the ability to auto cooling, leads electricity better than any other known metal, it is very strong, abundant and inexpensive. All these properties will create longer battery life. According to forecasts, this may be commercialized in the next 5-10 years, therefore, the main application of tantalum can also be carried out with graphene.
Etiquetas: English corner, Muy muy interesante
La mente que se abre a una nueva idea...
Mañana, nuevas publicaciones
Jornada sobre el chocolate
Un niño que lee, será un adulto que piensa
Servicio de 3HDC Y 3HDS de Dirección de Cocina y D...
Si yo fuera libro...
Leer perjudica gravemente la ignorancia
Intercambio a Amersham (Londres)
Excursión a Cartagena
No existen más que dos reglas para escribir
Mis abuelos
La fábrica de Estrella de Levante, una gran visita...
Intercambio a Francia
Intercambio a Londres
Visita a la fábrica Estrella de Levante


text:
Oxydactylus (del griego οξύς (oxys), "afilado" y δάκτυλος (dáktylos), "dedo") es un género extinto de camélido originario de América del Norte. Sus patas y cuello tenían una gran longitud, por lo que es posible que estuviesen adaptados a alimentarse de árboles, como las jirafas actuales. Al contrario que los camélidos de la actualidad, sus patas terminaban en pezuñas.

Enlaces externos

Camélidos extintos
Mamíferos del Oligoceno
Mamíferos del Mioceno


text:
#ifndef FRAMEWORK_BASE_COMMANDS_H_
#define FRAMEWORK_BASE_COMMANDS_H_

/**
 * Function related to basic commands such as aliases and delays
 */

namespace Cmd {

    // Executes delayed commands that are ready.
    void DelayFrame();

    //Saves the aliases in a configuration file
    std::string GetAliasConfigText();
}

#endif // FRAMEWORK_BASE_COMMANDS_H_


text:
How Significant Is North Korea's Latest Missile Test?
Experts say Sunday's test was the best-ever performance by a North Korean missile.
By Krishnadev Calamur
The long-range strategic ballistic rocket Hwasong-12 (Mars-12) is launched during a test. (KCNA / Reuters)
North Korea says the missile it tested Sunday was a "newly developed ballistic rocket capable of carrying a large-size heavy nuclear warhead."
The claim, which was carried by KCNA, the North's state-run mouthpiece, has not been independently verified. Yonhap, the South Korean news agency, quoted South Korean military officials as saying more information was needed to determine the missile's technical details, but that, in Yonhap's words, North Korea "seems to have yet to master missile technology for atmospheric re-entry," an important aspect of the type of ballistic missile the North claims to have test-fired.
Even if the missile fired Sunday wasn't an ICBM, experts say the test represents an important step toward the development of such technology. John Schilling, writing in 38North, a website that focuses on geopolitics on the Korean Peninsula, points out that the test "represents a level of performance never before seen from a North Korean missile." Indeed, the missile reached a height of 1,242 miles and traveled about 435 miles before landing in the sea west of Japan. The AP adds "had been fired at a normal angle, analysts say, it could have flown much farther — estimates vary between 4,000 and 7,000 kilometers (2,500 and 4,350 miles), the upper number putting Alaska and possibly Hawaii within striking distance."
Schilling says North Korea
appears to have not only demonstrated an intermediate-range ballistic missile (IRBM) that might enable them to reliably strike the US base at Guam, but more importantly, may represent a substantial advance to developing an intercontinental ballistic missile (ICBM). Given speculation over the past months about the possibility of military action by the Trump administration to prevent Pyongyang from acquiring such a weapons, the possible testing of ICBM subsystems in this low-key manner may be a North Korean hedge against the possibility of such action.
The White House, in its response, called for increased UN sanctions on the North, and cited the fact the missile landed close to Russia, noting, "the President cannot imagine Russia is pleased." The Trump administration's policy on North Korea has alternated between threats and conciliation, leading to questions about what the U.S. position on North Korea actually is. Russian President Vladimir Putin on Monday said: "We need to return to dialogue with North Korea and stop scaring it and find ways to resolve these problems peacefully."
South Korea and Japan, which are the likeliest first targets of any North Korean aggression, called for coordinated international action to defuse the threat. Moon Jae In, the newly elected South Korean president, campaigned on a platform of more talks with North Korea. Pyongyang's missile test came four days after his victory.


text:
Ukraine rivals set election date
After a prolonged rift with the prime minister, the president agrees on early poll.
Forces loyal to Yushchenko failed to reach Kiev [AFP]
Troop movement
The election agreement cooled rising tensions between two very distinct political leaders, which threatened to escalate earlier on Saturday.
About 3,600 troops loyal to Yushchenko were barred from reaching the capital, Kiev, by police before the deal was signed.
The elite forces - charged with "protecting public order", according to the presidential office - were stopped at checkpoints around the country under orders from the interior ministry.
Kostyantin Stogny, a ministry spokesman, said: "The interior minister has given an order forbidding the movement of internal troops towards Kiev so that they do not upset public order."
Some internal force commanders chose to stay in barracks out of loyalty to the government, an interior ministry spokesman said.
The current political crisis started last month when Yushchenko issued an order to disband parliament and hold new elections, drawing opposition from Yanukovych.
Yushchenko on Friday issued an order taking control of the interior ministry's military branch away from the government, led by Yanukovych.
Yanukovych's allies described Yushchenko's order as a "coup attempt".
Vasyl Tsushko, the interior minister, said: "It's necessary to calm down. There won't be any use of force. We won't storm anything."
Prosecutor fight
The feud escalated on Thursday when a paramilitary unit from the interior ministry scuffled with members of a presidential security force outside the Kiev office of Svyatoslav Piskun, the country's prosecutor general.
The paramilitaries intervened to protect Piskun, who is pro-Yanukovych, after Yushchenko ordered his dismissal.
Control over interior ministry forces was crucial in the Orange Revolution of 2004.
Mass street protests helped bring Yushchenko to the presidency, overturning a flawed vote initially in Yanukovych's favour.
Yushchenko has sought to lead Ukraine into the EU and Nato, while Yanukovych wishes to preserve close ties with Moscow.


text:
package org.wso2.security.tools.automation.manager.entity.staticscanner.containerbased.dependencycheck;

import org.wso2.security.tools.automation.manager.entity.staticscanner.containerbased.ContainerBasedStaticScannerEntity;

import javax.persistence.Entity;

/**
 * The class {@code DependencyCheckEntity} extends {@code ContainerBasedStaticScannerEntity} to store specific
 * details of Dependency Check scanner
 */
@SuppressWarnings("unused")
@Entity
public class DependencyCheckEntity extends ContainerBasedStaticScannerEntity {
}


text:
Labels: Image Bank
James Lee Byars | I'm collecting questions
I'm collecting questions
Croton, USA: Hudson Institute, 1969
43.2 x 28 cm.
Edition size unknown
A questionnaire from the artist's brilliant World Question Centre (see earlier post, here) that states "I'm collecting questions. Please list yours and send to Byars (Temp. Art. in Res.) Hud. Inst. Croton, N.Y. 10520".
"So running the World Question Center I tried many things. I tried as I said street-tests, I went to schools. My biggest amazement was Columbia where I managed to hand out probably 1000 of the questionnaires which said, were regular size paper simply saying at the top "I'm collecting Questions. List yours." And the return address of the Hudson Institute and so forth and then the numbers one to one-hundred down the side. On the reverse side there was a small '?' in the middle of the page. It is interesting that I got only one return from Columbia. One questionnaire. But people dislike paper, I expect a lot of prejudice for that. So I don't know if that's a reasonable statistic or not."
- James Lee Byars, Nova Scotia College of Art and Design, April 21, 1970
Labels: James Lee Byars, NSCAD
Lee Scratch Perry, RIP
Richard Artschwager | Untitled [Box With Drawers]
Untitled [Box With Drawers]
New York City, USA: Multiples, Inc., 1971
34.6 x 37.5 x 29.5 cm
Edition of 50 signed, dated and numbered copies
Produced by Marian Goodman's Multiples Inc. in an edition of fifty copies, this work consists of a white oak box with a white formica top and five drawers of equal size and shape. Each drawer has a brass handle similar to the kind found on library card catalogue drawers. The drawers contain formica (mimicking the top of the cabinet), a bottomless drawer, glass, mirror, and rubberized horsehair - one of the artist's signature materials.
"In the fall of 1970, I showed up at Richard Artschwager's shop on Canal Street in New York City for my first day of work. I was joining a team of artists, including John Torreano, who had been hired to complete a limited-edition object. Upon my arrival Richard gave me a broom and asked me to sweep up. I was glad to do it and glad to have the job. I swept sawdust and shavings into a pile, got a dustpan, and put the bulk of the refuse into a trash barrel. I had started to gather the small amount left on the floor when Richard said, "No, leave it. That will tell us where to put the next batch."
In the late 1960s Richard was making art alongside furniture in the shop on Canal Street. He had fully equipped his workshop with a crosscut saw, table saw, router, drill press, power sander, planer, and worktables. My job, in addition to sweeping the floor, was to use the router to cut dovetails for the assembly of dressers, end tables, and chests of drawers.
The last art project Richard completed before moving his studio upstate was "Untitled" (1971), a box with five drawers designed and manufactured by the artist and published in an edition of 50 by Castelli Graphics and MultiplesInc. By the time I joined the shop, "Untitled"had been designed, a prototype had been made, and the cutting and assembly process had begun. One of my tasks was to cut dovetail pieces for these drawers. While doing so, I considered some aesthetic questions surrounding Artschwager's work and recorded my reflections in journal entries. This essay is based upon my notes.
Artschwager's art is genre bending and paradoxical. Throughout his career he has created enigmatic objects, objects questioning the very genres they inhabit; he has navigated drawing, painting, and sculpture, crossing over and stretching the customary boundaries defining art. His years as a furniture designer/maker informed his sculpture. He used the materials and methods from furniture production and assembly, as well as all the iterations (perceptual, real, and faux) these materials and methods suggested to his imagination. He cut and assembled rational, angular, minimal objects; covered three-dimensional objects with Formica in elegant camouflage; manufactured non-utilitarian objects that looked utilitarian; and created illusionistic and literal mirror images, visual riddles that played with the viewer's expectations.
Human beings are inhabiting creatures and we want to know what's inside. But first encounters with unfamiliar chests of drawers are usually cautious. We never know what we will find. This is one of the suspense principles, the balanced relationship between expectation and the unforeseen. The first encounter with"Untitled"can be unsettling. Is it a storage unit for materials; or is it minimal sculpture, or furniture, or a model of some sort? How does one experience this work? If we open its drawers, are we moving away from or towards the center?
To answer these questions the box locates the viewer, much like the painter locates the viewer by using perspective. In order to truly "see" the piecethe viewer must be in proximity to the piece, closer than arm's length, and able to open and examine the insides of the drawers.
Upon doing so, viewers discover that "Untitled"encompasses a series of polarities: open and closed, inside and outside, top and bottom, full and empty, light and dark. These polarities are built into the geometry of the box, conferring coherence. Examining them, followingcontingent steps from one place to the next, the viewer proceeds logically, like Ariadne's thread, and gains insight into the ordering system at the heart of "Untitled"and at the core of Richard Artschwager's artistic project.
The abrupt physical sensation upon seeing the overflowing container of the bottom drawer can be traced to the physiology of visual perception. The drawers preceding the fifth have created an illusionistic experience. The eye has adjusted to distance, to illusions of space and reflection, and to focusing alternately on the field around and through the drawers. The final drawer abruptly pushes the viewer back to the physical, measurable, non-illusionistic, tactile space within arm's reach. The narcissism of the mirrored surface's visual expansion is thus thwarted with two strokes of a hand. Closing drawer four and opening drawer five erases distance and illusion, reclaiming the physical presence of material and surface.
"Untitled"provides an insight into Artschwager's materials and methods, and his exploration of perception, illusion, and tactile and sculptural space—and it does so using an oak box with five drawers. The five drawers are like a five-step visual scale. Each step moves the observer from one polarity to another, from light to dark, open and closed, outside and inside. Composed of ordinary materials—oak, brass handles, Formica, glass, mirror, and rubberized horsehair—"Untitled" invites viewers to construct meaning using their own temporal experience.
Once the viewer examines "Untitled," the content is carried around in his or her memory. Just as with all remembered experience, memory is never wholly apart from, never wholly inclusive of, always someplace in between. "Untitled"exists someplace in between the container and the contained, someplace in between furniture and sculpture, someplace in between the utilitarian and the esthetic, someplace in between the static and the interactive.
"Untitled"is a hermetic system of thought, deciphered by following a series of steps, much like Ariadne's thread. As simple and straightforward as were Richard's floor sweeping instructions to me on my first day at his shop, they gave me an insight into his mind and his complex art. When he asked me to leave a small pile of sawdust on the floor of his shop to indicate where the next pile of sawdust should go, he was telling me that, for him, actions always pose questions about further actions. It can be said that all of Artschwager's work—in any of its formats—serves as a set of instructions for the viewer, a tool for seeing.
At the Whitney Museum's recent opening of the retrospective RichardArtschwager!, I spoke with the artist about "Untitled." I suggested that the multiple could be considered a pivotal work in Artschwager's career because it contained the material and conceptual seeds of that which interested him. He added, "And what mystified me.""
- Michael Torlen, Brooklyn Rail
Labels: Richard Artschwager
Mike Kelley | Paddle for Artist's Space
Untitled [Paddle for Artist's Space]
New York City, USA: Artist's Space, 1992
59 x 15.2 x 1.9 cm.
Edition of 50 numbered copies
A Beech wood paddle with leather strap screen printed on the front with the opening line of the United States Constitution and the Bill of Rights (the first ten amendments to the Constitution) on the verso.
The artist's initials are incised on the handle, as is the edition number.
Produced as a benefit for Artist's Space in New York.
Labels: Mike Kelley
Jenny Holzer | Fingers slide where the brain is close
Selection from the SURVIVAL SERIES (Fingers slide where the brain is close...), 1983-1985
New York City, USA: Barbara Gladstone Gallery, 1985
15.2 x 21.8 cm.
"Fingers slide where the brain is close to the surface and pursue the intentions lying there" is a lesser-known Truism from the Survival series produced as a painted aluminium work, mounted on board. The plaque is accompanied by a certificate of authenticity signed by the artist.
Labels: Jenny Holzer
Tracey Emin | Temporary Tattoo
Venice, Italy: The British Council, 2007
8 x 6 cm.
A temporary tattoo with an image of a bird riding a penis, distributed at the artist's exhibition as the British official entrant for the 2007 Venice Biennale.
Labels: Tracey Emin
https://artistsbooksandmultiples.blogspot.com/2013/06/the-rolling-stones-sticky-fingers-by.html
Labels: Charlie Watts
General Idea | Bondage
1.5 cm wide; 2286 cm per roll
Prototype for an edition
According to AA Bronson's comprehensive list of Editions & Publications 1967 - 1995, only two prototypes of this planned edition were ever produced. The work consists of black satin ribbon with the word Bondage hot-stamped in silver.
Labels: General Idea
Christian Marclay | Tape Fall
Tape Fall
New York City, USA: The New Museum, 1990
The installation Tape Fall debuted as part of the 1989 New Museum exhibition "Strange Attractors: Signs of Chaos," alongside works by Glenn Branca, John Cage, Zoe Leonard, Ann Hamilton, David Hammons, Cary Noland, and many others. The work features a reel-to-reel tape deck continuously playing a track of dripping water sounds. Suspended nine feet above the gallery floor, the deck is not fitted with a take-up reel, so the tape unspools onto the floor. The resulting pile of audio tape becomes a sculptural form that mirrors the aural experience. A total of 187 reels of tape were used.
Much the way that Footsteps began as an installation of vinyl LPs that were then torn up and sold as editions, here the magnetic tape is collected and bottled. The temptation for Marclay - a fan of puns and wordplay - to call it Bottled Water must've been strong, but was wisely avoided.
The work is valued at approximately $1500 US.
"Christian Marclay's installation Tape Fall (1989) is a grower. Not just in the sense that it takes a while for the work's impact to sink in - although it's certainly true that, unlike many apparent one-liners, Tape Fall keeps suggesting interpretations with repeated interaction. No, the installation quite literally grows, slowly but surely, and each visit presents a new version of the art work. Startlingly simple, the piece consists of a reel-to-reel tape player perched high atop an industrial stepladder; magnetic tape plays back a recording of dripping water and, in the absence of a take-up reel, falls the 20 or so feet to the gallery floor, where it accumulates in a messy pile. When the tape runs out a new one is loaded into the machine, and the debris beneath is left in place. Despite the tangle around the base of the ladder, a subtle order prevails: positioned to fall directly on top of a horizontal metal bar, the slowly spilling tape gradually flips and flops over the rod, creating a symmetrical mound as it amasses, ever so slowly. Returning to the gallery is a bit like making repeat visits to Pride Superette, a convenience store only a mile or so from San Francisco MOMA, where the owner, Nabil Kishek, is in the slow process of assembling a ball of rubber bands worthy of the Guinness Book of Records. Despite the gentle pace of both projects, experiencing the mutation at first hand never fails to delight, resulting in an odd collision of simple surprise and Sisyphean sublimity."
- Philip Sherburne, Frieze, 2002
Labels: Christian Marclay
The Nova Convention
[Various Artists]
New York City, USA: Giorno Poetry Systems, 1979
Gatefold 2LP set/double cassette
In 1978, Semiotext(e) founder Sylvere Lotringer approached John Giorno about organizing a tribute to William S Burroughs, bringing together European and American academics for a series of seminars, celebrating the writer as a "philosopher of the future", someone who best understood postindustrial society.
Giorno was more interested in a counterculture event that would feature musicians, poets, novelists and artists alongside academics, maybe a star attraction. Keith Richards was added to the bill at the last minute to meet the final requirement, ensuring that the event quickly sold out.
Titled The Nova Convention, the event took place between November 30th and December 2nd, 1978, in the East Village at the Entermedia (the former fabled Phoenix Theater, now the Village East Cinema). The "convention" featured music performances, readings, screenings and panel discussions, that sought to grapple with some of the implications of Burroughs' writings and influence.
The audience was made up of academics, students, publishers, writers, artists, punks and people wanting to see the Rolling Stones guitarist. However, complications from his Toronto heroin arrest prevented Richards from attending.
Philip Glass performed a minimalist solo work on the synthesizer, and was booed. Burroughs friend and associate Brion Gysin took the stage next, with the audience shouting "Where's Keith?"
Frank Zappa was recruited at the last minute to appear in place of Richards. Too late to arrange his band, he agreed to read from talking asshole scene from the Burroughs classic Naked Lunch.
Patti Smith appeared next - nervous to follow Zappa - in a fur coat and iguana-skin cowboy boots. During her introduction a heckler shouted, "Tell it to the iguana." Smith is reported to have surreptitiously masturbated onstage through a slit in her coat pocket, to maintain her command over the audience.
"I know you guys came in to see Keith," she told them, breaking the news for the first time. "Well, Keith ain't here. He's on a plane right now between L.A. and Toronto. He asked me to tell you all that if anybody wants their money back they can come and get it right now." She then proceeded to pull some crumpled bills out of her pocket, but no one approached to claim them.
Sick with bronchitis, Smith was unable to sing but instead played clarinet and electric guitar, despite not being proficient on either. The New York Times review described her playing as "with virtually no technique in the conventional sense but with a certain understanding of the kind of effects that were within her grasp."
John Giorno - an always excellent performance poet - read two emotional and moving works and a young Laurie Anderson gave a presentation about the future, her voice electronically pitch-shifted. Anderson, Burroughs and Giorno would later team up for a spoken word tour together, and Burroughs appeared in Anderson's breakthrough film Home of the Brave.
Burroughs received a warm welcome for his readings. Even when his subject matter is challenging, Burroughs' arresting voice, midwestern accent and haunting persona could be counted on to captivate an audience. He also provided the keynote lecture, and appeared on a panel discussion with Gysin, Timothy Leary, and Robert Wilson, moderated by artist Les Levine.
The series was originally produced by Giorno Poetry Systems for WBAI radio, and released the following year as a double LP.
1. Terry Southern – Vignette of Idealistic Life in South Texas
2. William S. Burroughs – Keynote commentary & Roosevelt After Inauguration
3. John Giorno – Eating The Sky
4. Patti Smith – Poem For Jim Morrison & Bumblebee
1. William S. Burroughs – Benway
2. Philip Glass – Building, excerpt from Einstein On The Beach by Robert Wilson & Philip Glass
3. Brion Gysin – Kick That Habit, Junk Is No Good Baby, Somebody Special & Blue Baboon
4. Frank Zappa – The Talking Asshole
5. William S. Burroughs – From The Gay Gun: "This Is Kim Carson," "Just Like The Collapse Of Any Currency," & "The Whole Tamale"
Side Three
1. William S. Burroughs – What The Nova Convention Is About
2. Ed Sanders – Hymn To Aphrodite from Sappho
3. John Cage – Writing For The Second Time Through Finnegans Wake
4. Anne Waldman – Plutonium Ode & Skin Meat Bones
Side Four
1. Laurie Anderson & Julia Heyward – Song from America On The Move
2. Allen Ginsberg & Peter Orlovsky – Punk Rock, Old Pond; Feeding Them Raspberries To Grow, & Nurses Song
3. William S. Burroughs, Brion Gysin, Timothy Leary, Les Levine & Robert Anton Wilson – Conversations
Labels: Brion Gysin, Giorno Poetry Systems, John Cage, Laurie Anderson, Patti Smith, Philip Glass, William S Burroughs
Johanna Drucker | As No Storm or The Any Port Party
Johanna Drucker
As No Storm or The Any Port Party
Oakland, USA: Rebis Press, 1975
[unpaginated], Square 8vo., hand-sewn
Edition of 300 [+ 26 AP]
As No Storm (or A Snow Storm) is the first editioned bookwork by artist (and Artist Book historian) Johanna Drucker. The book is hand-sewn with heavy limp canvas covers, with white cord through brass grommets.
"The nautical motif in images and binding combine with the stippled ink drawings to produce an effect that suggests a children's book, at first glance. The text is dense, rhymed, complex, almost unreadable in any straightforward sense. Thick with double entendres, allusions, puns, it is the story of a failed New Year's party I attended with my parents in what must have been the winter 1974-75. Betsy Davids had applied for and received funds from the NEA for a series of book projects, and she had invited me to be one of the artists. That invitation literally changed my life, since I moved back to the Bay Area from Santa Cruz, where I'd been living since 1973, in order to print the book with her in summer 1975. The result was that I got to know the emerging, vital book arts community, found my way to the West Coast Print Center, became part of a literary publishing and poetry scene, and in a very formative period of my life, was able to be in contact with a group of peers whose work and ideas pushed my own. As for this book, it remains one of the best produced of my works, particularly in that early period, thanks to Betsy's expertise, patience, and experience. The is somewhat baffling, impenetrable, an opaque textual object. The writing is shifted into a more fantastic register by the images than it might have been on its own, but unrelieved, the text would have been unreadable. Still, it was quite typical of the writing I did at the time, heavily knotted and turned inward on itself, but tightly structured, highly rhythmical, intricate. Likewise, the drawings have that obsessive naivete that was characteristic of my ink drawings in the early 1970s."
- Johanna Drucker
Labels: artists' books, Johanna Drucker
dé-coll/age, no. 2
Dick Higgins, Wolf Vostell
Cologne, Germany: Self-published, 1962
29.3 × 20.8 × 0.4 cm.
Labels: artists' periodicals, Dick Higgins, Wolf Vostell
N.E. Thing Co.: Companies Act (Volume 1), Part 2
N.E. Thing Company
N.E. Thing Co.: Companies Act (Volume 1)
Vancouver, Canada: Brick Press, 2020
362 pp, 21.3 x 27.5 cm., softcover
Between the proliferation of Artist Book Fairs (pre-pandemic) and the ease of online distribution, the market for artists' publications continues to grow, and once unsaleable books that languished in storage for years are now only available on the secondary market, often prohibitively priced.
To counter the scarcity of the originals, many publishers have undertaken the difficult work of producing reprints of these rare titles, in order to make them available again at affordable prices.
Five years ago four Marcel Broodthaers titles were reprinted in the span of a few months, by Siglio Press, Granary Books and the Museum of Modern Art. Siglio has also produced reprints of long-unavailable titles by Sophie Calle, Ray Johnson, John Cage, Bernadette Mayer and others, alongside their schedule of new publications. Similarly, Primary Information produces both new artists' books and facsimile reprints (Michael Snow, Yvonne Rainer, Dan Graham, Constance DeJong, Tony Conrad, etc.). Other publishers who take this approach include The Everyday Press (Yves Klein), Zédélé Editions (Jan Dibbets, Peter Downsbrough, Lawrence Weiner, Richard Long, Herman de Vries), Dancing Foxes Press (Fred Sandback), JRP Ringer (Dorothy Ianonne, FILE Megazine) and Boabooks (a series of great Ulises Carrión titles).
I have no compunction about this practice. If there is renewed interest in a band, their recordings are re-issued, without concern for the collector who owned the "first editions". The authors of novels and non-fiction often see their books returned to print when the market suggests there may be a demand. These titles might feature a new cover design, an added preface or other extras that would be complicated with an artist's book. Unlike an author's book1, an artists' book is typically designed as a cohesive work. Short of re-engaging the artist to reimagine the original title, a facsimile seems the most practical route. Most are pretty faithful to the original, with occasional concessions to available paper stocks, and sometimes scale.
The Brick Press version of N.E. Thing Co.: Companies Act (Volume 1) is perhaps the first instance I am aware of that constitutes a reinterpreted facsimile.
Inspired by the ambiguous copyright of the original ("The Material in the N.E. Thing Co. Ltd. Book Can Be Used By Anyone, Anytime, Anywhere. Please Let Us Know When You Do This."), Ryan Smith set out to produce a version of the book that is both loyal to the original and also acknowledges the time that has passed in the forty-plus years since publication.
This includes the physical properties of the book, but also the shifting political and social mores.
Rather than work from the original files, or clean up the scans in Photoshop, Smith maintains the scuffs, cracks and creases of the copy he found in a second hand store a few years prior. Most surviving copies of the book are pretty beat up (see previous post).2
This choice helps distinguish the reprint from the original but also serves as a reminder that cultural artifacts accrue meaning over the years, particularly if they are in circulation.3
The original book looked like a series of photocopies, a stylistic choice that was revisited in the exhibition catalogue for Art Metropole's 1992 retrospective Media Works, on the works of Iain Baxter and NETCO. This lends itself well to the Brick Press approach of not tidying up the scans. The price Smith paid for the original book, seventy-five dollars, is also included as if written in pencil on the upper right hand corner of the title page. This is bound to cause some confusion, as the reprint retails for around fifty dollars.
The reinterpreted facsimile also seeks to correct offensive language used in the press at the time. Several of the clippings have a distinct tone of misogyny when discussing Ingrid. She is referred to as "Iain's pretty blonde wife", for example. Rather than let these instances go unchecked, Smith runs a thumbtack scratch through these lines. There's a bit of a righteous FTFY4 feel to the intervention, but it does serve to highlight the passage of time and draw further attention to Ingrid Baxter's erasure.
The history of Canadian collectives is littered with founding members reduced to footnotes after parting ways, particularly if they no longer pursue a career in the arts. But it's especially egregious in the case of the N.E. Thing Company. Both Baxters were listed as Co-Presidents of the Corporation - and it's only employees - yet the duo's works are often misattributed to Iain Baxter as solo creations, even in the Vancouver Art Gallery, the city in which they worked.
Baxter is a Fellow of the Royal Society of Canada and he has been awarded the Order of Ontario, the the Order of British Columbia and the Order of Canada. His solo career has far-outlasted his time in the N.E.Thing. Co., but it is also clear that the international success of the couple's collaborative work are the primary impetus for these awards.
After their divorce - the year of the original publication - Ingrid Baxter stopped producing art.
"I went back to school for my master's degree," she told Art in America in 2014, "I bought the canoe and boat rental business in 1981, and it has since grown way beyond whatever I imagined it could be." This business - the Deep Cove Canoe and Kayak Centre, in North Vancouver - now employs more than sixty people.
Approaching an art practice as a corporation was a wildly influential venture (see the work of Jennifer Lyn Morone™ Inc., Xavier Veilhan, Fabrice Hyber la, Dana Wyse, etc., etc.), as was opening a restaurant or store as an artwork (Michael Rakowitz' Enemy Kitchen, Damian Hirst's Pharmacy, Jonathan Berger's The Store, Keith Haring's Pop Shop, Sarah Lucas and Tracey Emin's The Shop, and so on).5 Ingrid Baxter's role in the legacy of posing prescient questions about the relationship between art and commerce deserves more than being referred to as "Iain Baxters then-wife".
And this is gradually happening, as the art world continues its reckoning with the marginalization of women that it has perpetuated for years. Ingrid Baxter's contributions are slowly being reinstated into the canon, including at the VAG, who recently adjusted the attributions in their collection.
For me, this Brick Press publication is still first and foremost a facsimile reprint of an important book that I wasn't able to own previously, but these discreet gestures introduce compelling ideas about what future collaborative publishing might begin to look like.
The title is available from the publisher, here, for $50.00 CDN.
1. The very fact that we do not call them "author's books" makes the term "artists' book" suspicious, but until a good alternative is agreed upon...
2. There is only one copy listed on ABE, by Gordon Simpson's ANARTIST store. It is being offered for $750 US and the condition is listed as "very good, except covers are good with lots of creases": https://www.abebooks.com/servlet/SearchResults?sts=t&cm_sp=SearchF-_-home-_-Results&an=n.e.thing&tn=companies+act&kn=
3. See Derek Sullivan's recent artist book, here: https://artistsbooksandmultiples.blogspot.com/2021/08/derek-sullivan-evidence-of-avant-garde.html
4. FTFY is urban slang for "Fixed that for you", which originated in Reddit memes. The acronym encompasses both copy-editing (corrected spelling or grammar in a post) and also sarcasm (a Democrat editing a Trump tweet to subvert it's meaning, for example).
5. Restaurants by artists that predate Eye Scream include FOOD by Tina Girouard, Carol Goodden and Gordon Matta-Clark in 1971, Allen Ruppersberg's Al's Cafe in 1969, projects by Les Levine and others.
Labels: Brick Press, N.E.Thing Co., Primary Information, Siglio Press
https://artistsbooksandmultiples.blogspot.com/2013...
Rachel Whiteread | Doorknob
Nye Ffarrabas | Language Box
John Waters to join board of the Baltimore Museum ...
Susan Hiller | Sisters of Menon
Luke Buser | Different Types
Linda Montano | Linda As Lenny
Derek Sullivan | Evidence of the Avant Garde Ex-Li...
Evidence of the Avant Garde Since 1957


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Surprisingly, sleep is a major factor in losing weight. Sufficient sleep keeps your metabolism working well, meaning that your body burns the food at a proper rate. By ensuring that you get sufficient sleep every night, you are ensuring that your body is able to burn as much fat as possible during the day by keeping your metabolism high.
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Didn't take as many pics as I have in years past (mostly due to what seemed like larger crowds), but I still had a good time wandering around.
A very large, very purple Rolls.
Aston Martin Vanquish S Volante, with a sticker price of $302k. Too much for such a dated, if gorgeous, car.
Aston Martin DB11, one of the best looking cars ever made.