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HomeResource CenterFrom Western Michigan to East Africa
in Communications
Following their Faith, VanderWals Find Themselves in Ethiopia
Aerial view of Ethiopian village. People sometimes do crazy things when they hit midlife and many people thought this was the case when Jim and Mary VanderWal shared their plan with family and friends to move to Ethiopia and serve with the mission organization SIM. Mary had held onto a dream of doing medical missions most of her life but after years of working and raising five children it didn't seem possible. Jim didn't see any place for a printer in mission's work and never entertained the thought of leaving their comfortable life in southwest Michigan to move overseas and work in a developing country. But God...
God had other plans for their lives. After a few short mission trips to Costa Rica where a missionary pastor introduced Jim to the importance of publication ministries the Lord placed a calling on Jim's heart to replace a retiring missionary who was doing a large scale publishing ministry in Ethiopia. They quit their jobs, sold their house, kissed and cried over leaving their grown children and grandchildren and moved with their two youngest sons to Addis Ababa, Ethiopia. Now entering their fifth year with SIM they have experienced incredible affirmation for their decision to be obedient to the Lord's calling and continue to feel blessed to have their skills in health care and printing be used to build the Kingdom of God.
SIM media staff. Jim and Mary VanderWal have been serving in Ethiopia as missionaries since 2010. Before moving to Ethiopia Jim spent 25 years managing print shops for both youth ministry and a denominational Christian publishing house here in West Michigan. He now manages both the Literature and Media ministries in Ethiopia with 40 Ethiopian employees. They publish in English and two local languages.
The radio ministry broadcasts in three languages throughout the horn of Africa, including Somalia. Radio programs are an exclusive way to reach the 85% of Ethiopians who live in rural and remote village settings and only have access to short wave radio. With some of recent violence in Ethiopia and Somalia, the short wave broadcasts are a great way to bring the gospel to folks who can listen to it with headphones or in the privacy of their home. Since it is very dangerous to convert or even to be a Christian in these areas, this ability to hear the gospel without retribution is a great service to these people who must hide their faith. And right in Ethiopia, a church worker was killed and his pregnant wife seriously injured in a machete attack by a gang of Muslims.
Sample literature. The radio broadcasts are made from outside of the country on short wave radio at the same time of night every day so listeners can tune in. Programs share the gospel message of salvation in Christ with a focus of reaching Muslim, Orthodox and Animistic people groups. The Bible based literature ministry prints about 600 titles on topics such as: Bible study, evangelism, discipleship, children's and youth ministry, theological education as well as translations of popular Christian works such as The Purpose Driven Church. Historically, most publications have been translations of Western works due to the void of Christian authors in Ethiopia.
The literature ministry is currently providing scholarships to Ethiopian Christian authors in an effort to encourage culturally relevant Christian literature. Prior to moving to Ethiopia Mary was teaching in the Nursing Department at Calvin College in Grand Rapids, MI and working on her PhD. In Ethiopia she has continued work towards her PhD with a nutrition support project for HIV+ children. She also has served as the Health Coordinator for SIM Ethiopia, overseeing health care for 150 missionaries and their families and 400 Ethiopian employees and their families. She also has a ministry to orphan boys in partnership with a local church.
SIM rural clinic.
Jim and friends in Kolfe. Mary and Jim returned home to Michigan after a two year stint overseas, and subsequently returned for another two years. This past summer they returned to spend time with friends, family and supporters both here and around the country. It has been a source of joy to visit with churches, supporters and family this summer and share with them what the Lord has been accomplishing in Ethiopia through our ministries. They are also greatly encouraged by the vibrancy of Christians and churches they've witnessed while home.
While the intensity of the Ebola outbreak in Africa may change their plans, they are scheduled to travel back to Ethiopia in October. Upon their return, Jim will continue in his "temporary role" as Admin Director and they would ask you to join them in praying as they consider if this is a role the Lord would have them continue. This would mean he would be part time with the Media (Radio) and Literature ministry management team which could be a great opportunity for the managers to grow in their leadership autonomy. They thank God for the good reports they have received on the work in Ethiopia via email and for the Ethiopian and missionary staff who continue the work in their absence!
On their return Mary will work on the next steps of her PhD work as well as coordinate medical ministries, serve on the Thrive committee (which seeks to support missionaries in Ethiopia) and will continue her ministry with the Kolfe boys. As they start their fifth year in Ethiopia as "empty nesters," they hope to more intentionally mentor and encourage new missionaries.
Jim and Mary are currently 20% below their required support level and are looking for people who value their ministry and would like to come alongside them and pray for them and commit to even $25 or $50 or $75 or $100 or more monthly. These funds will go directly toward getting the written and spoken gospel into much needed areas in Africa and provide much needed medical help in Ethiopia. To donate to their ministry, click here.
The plant where JIm works.
Jim and Mary.
Jim and Mary's family.


Caliwoldar is the second and final evolution of the starter Pokémon, Calignus.
Caliwoldar is a large and aggressive-looking bovine Pokémon. Its most prominent feature is its enormous red horns on either side of its head. It also has a second smaller pair of horns positioned in front of the larger pair. Caliwoldar has a brown body with a dark red mane. It also has a dark red tuft on the tip of its tail as well as dark red fur on the undersides of its front legs.
A Caliwoldar stampede can create as much heat as a volcano, so the traditional Caliwoldar stampeding grounds are often far far away from towns.
Caliwoldar stampede far away from human civilization because they can create enough heat by running to fuel a large thermal powered machine.
Areas with Caliwoldar herds are reportedly several degrees hotter than those without. Their stomping sounds like a volcanic erruption.
Solarus Farm, Grande Valley (Area) Kept in herds on certain farms.
Its name is a combination of its pre-evolutions'.


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Tasiilaq – cittadina della Groenlandia detta anche Ammassalik
comune di Ammassalik – un ex-comune della Groenlandia
Ammassalik Ø – isoletta della Groenlandia
Fiordo di Ammassalik – fiordo della Groenlandia
Eliporto Ammassalik – eliporto presente nella cittadina di Tasiilaq, Groenlandia

redpajama_set_name: RedPajamaWikipedia


Finding a van that directly rivals Mitsubishi's Outlander PHEV 4Work is impossible. There isn't one.
PHEV stands for Plug-in Hybrid Electric Vehicle and Outlander is the only light commercial to have this technology factory-fitted on sale today in the UK.
Using the same platform as the diesel Outlander and sharing its 4x4 capability, the PHEV features a 2.0-litre petrol engine plus a traction battery that drives two permanent-magnet synchronous electric motors; one at the front of the vehicle, and one at the back.
Rely solely on the lithium-ion battery mounted under the load floor and you will enjoy a range of approximately 32.5 miles says Mitsubishi. When the amount of charge in the battery starts to fall significantly or when more power is needed the engine cuts in and in effect acts as a generator, supplying juice to the electric motors.
At motorway speeds the engine does most of the work with the motors jumping in to provide a bit more boost if the driver is overtaking or climbing a steep hill. Electric motors deliver maximum torque instantly.
The battery can be switched to charge mode which allows electricity to be generated by the engine and stored in the traction battery either when stationary or on the move. Save mode maintains the level of charge in the battery while you are driving.
Regeneration when you brake puts some charge back into the battery, but to return it to full strength you will need to plug your vehicle into a charging point.
By using battery power as much as possible with the engine only kicking in occasionally you will produce minimal emissions and enjoy extraordinarily-low fuel consumption; especially if you hit the ECO button on the dashboard.
Mitsubishi quotes an astonishing official figure of 148mpg on the combined cycle with CO2 emissions set at 44g/km.
While that might be achievable under certain tightly-defined circumstances, in practice most van drivers are likely to return a lot less than that. We achieved closer to an average 49mpg lightly-laden on a mixed route that included a lot of pottering around trading estates as well as extended motorway runs.
The Twin Motor 4WD system uses the front motor and/or engine to deliver power to the front wheels and the rear motor to deliver power to the back wheels. Go for Normal Mode if you are, say, going down an icy country lane and need a bit more grip but switch to Lock Mode if you are crossing a muddy, deeply-rutted paddock.
In our view the closest competitors to the PHEV 4Work are battery-only vans such as Nissan's e-NV200 and Renault's Kangoo Van Z.E.
Admittedly the lack of an engine means that they suffer from range limitations. On the other hand it means that under no circumstances will they pump out CO2 or pollutants.
All three vehicles have one thing in common however. They qualify for a Plug-in Van Grant from the government's Office for Low Emission Vehicles which cuts the cost of buying one by 20% up to a maximum £8,000.
In the case of our test vehicle this means a grant of £6,904.80 based on a list price of £34,524 including VAT.
Purchasers can also claim a 100% first-year capital allowance and exemption from the London Congestion Charge. However while the battery vans are zero-rated so far as Vehicle Excise Duty is concerned, the PHEV attracts a flat commercial vehicle VED rate of £225.
Overlander is also marketed with a straightforward 147hp 2.3-litre diesel engine.
Access to the 1.6m3 load area is by means of a side-hinged door on both the offside and nearside and through a rear hatch with a wash/wipe system and a heated window. Our test vehicle sported a metal grille on the inside of the glass to frustrate thieves.
Both the hinged doors are opaque and the cargo bay's sides are well-protected from minor scratches and scrapes by plastic mouldings and carpet.
A lip at the cab end of the solidly-constructed, purpose-built cargo floor will hopefully go some way towards preventing unsecured goods from sliding forwards and hitting the driver and passenger.
Not that there is a lot to secure them to. A legacy of the car the Outlander van is based on, four tie-down points are provided but are better suited to keeping a luggage net in place rather than anything substantial.
The load tray's thick, tailored anti-slip rubber mat should help stop some items shifting too far, but we would rather see some hefty tie-down rings installed; and a bulkhead.
Good to see that there is a hidden compartment under the load bed which can be used to conceal power tools and other items you would not want to lose. You can access it by opening either one of the side doors.
Both Kangoo Van Z.E and e-NV200 are more convincing cargo carriers than Outlander PHEV assuming you can live with their range limitations. They boast more space - 3.0m3 and 4.2m3 respectively compared with a modest 1.6cu m - and a higher gross payload.
The Renault can handle 650kg while the Nissan can cope with a touch over 700kg compared with just 500kg for the Mitsubishi (the diesel Overlander can shift 705kg).
They offer a significantly lower loading height too, with e-NV200's set at around 520mm and the Z.E's at 609mm. Outlander PHEV's is a somewhat steeper 740mm thanks to the 190mm of ground clearance provided to aid the effectiveness of its four-wheel-drive system.
While the styling of Outlander PHEV's cab interior could not be classed as inspiring there is no doubt that it offers all the basics.
Oddment stowage facilities include bins in each of the doors with a moulding that can grasp a soft drink can and a deep lidded box between the two seats with a separate, removable tray just under the lid.
A roomy lidded glove-box is fitted, you will find a capacious cubby-hole at the bottom of the dashboard and two cup-holders are provided as well.
Thankfully each one is large enough to hold a proper mug of tea: most cup-holders in vans cannot.
The driver's seat is height-adjustable as is the steering column.
Externally 4Work gets colour-keyed bumpers, door handles and mirror casings.
Spend almost £4,000 more and go for the GX4h 4Work and you will enjoy some useful extras. The package includes a reversing camera, a power-operated tailgate and a remote control app that allows you to manage the van's charging schedule and interior temperature from your smartphone.
Cough up another £1,750 and step up to the GX4hs 4Work and you additionally benefit from a lane-departure warning system, adaptive cruise control and forward collision mitigation. It helps you avoid colliding with the vehicle ahead and will hopefully reduce impact damage should you hit it.
The petrol engine pumps out 119hp while the electric motors can generate up to a maximum 60kW apiece.
The 12kWh battery can be fully recharged from a standard domestic supply in around five hours says Mitsubishi. If you have got access to a rapid charger then you can get 80% of the maximum capacity back in just 30 minutes it adds.
The plug-in points are under a flap on the offside of the body towards the rear with the petrol filler point on the nearside. You'll find the 5m-long domestic charging cable in a lidded compartment in the cargo bed near the back door.
Kangoo Z.E and e-NV200 have 44kW and 80kW on tap respectively. Unless you can plug into a rapid charger their batteries will take longer to replenish than Outlander PHEV's but they are of course the only sources of power for the vehicles concerned.
The suspension employs MacPherson struts at the front while a multilink system with trailing arms helps support the vehicle at the back. Our van's 18ins alloy wheels were shod with Toyo R37 225/55 R18 tyres.
Power-assisted rack-and-pinion steering delivers a 10.6m minimum turning circle.
Keyless entry and operation is a standard feature so to get going all you need to do is plant your foot firmly on the brake pedal and press the starter button. Slot the transmission lever into either D for Drive or R for Reverse, and off you go.
With plenty of performance on tap, Outlander PHEV rides and handles well and goes about its business comparatively quietly even when the petrol engine kicks in; which it does seamlessly. When you are on battery power all you can hear is the muted slapping of the tyres against the highway.
Be careful when you are manoeuvring at low speeds though and use the lightest of touches on the throttle pedal. With maximum torque instantly available from the electric motors there is always the danger that you will go hurtling forwards or backwards unexpectedly; and bump into something.
One of the big risks of driving an Outlander PHEV is that you will become mesmerised by the dashboard gauges. Two in the middle show how much range you have got left using battery power and petrol power while the one next to them shows the extent to which the battery is being recharged by regeneration.
You can use the selector lever to alter the level of regeneration you require. Three different strength settings can be chosen, increasing to five if you employ the paddles on each side of the steering column; and do not be afraid.
Even on the maximum setting you will not stand the van on its nose the next time you lift off the accelerator and press the brake pedal.
Because Outlander PHEV has a petrol engine you do not enjoy the same level of maintenance savings as you do with a pure electric van. Service intervals are set at 12,500 miles or 12 months - whichever arrives sooner.
A three-year unlimited mileage warranty supported by a UK and European emergency roadside rescue and recovery service that also runs for three years is provided while the body is protected by a 12-year anti-corrosion perforation warranty.
Slightly different warranty arrangements cover the electric propulsion system's components however. No mileage limit is imposed in years one to two but a 62,500 mile restriction is imposed in years three to five.
4Work lacks side rubbing strips alas and that leaves it vulnerable to all the little scrapes and scratches that can afflict light commercials. In our case that seemed a particular pity given that our demonstrator was finished in metallic blue paint for an extra £416 - all prices quoted exclude VAT.
Disc brakes - ventilated at the front, solid at the back - are fitted all round. They are supported by a safety package that embraces ABS, Electronic Brakeforce Distribution, Active Stability Control, Traction Control, Brake Assist and Hill Start Assist.
Driver and passenger airbags - the driver gets a knee airbag too - and side and curtain airbags are fitted in case the worst comes to the worst while reversing sensors should help prevent injuries to unwary pedestrians and damage to your vehicle.
A Thatcham Category 1 alarm is installed while front fog lights, cruise control, a speed limiter and rain-sensitive wipers are all included in the deal.
A unique package and Mitsubishi should be applauded for developing it. However it is one we would rather see applied to a Ford Transit or a Mercedes-Benz Sprinter rather than a niche product.
So far as light commercials are concerned the best-known Mitsubishi 4x4 is undoubtedly the near-ubiquitous L200 pick-up. However it is not the only one.
You can order Shogun as a 4x4 van and acquire an all-wheel-drive Outlander light commercial too. Over 950,000 Outlander 4x4s have been delivered since the model initially debuted in Japan in 2001 as the Airtrek.
Intended for mild off-road use and to get you up icy roads rather than yomping across demanding terrain, Outlander appeared in its second incarnation in 2005 but not solely with a Mitsubishi badge. Rebadged versions were introduced by Peugeot and Citroen and sold respectively as the 4007 and the C-Crosser.
The latest version debuted at the 2012 Geneva Motor Show with the PHEV variant appearing at the Paris Motor Show in the same year. The van PHEV made its first public appearance in the UK at the CENEX 2014 Low Carbon Vehicle Event last September.


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Malagueña Salerosa is een van oorsprong Mexicaans volksliedje. Het liedje bestond al enkele jaren, voordat het in de 20e eeuw werd geclaimd door de Mexicanen Elpidio Ramirez en Pedro Galindo. De titel werd vaak ingekort tot La Malagueña. De tekst gaat over een mooie vrouw uit (het niet nader aangeduide) Málaga.

Er zijn meer dan honderd covers van dit liedje bekend. Artiesten als Trini Lopez, Helmut Lotti, Imca Marina en José Feliciano namen het op. In Nederland is een versie uit 1955 op Philips Records van Trio Los Paraguayos bekend, waarin nog wordt verwezen naar de Mexicaanse achtergrond. Het nummer werd in 1956 door Toby Rix onder de titel Malle vent ja geparodieerd. Een andere opname met een Nederlandse bijdrage was de versie van James Last met Berdien Stenberg uit 1988.

De muziek werd gebruikt in films zoals Kill Bill 2, het werd toen gezongen door Chingon.

Los Angeles

La Malagueña is een van de twee singles van Los Angeles, een groep Spaanse straatmuzikanten uit Den Haag. Los Angeles werd begeleid door de musici uit Sandy Coast. Hans Vermeulen was de ontdekker van Los Angeles, muziekproducent voor Red Bullet en muzikant in Sandy Coast. De band Los Angeles kwam niet aan een langspeelplaat toe.

Hitnotering

Nederlandse Top 40

Nederlandse Daverende 30
De single werd van de eerste plaats afgehouden door Golden Earrings Radar Love.

Belgische BRT Top 30

Vlaamse Ultratop 30

Radio 2 Top 2000

bronnen

Single uit 1973


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Lleyton Hewitt furious at Davis Cup drug testing
February 2, 2014 — 12.06pm
La Roche Sur Yon, France - Never one to take a loss lightly, Lleyton Hewitt was feeling more aggrieved than usual after his Davis Cup defeat due to what he considered a "ridiculous" drug testing situation.
Hewitt blasted the International Tennis Federation (ITF) after the second day of the World Group tie against France in La Roche sur Yon over what he said was poorly-timed and excessive doping control.
Lleyton Hewitt was previously unbeaten when paired with Chris Guccione in the Davis Cup. Credit:Reuters
The Australian veteran was delayed to his post-match press conference by more than two hours and, when he finally arrived, he revealed his disgust at the situation.
"To have to hang around here for three hours after the match and keep all you guys waiting and us waiting, it's mind boggling," Hewitt said.
"I've never had to to do it like this in my life.
"I've done a few in my time but I've never had to go (urinate) three or four times and keep going all night."
While France's players were also put through testing, Hewitt questioned the timing with a day still to play.
He also said youngsters Nick Kyrgios and Thanasi Kokkinakis had to take tests just before he went on court with Chris Guccione for Saturday's doubles.
"They weren't allowed to watch the start of the match which is just a joke as well," Hewitt said.
"The ITF have to take a good look at things. It's ridiculous."
Australian captain Pat Rafter added: "It would be interesting if there was a live rubber tomorrow."
The cagey Hewitt was certainly in no mood to answer questions about his future.
I've done a few in my time but I've never had to go (urinate) three or four times and keep going all night.
Hewitt has indicated he will play on for at least the rest of this year but asked whether he definitely intended to be part of the World Group playoffs in September he answered sarcastically: "Oh no, that's it now, I'm not playing again."
Rafter intervened: "I was interested in that question too .... You'll be there."
"Oh will I?" Hewitt said.
Hewitt also fired a sarcastic answer at a television reporter asking about whether there were positives for the future in Australia's loss to France.
"Oh no, it looks terrible, the future," Hewitt said.

redpajama_set_name: RedPajamaCommonCrawl


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Owls at Noon Prelude - The Hollow Men
10 April–26 May 200710 Apr–26 May 2007
Born in 1921, French director Chris Marker has been making films since the 1950s and is a pioneer of the film-essay. His approach developed out of his early experiences making travel books, combining images with texts. His big subjects are memory and travel, which are explored in relation to his media: film and photography.
Owls at Noon Prelude: The Hollow Men was commissioned by the Museum of Modern Art for its reopening in 2004. Marker's nineteen-minute eight-screen video installation—the first part of an envisaged history of the twentieth century—was inspired by a T.S. Eliot poem reflecting on Europe as a wasteland following World War One. Marker mixes texts with still photographs of wounded veterans and achingly beautiful women to evoke the hopelessness of those who lived through Europe's near suicide early last century, as war returns to haunt us in the Middle East. The atmospheric soundtrack is Coronaby Toru Takemitsu, performed by Australian pianist Roger Woodward.
Marker explains: 'Owls at noon, night birds in the day, things, objects, images that don't belong, and yet are there. Leaflets, postcards, stamps, graffiti, forgotten photographs, frames stolen from the continuous and senseless flow of TV stuff (what I'd call the Duchamp syndrome: once I've spotted 1/50th of a second that escaped everybody, including its author, this 1/50th of a second is mine). Bringing into the light events and people who normally never access it. It's from that raw material, the petty cash of history, that I try to extract a subjective journey through the twentieth century. Everybody agrees that the founding moment of that era, its mint, was the First World War, and that it was also the background on which T.S. Eliot wrote his beautiful and desperate poem The Hollow Men. So thePrelude to the journey will be a reflection upon that poem, mixed with some images gathered from the limboes of my memory.'
Marker has long been involved in exploring new media, from the crude, early video effects in his 1983 flaneur filmSans Soleil to his hypertextual 1998 CDRom Immemory. The Hollow Men continues this inquiry, with the computer-graphics treatments of its photographic images suggesting both the softness of watercolours and petrification.
Alongside The Hollow Men we are showing Marker's 1962 science-fiction short La Jetee, a story of time-travel, memory, and impossible love, which has inspired many other films, including Terry Gilliam's 1995 feature Twelve Monkeys. This deeply melancholy tale is also told using black-and-white photographs, and also concerns the aftermath of a war, an imagined World War Three. Thanks to Peter Blum Gallery, New York.
Jemima Wyman
IMA at TCB
10 Sep–12 Oct 2008


Sorry if this has been covered on another thread, but I didn't see anything. I'm having trouble getting the web app to recognize my bass. Have it in Chrome (version 64.0.3282.199), have the Gamechanger extension installed and enabled. The web app just always gives me the welcome page with the option to use the device emulator. I'm on Windows 10, Windows does give me an error message that my USB device malfunctioned and is not recognize when I plug it in. I've also tried multiple USB cables. Any help would be appreciated, thanks!
Last edited by Manny_Silvers; 01-29-2018 at 05:30 PM.
I couldn't get my GameChanger to work with Chrome. However, it works fine with Firefox. Download that browser. it's the only thing I use Firefox for.
"Musician, Heal Thyself!" -Ask me how!
I have also initially been shown the simulation page, but after unplugging and plugging the usb again it worked fine. Not sure why. I use a Mac, so can't say anything about pc operation. Hope this helps.
Got it to work. Restarted computer, seems to have been a Windows issue as after the restart it recognized The Game Changer by name.


Here are a number of opportunities in the wonderful Catskill Mountain Region of Sullivan County, NY.
Check back frequently for new ideas on how to spend just a few hours or months exploring our rich, cultured, and historical area.
Founded in 1947, the Forestburgh Playhouse is the oldest continuously operating professional summer theatre in New York State.
Welcome to Out In The Catskills , the website designed to help the gay/lesbian traveler find the best of what the Sullivan County Catskills has to offer! On this site you will find our recommendations for gay-owned and gay-friendly businesses and services.You'll also find information to make your Catskills getaway a fun and memorable one.
We hope you'll get to know our gay Catskills and join the many gays and lesbians who are visiting and settling in this beautiful, affordable and accessible place we call home. Use the site to get directions, information on lodging, and places to see and things to do.
A group of over 120 member artists and arts supporters, residing in a small cluster of towns that surround both the NY and PA sides of the scenic Delaware River. Explore the website where you can see first hand the talents of the members, as well as learn more about activities and events. The collective backgrounds of Association members are an interesting and diverse mix – painting, sculpture, mixed media, printmaking, ceramics, jewelry design, fiber art, experimental theater, photography, digital media, literary arts, music, film, drawing, functional art, and more. Better yet: hop in the car, enjoy the region's breathtaking scenery, and take yourself on a self-guided studio tour of some of the member artists. You will be met with intrigue, beauty, hospitality, and wonderful art.
Eagle watching at various locations around Sullivan County. Volunteers are available January through March to help find & identify bald eagles. The Institute also offers programs, data collection and participates in Eagle Fest in January.
Potter specializing in wood fueled, low-fired pottery featuring sculptural vases and planters whose aesthetic is simplicity and impermanence.
Canoe, raft, kayak, and tube trips on the Delaware River. Riverfront campgrounds & paintball also available.
Refurbished 1948 post-Art Deco 380 seat single screen country cinema. Current popular films and award winning alternative & foreign films. Dolby digital audio. Voted "Best Movie Theater" in the region annually since 1996 by moviegoers. Honored by U.S. Congress, New York State Assembly and Sullivan County Chamber of Commerce.
Honey Hill Pottery is known as Centerpiece Central. It's the place to come to for a specifically designed and inscribed wedding, anniversary or special occasion gift or something beautiful for yourself.
Summer educational farm programs, and hands-on workshops & farm tours for children and families in the summer. Workshops on renewable energy in March-November. Group programs include: goat milking, planting and picking in the garden, grooming horses, feeding sheep, goats and chickens (minimum of 20, reservations required). The farm uses wind and solar energy to provide most of the farm's electricity and hot water. A round two story straw building demonstrates many of the benefits of using natural building materials and techniques. Used vegetable oil is used in vehicles and a back up furnace.
25 unit motel in a rustic setting. Color TV with HBO. Located just 10 minutes from Bethel Woods Center For The Arts. Fine Dining.
A welcoming Buddhist community including monks and nuns, home to the magnificent World Peace Temple. Encompasses 82 acres of lush woodland.
A theatre and arts center which presents plays and cutting-edge contemporary performance works from around the world. Home to the NACL Catskill Festival of New Theatre.
Antiques, home design, art gallery, jewelry, beautiful custom crafted farm tables and country furniture as well as a large variety of house wares, collectibles, gift items, and a new line of handmade cookware from South America. Art shows with both locally and internationally known artists.
WCM presents an annual chamber music festival with 10 events on July 12-26 in and around Jeffersonville. Internationally acclaimed musicians perform in concerts, workshops, lectures and family events at the Eddie Adams Farm and in downtown Jeffersonville, as well as in Callicoon Center. Seasonal concerts in the spring and fall are also held at various other county locations.
A family friendly fun center featuring 6 scenario paintball fields, paintball target range, inflatable bounce house village, 18 hole championship mini-golf, 300 yard golf driving range, T-ball practice range, carnival games and prizes, stuff-a-friend, sand art & crafts, glamour scene makeovers, birthday parties and more. Rentals of inflatables and a large banquet facility with stage are also available.
Enjoy 265 acres with single track and paths through woods and meadows. Trails for all levels of experience; from the novice to expert. Biking events. Picnic areas, baseball field and awesome views! A Great Place for Family Fun! Call for information, directions and park hours.
Museum, gift shop and education center on 53 acres bordering the Willowemoc River. Committed to preserving the past, protecting the present, and promoting the future of fly fishing. Birthplace of American fly fishing.
Outdoor activity specialty shop near Catskill Park trails & campgrounds. Try something new: hiking, camping, bird watching, star gazing, Nordic walking, nature games, snowshoeing. Rental snowshoes too. Many programs, classes and special events throughout the year.
The summer 2009 Sunset Concert Series will present internationally acclaimed classical artists in an intimate and inspirational setting. All Sunset Concerts are followed by a "meet the artists" reception. Due to limited seating, paid reservations are required.
A gallery supporting trained and untrained artists who work outside the fringes of traditional art.
SUNY Sullivan is a small, two-year community college offering a variety of associate degree and certificate programs, as well as continuing education and specialty courses, in today's hottest industries. In addition, the college offers an array of educational, cultural, social and athletic activities and events on a year-round basis.
Trail rides are offered year round with experienced guides. Each guided ride starts with matching the horse to the rider and giving basic riding tips before hitting the trail. You will ride on beautiful wooded trails with breathtaking scenery. Children must be over the age of 12. Upland bird hunting, lodging, sporting clays, five stand and trail rides. Gun dog training, started dogs and puppies. Shooting instruction available. No hunting license required.
Downhill ski, snowboard and tube on slopes where great skiers begin!! Lessons, ski chalet and café on site. 9 downhill trails, 5 tube-run trails and 100% snow making. Enjoy the new ice skating rink. Don't miss the new terrain park for snowboarders. Ski, snowboard and ice skate rentals available. The fun park features go-karts, bumper boats, bumper cars, rock wall, mini golf, potato sack slide, arcade, Choo Choo Charlie, mechanical bull and batting cages. Winter features downhill skiing, snowboarding, tubing and ice skating.
Over 1500 video gaming machines including video poker (ages 18 & up). Also available on site are a food court, Terrace Restaurant and an all you can eat buffet. Live harness racing year round and daily simulcasting are also available. The Hype Room and Lava Lounge offer numerous diverse entertainment options throughout the year. Check the event listings on this site for a complete list of upcoming shows and performances.
Alliance Gallery, located in the Delaware Arts Center, hosts year round exhibits, of contemporary art, digital media, and special events. It is also the headquarters for Delaware Valley Arts Alliance, the art council for Sullivan County.
The Delaware Valley Opera presents operas in July and August. Smaller productions are held during the fall and spring.
Take a leisurely drive on the charming, historic, and natural NYS Route 97. Brochure available.
New Age Health Spa is the only destination spa in New York State. Located on 280 pristine acres in Sullivan County, this all-inclusive resort offers health-enhancing programs and spa treatments for both women and men in a casual environment.
Original, hand-built pottery inspired by the natural beauty surrounding this mountaintop studio. A wide range of one-of-a-kind designs fired using a variety of ways including raku, horsehair, pit firing, smoking, and Carolyn's high-fired stoneware pieces. Works range from individual tea bowls to vases, bowls, cups, platters, sushi plates, trays and Carolyn's fine art sculptural vessels. All pottery pieces are one-of-a-kind designs. Duke Pottery has a gift shop and art gallery featuring the work of an ever-increasing number of area artists, farmers and crafters.
World renowned cabaret in the Nancy LaMott Room. Enjoy top name cabaret & Broadway performers in solo shows at 7 & 9pm every Sun. from Father's Day-Labor Day. Immaculate accommodations overlooking beautiful White Lake. 3 miles from Bethel Woods Center for the Arts and 6 miles from Monticello Gaming and Raceway. Your hosts Eddie & Scott.
Tours in and around the beautiful Woodridge, NY area. The main guided tour is along the rustic two mile unpaved trail from Mountaindale to Woodridge. The "Rail Trail" is the perfect scenic trail system and even more perfect via Segway!
Exciting, eclectic, world-class art exhibited in a magnificent space. Art instruction classes and workshops offered. The gallery is easily accessible from New York City.
Working horse farm offering riding lessons and boarding on 105 beautiful acres. Facilities include both indoor & outdoor arenas and two barns; one for geldings and one for mares. Owner/operator has 20 years of experience, lives on the premises and is a registered nurse.
Contact us for more information if you want to follow-up on anything you've found. We'll be happy to help.


There is so much to do, to see, to taste, to discover in the old city centre of Amsterdam... Discover (a part of) Amsterdam during a nice walk, cycling tour or scavenger hunt! Taste the city during a (cheese) tasting session and experience the city during a fun activity. We can arrange activities for everybody; we have listed the best activities in Amsterdam for you.
Suprise somebody with a guided tour, a tasting session or some other activity with our Amsterdam Old Town gift cards. The value of the gift card, the number of persons and the purpose of the gift card can be customized. Contact us to order an Amsterdam Old Town gift card.


Anything goes at Éléphant Paname. All arts, from photography to sculpture or contemporary installations can be exposed. The only rule: all subjects must be treated with originality and rigour to offer an authentic experience to the visitor. We will expose only artists and works we like and we're touched by.


text:
import threading
import unittest

from .. import context

class TestContext(unittest.TestCase):

    def test_basic_usage(self):
        ctx = context.Context()
        ctx['something'] = 'test'

        self.assertEqual(ctx['something'], 'test')

    def test_context_manager_global_behaviour(self):
        ctx = context.Context({'global': {}})
        ctx['global']['x'] = 1

        with ctx as ictx:
            ictx['global']['x'] = 2

        self.assertEqual(ctx['global'], {'x': 2})

    def test_with_other_thread(self):
        ctx = context.Context()
        ctx['exists'] = 1
        ctx['obj'] = [1, 2, 3]

        def other_thread():
            ctx['obj'] = [1, 2, 3, 4]
            ctx['other'] = 1
            ctx['exists'] = 2
        t = threading.Thread(target=other_thread)
        t.start()
        t.join()
        self.assertNotIn('other', ctx)
        self.assertEqual(ctx['exists'], 1)
        self.assertEqual(ctx['obj'], [1, 2, 3])

    def test_dictlike(self):
        dl = context.Context()
        dl['aaa'] = 12

        self.assertEqual(dict(dl), {'aaa': 12})

    def test_context_manager_copywith(self):
        ctx = context.Context()
        ctx.clear()
        ctx['something'] = 'test'
        ctx['over'] = 'test'
        ctx['obj'] = [1, 2, 3]

        with ctx.copy(justhere='a') as ictx:
            ictx['else'] = 'else'
            ictx['over'] = 'over'
            ictx['obj'] = [1, 2, 3, 4]
            self.assertEqual(ictx['something'], 'test')
            self.assertEqual(ictx['justhere'], 'a')

        self.assertNotIn('else', ctx)
        self.assertNotIn('justhere', ctx)
        self.assertEqual(ctx['obj'], [1, 2, 3])
        self.assertEqual(ctx['something'], 'test')
        self.assertEqual(ctx['over'], 'test')

redpajama_set_name: RedPajamaGithub


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text:
US Intel committees approve arming Syrian rebels, top general warns of costs
The House and Senate Intelligence Committees have given a green light to arm Syrian rebels, as their concerns were alleviated. But a top US general warned that high costs of military options could reach billions.
Gen. Martin Dempsey (AFP Photo) © AFP
Martin Dempsey, the chairman of the US Joint Chiefs of Staff and the highest-ranking American military advisor, wrote that a no-fly zone over Syria would cost the US between $500 million and $1 billion a month to maintain, and may be ineffective because the Syrian army relies on artillery, not air support, to fight the insurrection.
In the meantime, US President Barack Obama will continue with the plan to arm Syrian rebels after several congressional concerns were alleviated, Reuters quoted officials as saying. "We believe we are in a position that the administration can move forward,"House of Representatives Intelligence Committee Chairman Mike Rogers said.
The House and Senate intelligence committees gave a green light to send CIA weapons shipments to opposition fighters in Syria, Washington Post reported, adding that the US will use the money already in the CIA's budget and transfer it to the Syria operation. The plan was announced last month by the Obama administration and involves giving small arms and ammunition to some of the 1,200 groups of Syrian rebels, some of which have known affiliations with al-Qaeda.
The infrastructure is already in place and arms are expected to start coming in the next several weeks.
Dempsey's letter, dated July 19 and made public July 22, was written in response to a contentious meeting with Senator John McCain, who accused Dempsey of withholding information during a previous meeting with the Senate Armed Services Committee. McCain has threatened to place a hold on Dempsey's nomination for another two-year term as the chairman of the Joint Chiefs unless the general provides more details on hypothetical military action.
Scenarios outlined by Dempsey included: Train, Advise and Assist the Opposition; Conduct Limited Stand-off Strikes; Establish a No-Fly Zone; Establish Buffer Zones; Control Chemical Weapons.
The chairman warned that any decision would need to be weighed carefully and treated as "no less than an act of war."
McCain and the other Senate Armed Services Committee members previously pressed Dempsey to consider the "costs, benefits and risks associated with training and arming vetted elements of the Syrian opposition? In your view, could such action alone be sufficient to adequately build the military capability of the moderate opposition in Syria and create the necessary conditions for the administration's stated policy objective - Bashar Assad's departure and a negotiated solution to the conflict in Syria - to succeed?"
Dempsey pushed lawmakers to consider the long-term consequences any military action would mean.
"Risks include the loss of US aircraft, which would require us to insert personnel recovery forces," he replied. "It may also fail to reduce the violence or shift momentum because the regime relies overwhelmingly on surfaces fires - mortars, artillery and missiles."
He reminded the committee that virtually every scenario "could also average well over one billion dollars a month" and could provide aid to al-Qaeda or other radical groups. Along with this came a warning of no guarantee that Syrian chemical weapons would be put under an American safeguard.
"Should the regime's institutions collapse in the absence of a viable opposition, we could inadvertently empower extremists or unleash the very chemical weapons we seek to control," he wrote. "It would be inappropriate for me to try to influence the decision with me rendering an opinion in public about what kind of force we should use."
UN: 5,000 people die in Syria a month, conflict is deteriorating
UK PM Cameron pledges not to arm 'bad guys' in Syria


On school property; closed when school events or classes are going on.
I-96 exit 147 (Spencer Rd.) South (becomes Main) through town, left on 7th St. to Brighton High School. Behind school on east side of bldg., course begins west of tennis courts and goes around lake.
Have you played at Brighton High School? Be the first person to review this course!


Such practices were bound to take center stage in a society experiencing a deeply contested, epochal transformation, and they showed remarkable longevity. Over the past fifteen years, even as social relations in Russia have become increasingly reified (and corporatized), engaged artists have nonetheless continued to confront the public, demanding they be seen and heard, insisting on the fundamental malleability of what can be seen and heard. However, this public orientation has recently become increasingly untenable, and the reasons are not hard to discern. Since the Russian protests of 2011-12 and Putin's controversial election to a third term as president, the state has followed its own path of (pseudo-)radicalization. The Ministry of Culture has declared war on contemporary art (along with other media, particularly theater), enforcing its line on what constitutes an "appropriate" aesthetic statement (i.e., patriotic, heteronormative, accessible, etc.). Mass media outlets have been transformed into a tightly disciplined propaganda machine—combining the ritualized unanimity of late Soviet official culture with a frenzied, fear-mongering spectacularism appropriated from the west. Russian actionism is dead (Pavlensky here is the exception that proves the rule); exhibition spaces invariably practice self-censorship (or find themselves overrun by neo-fascist Cossack bands); and artists are more likely to shun the newly mobilized "people" than engage them in social projects.
As one might expect, this situation has forced the leftist art community to turn inward, developing practices of intimacy, working beneath the radar of state interests. To be sure, intense forms of intimacy always supported the earlier tradition of public display, but they largely remained secondary to the work itself. And here the contribution of Chto Delat is particularly important. They have been in the forefront among St. Petersburg artists and intellectuals in resisting any expression of the intimate turn as a simple rejection of the compromised public sphere. On the contrary, they have worked tirelessly to build a viable, alternative institution that can potentially serve as a public platform. And while this goal is decidedly utopian (since the inchoate counter-public they would address remains completely marginalized with respect to mainstream officialdom), their project has nonetheless been an undeniable success. The school and the house of culture continue to grow and develop despite serious resistance from both private and state actors (they have, by my count, been forced to move their operations five different times over the course of only two years). Hundreds of Petersburg artists, activists, and intellectuals have participated in their activities, not to mention visitors from other Russian and foreign cities. Most importantly, the institution has contributed to the formation of a close-knit network of young artists and intellectuals, who show remarkable group solidarity while pursuing a broad range of activities and focusing on diverse aspects of the leftist agenda.
In current conditions Chto Delat's institutional project represents a more mature and, one hopes, productive form of emancipatory practice than mere public display. The alternative institution does not require direct confrontation to sustain a publically-oriented position. Instead of hurling itself against the wall that divides it from the hegemonic culture, the institution asserts a public presence, while accepting its—for now—marginal status. Participants are not obsessed with "peak experiences" that guarantee a place in art historical memory. Instead, their work and the cultivation of intimacy it promotes are more subtle and concrete. When involved in such practices—the occupation and inhabitation of collective spaces, the pursuit of long-term, small-scale projects, the supplementing of direct activism (which has become increasingly difficult) with the production of group solidarity, etc.—the temporality of political engagement is doubled, at once anticipating a future of active resistance (instead of staging it provocatively in the streets) and constructing a genuinely emancipatory present, founded on patient, self-organized, collective labor (unlike more radical communities, which typically collapse under the pressure of their own aspirations). The builders of such institutions are thus simultaneously involved in a form of utopian projection—imagining and longing for a viable counter-public—while concretely working to sustain one another here and now, maintaining enthusiasm, fidelity, and solidarity through mutual support and collaboration.
Here it also worth noting that the Chto Delat school and house of culture are only two projects among a string of other institutional efforts in which members of Chto Delat have being leading participants. Among other activities in this vein one can include: the remarkable work of Artemy Magun and, more recently, Oxana Timofeeva in developing the Department of Political Science and Sociology at the European University in St. Petersburg; the contributions of Alexander Skidan to numerous projects that promote the current renaissance of Russian avant-garde and political poetry; and Nikolay Oleynikov's design work with Kirill Medvedev's Free Marxist Press (not to mention their collaboration in the Arkady Kots group, which has itself become a kind of institution—now deeply involved with the burgeoning movement of Russian independent trade unions). While generationally closer to Chto Delat's students, Pavel Arsenev's Translit journal and related publications also emerged from a milieu with close ties to the group.
The options in arts pedagogy in St. Petersburg have always been seriously limited, and the Chto Delat school has quickly positioned itself as a genuine competitor to other institutions in the city. The old Soviet academies remain bastions of conservative aesthetic values with no interest in contemporary trends. Between 2007-2009, the American artist Emily Newman worked to establish an accredited MFA program at Smolny (the Faculty of Liberal Arts and Sciences, St. Petersburg State University's collaboration with Bard College), but the project was derailed after intense resistance from remnants of the scene that emerged around Ivan Chechоt's Navicula Artis Gallery in the early 1990s. Testifying to the parochialism and inertia of St. Petersburg's institutional landscape, these entrenched artists and critics protested against the idea of foreign "Varangians" coming to bring new ideas and usurp their power. Since then Smolny has only offered a post-graduate program in art criticism. Among programs closer in size to the Chto Delat school, Pro Arte's school has played an important role in the development of a number of local artists, but it lacks consistency, since it has no permanent faculty (and no clear ideological position). In 2014 a new independent pedagogical project, Paideia, began at Pushkinskaya 10, the old perestroika center for non-official culture. However, this program is focused more on theory than practice; it charges tuition; and it only runs for two months. By contrast, the Chto Delat school typically offers a small stipend to its students, and it runs for a full year. The next course is planned to run for a year and a half.
The methods Chto Delat uses in pursuit of these ends have been developed over nearly a decade of conducting short-term pedagogical projects. The most prototypical of these are their intensive seminars that culminate in the staging of a "learning play," which the participants write and perform under the direction of Olga Egorova (Tsaplya)—who possesses an uncanny ability to unite an unruly collective around a common cause. These plays also make extensive use of the modern dance techniques of Nina Gasteva, who describes her area of responsibility as cultivating the group's "collective body." While these projects are of course far from Friere's work with the illiterate poor, they can be seen as fostering community and empowerment among the creative workers who participate in them. It hardly needs to be stated that young people interested in forms of labor that do not produce marketable commodities (whether material or immaterial) often live precarious lives and run the risk of slipping into conditions of deep alienation. The blitzkrieg of intimacy Chto Delat brings to these projects, with its heavy orientation on public performance and politicized speech, provides a tangible form of resistance to such problems.
At the same time, however, Chto Delat's pedagogical method raises a range of questions familiar to readers of Claire Bishop's influential survey of participatory art in Artificial Hells. What are the spectatorial implications of such projects? To what extent does a pedagogical art project need to communicate itself to a public beyond the participants themselves? What aesthetic criteria apply to its final outcomes? If the public identifies these outcomes with the artist-organizers, does this objectify the participants as delegated performers? Is the project "mere" art, or is it a real social process?
With their St. Petersburg school, Chto Delat are working to extend their pedagogical practice beyond the feverish tempos of the learning plays and, perhaps most importantly, to bring it back to their home city after years of plying their trade in foreign art contexts. The result has been even greater risk. Since the school emphasizes collective work over individual initiatives, and the organizers choose the central theme for each semester based on their own interests (violence and monumentality were the themes of the school's inaugural year), the students find themselves deeply embedded in Chto Delat's own practice while not directly involved at its uppermost levels. The group makes a constant effort to distinguish between their own work and that of the school, but to an outside observer this can seem somewhat arbitrary. Meanwhile, the student-artists are constantly faced with the task of negotiating their position as individuals with specific ideas, affinities, and goals, as members of a collective working on collaborative projects, and as participants in the Chto Delat platform itself, where they can never be quite sure if they are the beneficiaries of the group's significant symbolic capital, or if they are contributing their energies to help that capital grow.
These conditions have produced some interesting tensions in the work of the school. For example, the learning play the school staged after the first semester, Faster, Spicier, Tastier!, was conceived as a protest against the 2014 Sochi Olympics and the conditions of violence they masked in Russian society. The students each took on the role of a vegetable, participating in various "contests," pre-taped and displayed on a projection, which typically involved the intense humiliation of a marginalized subject. The stage was then populated with restaurant guests, who proceeded to devour the vegetables one by one until none remained. While participating in this production, I was struck by the hidden allegorical potentials it suggested in relation to the school itself. If the "vegetables" were seen not only as representative subject positions but also as the young student-artists who embodied them, then the play was also about their own processes of maturation towards a level of "preparedness" (for public consumption), which was being linked to violent death.
A similar tension arose with the film Chto Delat produced after the second semester of the school—now defined specifically as the organizers' work and not that of the students, although most of the actors were recent graduates. The film, "The Excluded," was focused precisely on the marginalization of independent-thinking young people in Russia and the obstacles they face if they aspire to any kind of "heroic" intervention into the social field, which is rapidly descending beyond mere authoritarianism into something frighteningly fascistic. Again the student-artists were put in the position of embodying a typical class of Russian youth, and it is not surprising that a few of them rebelled, criticizing the film in a open letter for using their "beautiful, young bodies" (прекрасные молодые тела) to create the image of a "single organism" (один организм), cleansed of all internal contradictions. In other words, the authenticity that the student-artists gave to Chto Delat (as young Russians) pushed them into a position of inauthenticity when it came to their performances as individual subjects.
While some might take these tensions as grounds for criticizing the project, I prefer to see them as an articulation of its fundamental question, indeed an articulation that productively straddles the aesthetic and the social. Within the school's bounds the student-artists join the organizers and lecturers in a deeply intimate space of collective labor. Productive antagonisms abound in their discussions and creative work—always the hallmark of Chto Delat's particular model of collectivity. But since the school is also an institution, it must invariably turn outward and face the public as well. At this incredibly fraught moment, all the questions of performativity, delegation, and spectatorship emerge. The result, however, can hardly be described as exploitation (as the rebellious students provocatively claimed). Rather, it is a reflection of the group's intense desire to preserve the precarious, intimate collective they have cultivated in the midst of a society that sees no value in their work. To the outside this collective appears as a single organism, always under the threat of external violence or internal despair. Nonetheless, the collective emerges from each of these ritualized moments of death and alienation to repopulate the intimate space of the school, the house of culture, or one of their offshoots—most notably the Intimate Space gallery, which Marina Maraeva, a graduate of the school, opened in her own apartment in 2014. None of these deaths are real, after all—they are staged exposures to the death of a collective body, which ultimately serves to return that body to the spacing of singular beings and their community of shared finitude (to borrow the terms of Jean-Luc Nancy). Each approach to the brink of death is followed by a renewed assertion of intimacy—one hand on your own body and one hand on the other's, as one of Gasteva's fundamental techniques involves.
The Chto Delat school is prey to all the problems that haunt participatory, pedagogical art projects. But their practice ultimately involves the exploration of these problems as a fundamental tension between intimacy and public-ness. In this way, the school simultaneously offers a method for reflecting on the profound challenges that face any attempt to forge an oppositional community in this time of great peril, while also stubbornly insisting on the utopian potential of such efforts.
With each new independent collective founded by students and graduates of the school—and there have been a tremendous number of these already, including, by the way, the "Red Thug" cooperative that emerged from the "Excluded" controversy—the utopian space of intimacy expands, diversifies, and becomes increasingly sustainable. This is an atmosphere unlike anything you will find in western MFA programs, which are typically defined by intense competition and anxiety. A tiny percentage of the artists that emerge from western programs may produce public statements of a higher profile than those of Chto Delat's students. But these programs pale in comparison to the St. Petersburg school when it comes to the production and sustenance of a patient practice of intimacy, which never slips into pathological forms of introspection or escapism.
Of course, such practices cannot be seen as a substitute for real activism and the continuing struggle to create a genuine counter-public capable of competing with the one that official ideology addresses. But such a substitution is not the real danger that faces Chto Delat's students. The real danger comes from society itself, and their common task in warding off this danger is to maintain solidarity, to preserve the right to utopian vision and speech, and to reflect meaningfully on the tension between the collective body we all long for and the internal and external contradictions and antagonisms that define its precarious life as an unrealized potential. The time for heroic interventions is coming (this time is, of course, always now, in Walter Benjamin's sense, but it is also a question of time's fullness, its coming to term). When it comes, the new heroism will have to avoid the pitfalls of performative jouissance and hysterical narcissisism that plagued Russian actionism, despite its unquestionable power. The new heroism will be a mass movement, led by activist-organizers and, one hopes, some new form of political party (perhaps, indeed, one that does not merely tolerate antagonisms, but which cultivates them). Alternative, utopian, intimate institutions are not only a way to sustain these future heroes until the time is ripe. They also provide a site and a method for putting the question of that future time to oneself and one another each day anew.
Jonathan Brooks Platt is Assistant Professor of Russian Literature at the University of Pittsburgh.
My intellectual side really appreciated this elegantly-written, clear history of the Chto Delat' School and its response to changing conditions in Russia. And my emotional side appreciated Jonathan's emphasis on the value of creating warm, supportive group intimacy.
Jonathan awoke memories of my own artistic evolution in his description of the position of student-artists "constantly faced with the task of negotiating their position as individuals with specific ideas, affinities, and goals, as members of a collective working on collaborative projects." Creating art is, for me, and probably for many other artists, the one of the few areas of life in which we have autonomy to make manifest our most deeply cherished thoughts. Giving up that expressive autonomy can sometimes feel like a frighting loss of self.
Last, as a political artist who didn't attend art school (but rather a Ph. D. program in Russian history), I enjoyed Jonathan's description of the atmospheric difference between American MFA programs and the Chto Delat' School.


The Russian Food Company Ltd has been named as the winner of the Y-Accelerator 2018 initiative, with the Sheffield-based food manufacturer receiving a £25k equity investment from UK Steel Enterprise (UKSE) that will help the firm 'fuel growth and expansion into new markets'.
Founded in April 2017 by entrepreneurs Leeza Murina and Steve Jones after spotting a gap in the market, The Russian Food Company Ltd created the "Bunza"®, a modern twist on the traditional Russian pie. A cross between an artisan pie and a gourmet sandwich, the product has become a huge success with 'foodies' at farmers markets across the UK.
Judges at the Y-Accelerator event – which marks the end of a 12 week development initiative offering small business owners access to expert advice, specialist workshops and mentoring – said the £25k prize was awarded to the 19 time British Pie Awards winner because of its future growth potential.
The Russian Food Company Ltd was one of eight local companies to 'pitch' as part of the initiative final, which took place at Gripple's Glide House on March 28th in front of an audience of prominent local business professionals including representatives from UK Steel Enterprise and the Sheffield City Region Growth Hub.
Co-founder Leeza, said: "Food unites friends and family and is a huge part of people's lives, and with the British taste buds becoming ever more sophisticated, we are seeing increasing demand for something different; our handmade Russian food ticks that box.
Alan Stanley, Regional Executive of UK Steel Enterprise which invests in growing companies locally, said the quality of the entries to the competition was 'very impressive'; with several of the businesses in question having already secured support from growing numbers of customers.
He said: "The Y-Accelerator is a unique initiative that brings together various forms of support to create an intensive incubator for entrepreneurs with start-up ideas.
"The process was designed to help validate ideas, develop strong business models and provide people with the tools and skills to launch new businesses, and The Russian Food Company really demonstrated existing capacity for growth and expansion.
The team at UK Steel Enterprise, a subsidiary of Tata Steel, commented on the calibre of pitches, which made choosing just one winner a very difficult decision.
Alan continued: "The eight businesses who made it to the final pitch event have been through a challenging programme forcing them to demonstrate the viability of their products time and time again.
Talking about the Y-Accelerator initiative, Leeza said: "I found the Y-Accelerator to be an extremely useful experience because it has given us the focus and dedicated space and time to work on developing our business.
Launched in 1975, UK Steel Enterprise supports the economic development of steel industry areas. To this day it has helped over 7,000 businesses with investments approaching a total of £100M, and those businesses have created over 78,000 jobs.
UKSE provides loan and equity finance of up to £1M to existing companies which are growing, particularly those creating jobs. If you are an established business which needs growth finance then please contact UK Steel Enterprise on 0800 915 1188.
Paws and Presto – designer and manufacturer of products to solve 'doggy problems'.


Staining of concrete is a cost effective way to beautify your concrete. Stained concrete can transform new or old plain concrete into a work of art. There are three general types of concrete stains. acid, acetone, and water based concrete dyes. R&R Coatings crews are trained in multiple techniques for application to provide the best finish possible. R&R Coatings represents a variety of manufactures to offer our customers the best possible color selections for our customers. Concrete stain can be incorporated with polished concrete or in conjunction with clear topical coatings depending on application and customers preferences.
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Maxta is looking to hire mid/senior level software engineer who will be responsible for developing storage and virtual machine management software for MxSP (Maxta Storage Platform) running on KVM platform.
Design and implement the entire management stack for managing MxSP on KVM.
Experience building management stack/application for OpenStack/RHEV. Working knowledge of other hypervisors (VMware/XEN/Hyper-V) and the confidence to quickly come up-to speed on KVM is a plus.


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PVC's Physical Properties - PVC21 Sep 2015 ... Taking advantage of this characteristic, pvc is used in exhaust gas ducts, sheets used in construction, bottles, tubes and hoses. Mechanical stability. pvc is a chemically stable material, which shows little change in molecular structure, and also exhibits little change in its mechanical strength. However, long chain polymers are viscoelastic materials and can be deformed by continuous application of exterior force, even if the applied force is well below their yield point.


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Q: Scaling LaTeX output I need to create 2 versions of a University dissertation. The main version has to be done on letter-sized paper with very strict specifications for most of the style elements. But I would also like to create a (for want of a better term) paperback version. What I'd like to do is to scale each page by 0.65 and print 2 pages side by side on one side of a letter-sized sheet (in landscape mode, of course. I realize that there will be extra vertical space.).
I've been reading about output routines, including
this question, and so am happy to hear that output routines are as dark for others as they are to me.
I would appreciate any ideas that anyone has on how to accomplish this. Please note that I don't want to create two versions of the document by, say, creating two distinct class files with different fonts, scaled graphics, etc. I'm hoping that someone will tell me that there are pdf tools or output routines that can easily accomplish this with an option or two.
Gracias.

A: You can do this sort of thing quite easily with the pdfpages package.  It works on the pdf file itself not your source file. You would make a small document like the following to create a 2-up version of your thesis.
\documentclass[landscape]{article}
\usepackage{pdfpages}
\pagestyle{empty}
\begin{document}
\includepdf[pages=1-,nup=2x1]{<your thesis.pdf>}
\end{document}

The package has many quite sophisticated options for layout, but this should be enough to get you started.

redpajama_set_name: RedPajamaStackExchange


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Faculty Embark
CSUN Faculty Embark
The College of Engineering and Computer Science has five departments offering Bachelor programs in computer engineering, civil engineering, computer science, computer information technology, construction management technology, electrical engineering, engineering management, manufacturing systems engineering and mechanical engineering; Master of Science degree programs in computer science, software engineering, structural engineering, electrical engineering, mechanical engineering, manufacturing systems, engineering management, and materials engineering. The College also offers a new interdisciplinary Master's degree program in Assistive Technology Engineering through the Tseng College of Extended Learning. The college has approximately 3900 undergraduate majors and 600 graduate majors. The engineering and computer science programs prepare students for life long careers in a field that will allow them to make productive contributions to society and to find personal satisfaction in their work. Bachelor's degrees in civil engineering, electrical engineering, computer engineering, manufacturing systems engineering, and mechanical engineering are accredited by the Engineering Accreditation Commission of ABET, https://www.abet.org/. The Bachelor's degree program in computer science is accredited by the Computing Accreditation Commission of ABET, https://www.abet.org/. The Bachelor's degree in Construction Management technology is accredited by the American Council for Construction Education, https://www.acce-hq.org/
Click position number for position description.
22-07 Open Mechanical Engineering Composites Assistant Professor
22-08 Open Mechanical Engineering Fluid Mechanics Assistant Professor
22-09 (2 Positions)
Open Mechanical Engineering Autonomous Systems/Robotics Assistant Professor
Open Civil Engineering and Construction Management N/A Assistant Professor
Open Manufacturing Systems Engineering & Management N/A Associate Professor
Open Manufacturing Systems Engineering & Management N/A Assistant or Associate Professor
Open Electrical and Computer Engineering Computer Engineering and Digital Systems Assistant Professor
Open Computer Science N/A Assistant Professor
Open Electrical and Computer Engineering Power/Energy Systems Assistant Professor
Position Number Status Department Emphasis
Openings in the Following Colleges:
Mike Curb College of Arts, Media, & Communication
David Nazarian College of Business and Economics
Michael D. Eisner College of Education
Lecturer Positions (Part-Time) All Colleges
Openings in Other Division:
University Counseling Services
Civil Engineering and Constuction Management
Manufacturing Systems Engineering and Management


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Q: Does MySQL have a string contatenation operator, or must you use the > CONCAT() function? I was using + operator in MySQL to add string values
select id, first_name + '' + last_name as full_name
from account;

Would it work? If not then what is the alternative?


Kanada-ya – can this possibly be the best ramen in London?
Ramen, I had them all. With each place, I visit it gets better and better. Kanada-Ya has been on my radar for such a long time but the street long queues have put me off. Kanada-ya specialising in tonkotsu ramen cooked in by a recipe from Kanada Kazuhiro the founder of the restaurant.
The small 24-seat bar is small but people are ushered in and out very quickly. There are three types of ramen sold at Kanada-ya and the firmness of the ramen can make such a big difference. Once seated and when the order processes through the ramen comes out within 2 minutes.
Going for the original ramen the bowl of goodness came to me pork bone broth cooked for 18 hours. Frothiness from the broth can be found along the edges floating above the surface. I need an egg in my ramen, and the hanjuku egg was perfectly cooked, a soft-boiled egg with a not fully cooked sunny golden yellow yolk. Chashu pork is piled beneath it all the ramen noodles. The ramen noodles are real authentic the other ramen place that does thin ramen noodles is Ippudo, which is another Japan ramen, specialise export.
Uncovering the noodles the rest of the other garnishes can be found, wood ear fungus, spring onions and nori.
Well I was particularly hungry when I visited, ordering karage chicken on the side. This obviously took longer to arrive being made to order, deep-fried Japanese chicken with their house mayonnaise. It's one of my favourites crunchy fried chicken pieces marinated in ginger, garlic sauce.
Kanada-ya has to be my current favourite ramen place; they nailed the flavouring and consistency of the broth very well. Some places I have been broth have been too thick and too much flavour, some too water down. The noodles are perfection I recommend the distinctive firm option.


hd00:10Scorpion (Vejovis carolinianus), Known as the Southern Devil Scorpion, found in Georgia.
hd00:30Rhinoceros beetle 5 He Against nature.
hd00:41Flies on a skull of an animal. Cycle of life and death. Close up of a skull in nature. Symbol of old age and death. Scary and spooky view of decay and carrion.


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Scott Sturgeon (Leftover Crack/Star F*cking Hipsters)
by Richard Verducci Alternative Tentacles Interviews 9 years ago
Few artists are as polarizing in modern punk rock as Scott Sturgeon… aka STZA Crack… aka Sturg Fuckin' Hipster…. aka… well, the man needs aliases. Singlehandedly creating the Crack Rock Steady genre, Sturgeon forged a fascinating combination of punk, ska, metal, and classical music which often referenced drug use, battling the police, and the southern lord. This combination of music and extreme politics led many in the punk scene to view Sturgeon as a true visionary, able to mend the audio, visual, cerebral into a singular expression, while others saw him as blindly spouting rhetoric for the effect and not the message.
While his earlier bands Choking Victim and Leftover Crack were the bands that really brought Sturgeon into the public punk conscious, his latest band, Star Fucking Hipsters seems to be the focus of his energy. After releasing an album on Fat Wreck Chords and a follow up on Alternative Tentacles, Sturgeon is planning to release his third album in four years. This bears a stark contrast to the release rate of Leftover Crack, a band that was often put on hiatus by band member tension, sojourns to South America, and battles with customs. But now that Sturgeon seems to be refreshed and is kicking out the jams at an almost frantic pace, Punknews interviewer John Gentile lit up a pipe with the modern punk icon to get the low down on his renewed energy, the meaning behind some of his more obscure lyrics, and whether or not he's serious when he says he wants to kill cops…
Before Star Fucking Hipsters first formed, you put out a post on your myspace specifically looking for a female singer to be part of the band that would become SFH. Do you feel that women are either underrepresented or even repressed in punk rock?
Punk, like so many other music genres is by far a huge boys-club. The female perspective is vastly ignored and under-appreciated. A large portion of the bands that really struck me in the punk world all had female members, such as Crass, Chumbawamba, X-Ray Spex, Nausea, Antischism and that tradition lives on in many of the modern punk bands that I listen to. It goes back to my pre-punk years where I was really struck by bands like the Pixies, for instance. I still think it's a shame that Kim Deal didn't sing more than a couple of their songs. I personally don't know why, but I sense a general disrespect in the punk world towards women and I think that it has discouraged a lot of them to get involved in starting or joining bands.
I'm confused on how to parse the name "Star Fucking Hipsters." Is a Star Fucking Hipster a hipster that has sex with famous people, or is it a famous hipster that uses the word "fucking" as an adjective? Or it's a group of stars/hipsters, it was meant to be ambiguous…
I think your song "Civilization Show" is fantastic. It has the lyrics, "When are we gonna grow up an accept responsibility." Who is "we?" Punks? Humans? Americans?
"We" is the whole lot. It's myself in my 30's trying to hold on to a life that I am gradually growing out of in however small a way. I will always be a, "punk", but I also find myself being forced to look more at the future of my life than the past.
"We" is Dick Lucas and Jasper from Subhumans/Citizen Fish whom I wrote the lyrics for while they were on their way from a venue here in NYC. Between sound-check and their show, I had them sing on another song "Look who's talking now!" where their lines were, "I'll fuck the world today, I'll fuck the world today" and I put myself in their minds. I said to myself that I needed to balance those lyrics with something positive, which is a call to everybody, humans, Americans, the world and myself that we really need to face some serious issues or we will be extinct.
The song is essentially about the downfall of man-kind from the time that humans discovered irrigation and started to build cities that separated us from nature and started to disconnect us from the world at large. Irrigation is not necessarily bad in any sense, it has helped sustain and build better lives for our species, but it also contributed to mass enslavement and eventually the corporate control of commodities essential to healthy living.
You stated, "I am gradually growing out of in however small a way. I will always be a "punk", but I also find myself being forced to look more at the future of my life than the past." Can you elaborate on that?
Well, punk is a type of music that really goes well with people trying to figure out their path in life and often they find themselves at a loss for a niche that really expresses what they are going through. For instance, it helped me cope with my anger at the realization that a large portion of the information being taught to me was straight-up lies. Traditionally punk has been a great way for adolescents to find an outlet for their passion, frustration and the pain that accompanies seeing the world and most people for what they really are to a great extent. An excellent soundtrack to youthful disillusion is a good way to put it.
As for my own changes, since I was a teenage punk, they have been very slow in coming, not really affecting my life until a year or two ago. I'm still a punk, just not who I was when I was 16. When I was younger, I didn't really see myself living past 25 and for good reason. A lot of my best friends are now dead and somehow I have survived. It changes your perspective and maybe your idea of what you want if you're gonna survive another 30 years.
If all goes according to plan, it seems that SFH will release a new album in 2011- their third album in 4 years. This is the most rapid pace at which you've ever released new material. What's the cause of your recent productivity?
Sometimes the music just flows freely from our minds and songs write themselves in 5 minutes and sometimes there'll be years of mental blockage. I might not write a song for a year and then, one day, I'll start writing and have 20 in a month. We luckily have that again… Plus I stopped drinking heavily and I found that I was in a horrible relationship, with a person that didn't care about me at all and a few important things were being terribly neglected. Basically, my life was unraveling. So when I became focused again, the songs started coming back too.
You stated that you have been drinking less. Are you more focused on a healthier lifestyle now? Has that affected your art?
Yes. After my best friend died at the end of 2007, I slowly started to drink more and build a huge tolerance to alcohol. It led to me making a lot of bad decisions concerning my own life. It didn't affect others around me like it affected my own state of mind. But, once I cleared out the cobwebs and cut down the drinking drastically, I started writing more than I had in years. Hopefully that'll show next year, when we release some new material.
The bands that you have been in have all re-recorded previously recorded songs by your bands, as seen by the songs "Look Who's Talking Now," and "Heaven." What is the value if revisiting older material?
Well, for one thing, when you're trying to get that 13th song done for your record, it helps to have poorly recorded or performed songs to re-make and get right. In the case of "Heaven", it was an amazing instrumental song by Degenerics that was played for me years ago before it was ever released. Craig, the vocalist, had written lyrics long ago that I really liked, so we tweaked it and came out with a stand out track for our last record.
"Look who's talking now" was recorded live on the BBC many years ago & was released on a limited edition 7". It was written by my best friend Brandon (R.I.P.) and myself during Leftover Crack having a cigarette break during a practice. It wasn't exactly intended to be recorded, but I was MIA, lost in London trying to find the studio and the band did it, which I'm glad of, because we would have never had a song recorded by our dear friend and drummer before his untimely and tragic death in 2004.
Your bands often feature cameos of our punk forefathers, such as Dave Dictor, Dick Lucas, or Jello Biafra. Is it important to pay respect to the punks that came before us?
All of those folks have been tremendously influential to my song/lyric writing and I still find them inspirational. When I'm on a long tour and I'm just exhausted, I look up to them and others, because they are still doing it and still sincere about some a lot of the things that they may have sang about over 25 years ago. They were integral in paving the way for political punk and if they never existed or put out a 7" I might be doing something quite different with my life. They deserve massive respect and I think a lot of people that do what I do or what I try to do at least, would agree.
Do you think there is a danger of deifying punk rock trailblazers by paying them tribute? No, I don't. I mean "deifying" is a very strong word and I don't think that most people that look up to the people in question would use that word. I think there is a danger in deifying people like Sid Vicious, who didn't hold any strong political beliefs and died under horrible, unhealthy circumstances. But the positive influences should always be celebrated if only for planting the seeds for future generations of artists.
In the past you have written a number of lyrics about killing police officers. Are your lyrics about killing cops literal or metaphorical?
I have a lot of issues and have had a lot of clashes with the police over the years. I stick to belief that they are a gang- Which entails any corrupt officers being backed-up, without question by every other officer until the gun-smoke and tear gas clears. Even then, officers are rarely disciplined by their own standards, which also makes them hypocrites. The police refuse to release any statistics that have to do with the wrongful use of force and murder on their behalf. Every once in a while there will be news about corruption and abuse, but the headlines clear away quickly and only the most extreme instances ever become public record. I feel a bit like police brutality and their abuse of authority is akin to a roach infestation. For every case that makes it to the news there are thousands that are unreported and untold.
This is not just a problem with American police. It spans that world. To paraphrase Michael Parenti, the police are not an entity to protect and serve the people in general, they are the foot-soldiers of the rich and they are much more concerned about the protection of property than our well-being. They are our own occupying army and they are essentially used protect the rich and their property by criminalizing petty crimes most often committed by poor people that in most cases are harmless to others. The government spends billions of dollars occupying and killing people half-way around the world, locking up people for drug possession in their war on drugs and even arresting people for sleeping in public places. A lot of what the police do has nothing to do with public safety. They could pool their resources to block the shipment of drugs into this country or put a stop to human slavery but they are corrupt. Just because you know a good cop doesn't mean that when they are called in and given orders they'll do the right thing- they must follow them right or wrong.
Literal vs. Metaphorical? The lyrics to these songs are poetry. Not necessarily great or good poetry, but it's art and we still have free speech, so it's all subject to interpretation.
I love the thematic imagery that you have brought with you through your various bands. In some ways, the consistent use of a particular style of art reminds me of Crass. But, where does artistic statement end and marketing begin? Maybe they overlap?
Sure, they overlap. I mean, Crass was one of the greatest bands of all time at advertising. When you wear a band t-shirt, you are advertising that band. A lot of great bands will never be heard because they have no marketing skills or their art doesn't move people. Without Gee Vaucher, Crass may never have been heard of.
When you write your lyrics, is the purpose just to get people to pay attention to a particular subject, or is the purpose to make a specific argument?
I think that when you write about a particular subject, especially in politics, the most important thing is to get any kind of discussion going about the matter at hand. Even if it's a negative reaction, you are still helping people to think about it, or hopefully doing that. If you can, then you have a chance of reaching people, even if it's years down the road. A thought is in there, somewhere, even subconsciously. It might affect your actions or thoughts down the road.
In previous interviews, you've stated your fondness for 80's pop bands, Modest Mouse, and Death Cab [for Cutie]. Is the distinction between "punk" and "pop" helpful, or are they really two sides of the same coin?
I think that punk has more to do with the political side of music, though others might say that it's about attitude or fashion. My musical interests are more about what I like to listen to and that can be a world away from punk, ska or metal. I don't take a lot in from these other bands besides some good poetry & pretty melodies or in the case of 80's music, I like to dance to it, I grew up on it, it makes me smile.
A lot of news dealing with SFH will often mention the "Donut Social" fiasco where you were arrested during a public performance after throwing a donut at police officers. Do you think people focusing on that event has either benefit or been a detriment to the band?
I think it has mostly been detrimental, as the majority of people that have heard or read about it have absolutely no historical context to accompany it, which is completely essential to what transpired on that day. There were federal issues about decibel levels for public events both local and nationwide. In addition to that, the police had been harassing my bands for years, threatening venues with tickets for code violations and their closure. This somehow followed me to SFH's first show, which is a fairly long story that involves a lot of off-duty officers from different government agencies making sure that our show did not happen, although nobody had heard us play yet or heard any of our lyrics or music. But there is so much more to it than even what I've just said…
What can we expect to hear from SFH in the next year?
A new record on Fat and we will hopefully get around doing these two split records that we have been talking about for over a year now. Also, we are heading to Australia, I believe…
For a brief time, on the SFH myspace, you encouraged SFH fans to become friends with a band called "No Parking!" No Parking! featured the same members as SFH and was described on the page as a "Collective of non-denominational, but spiritual musicians. We are Jewish, Christian & Atheist. We are against Racism, sexism & homophobia!" What is (or was) the No Parking! band?
That was how Frank of SFH and I got into Australia as tourists. We figured that if they asked us about being in a band, we'd show them the No Parking! Myspace and show them that we had a meager following and no shows booked down-under. In the end, I just flashed my copy of Lonely Planet around and we acted like we were a couple, even though we are both in relationships with other people. New Zealand made me show them my money, so they knew that I could support myself for the 5 days I was there…
Is Leftover Crack on hiatus, or will we see new material and shows in the future?
Leftover Crack already has a show booked in December and we plan to book a few more, as well as possibly write some new material…
Any last comments for punknews.org?
I'd just like to thanks punknews for being one of the very few web-sites to actually post anything about me or my bands in the states ever. We don't really get "press" in the traditional sense. Cheers P.N.
Tours: Chixdiggit! (Europe)
Tours: Cheap Girls: "Kerosene" (Bad Religion)
NOFX announce Denver Punk In Drublic Fest
Listen to Danbert of Chumbawamba talk about this Saturday's show with Stza Crack at 5pm est!
Choking Victim announce second show with World/Inferno, Soul Glo, Crazy & the Brains
Choking Victim announces NYC show
Line-up announced for Stoked for The Summer
Stza Crack, Danbert Nobacon, Roadkiller, Crazy & the Brains play the Summer Chimera in Philly June 1
Leftöver Crack starts tour tomorrow
Intro5pect to play first show in years
Leftover Crack (Mexico)


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NWAC Moves Most Fall Sports to the Winter and Spring Quarters
The Northwest Athletic Conference will move most fall sports to the winter and spring quarters to protect the safety of student-athletes and slow the spread of COVID-19.
The conference's events in men's and women's cross country and men's and women's golf will start in the fall on a reduced and modified schedule.
"We have been thoughtful, comprehensive, flexible, and listened to our constituents," said the conference's executive director Marco Azurdia, in a statement. "[The conference] will continue to follow the guidance and direction of the Centers for Disease Control and Prevention (CDC), local and state health agencies, and member college presidents."
Bethune-Cookman University Football Players Sign Petition to Reinstate Ed Reed as Head Coach
Ed Reed Set to Become Head Football Coach for Bethune-Cookman University
Massachusetts Gov. Charlie Baker Selected President of the NCAA
Durant Family Foundation Commits $500,000 to Bowie State University for Basketball Arena Renovations
Assistant Coach Instructor Adjunct Instructional Lecture- Continuous
Assistant Professor in Health Studies/Health Promotion