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— Purple 25YRS Anniv. issue 28
Betty Woodman New York / Florence
interview by SELVA BARNI
photography by GIASCO BERTOLI
The art of pottery and ceramics has been largely considered a minor decorative art form, even though Picasso raised its status while living in Vallauris in the 1950s. American feminist artist Betty Woodman, age 87, has devoted much of her life to it — creating art objects that are both vases and sculptures, and colorful ceramic wall pieces. Her vibrant Matisse-inspired ceramic works, made between New York and her house near Florence, starkly contrast with the darkness of her late daughter Francesca's photographs.
Betty Woodman in her studio, Boulder, Colorado, 1961, photo George Woodman, courtesy of the artist
SELVA BARNI — Here we are on the hills of Florence. You just came back from New York via Vienna, where you had a show. Since the 1960s, you have divided your time between Italy and the US. Why such radically different places?
BETTY WOODMAN — I'm a hybrid. I don't feel totally at home in America or here. I turn off New York to be in Italy, and turn off Italy to become who I am in New York. There's always a discomfort in this movement, and I think that the work is also not very comfortable in switching from one studio to the other. But this has been very important to me. I constantly have to rethink and do things in a different way, which has somehow kept my work alive and challenging for me.
SELVA BARNI — What made you want to come and stay here?
BETTY WOODMAN — Well, you know, it is a little like falling in love. What makes you fall in love? I don't think you ever really understand. I first came in 1951, after art school. I didn't know what to do. I had a poet friend who was here on a Fulbright scholarship who wrote me to come. So I came. It was amazing walking in Florence and seeing buildings like the Dome or the Baptistery. I come from Boston, where buildings are sort of gray — and I think Boston has good architecture — and I had just never seen anything like this. I was already very involved with clay and ceramics, so I went and saw everything in the Etruscan museums. I had been taught to appreciate an aesthetic of ceramic that was Oriental, rather modest and exquisite in form, and where the atmosphere of the kiln was what made things happen. But here I saw some kind of alchemy that was not related to the use of the kiln. It was about the use of color and the painting of forms. Here, too, I suddenly became aware of the landscape and of the cypress trees, and of learning a foreign language by going to the market… I fell in love with it. The landscape in Colorado, where I lived for 40 years, was beautiful where humans had not touched it. And the landscape in Tuscany is beautiful because humans have touched it. I also met people like you.
SELVA BARNI — Had you already met your husband?
BETTY WOODMAN — I had met him in Boston when I taught a ceramics class. He was my student, a freshman from Harvard who thought it would be interesting to learn ceramics. My mother was also my student. She was convinced she would know me better by learning ceramics and understood why I was so passionate about it. But I dropped everything to move to Italy. George was kind of my boyfriend, but love was not very smooth. I worked in Fiesole in a pottery studio owned by painter Giorgio Ferrero and sculptor Lionello Fallacara. It was amazing. They didn't know how to make ceramics at all. But it was after the war, and everything was possible. They thought there was a market for ceramics. I just went and knocked at their door and said, "Can I work here?" and they said, "Sure." I had just finished school and knew everything, the way you do when you finish school. But they weren't following the rules! That was a very important lesson: rules are there to be broken.
SELVA BARNI — Why pottery?
BETTY WOODMAN — My art teacher at high school taught a pottery class, and I really liked the clay, the handling of it, making something out of it. It was magic. We put the glaze on it and put it in the kiln and then came back and saw that the dull, rusty colors had turned into beautiful greens with black lines. I was also very interested in the idea of making objects for daily use, which I idealistically felt would change people's lives. I was interested in what the Bauhaus was about. I wanted to be a potter, a craftsperson. I had no ambition to be an artist. George was an artist, a painter, and we did not compete in any way. Later, it became much more complicated for the two of us.
Pictures in her husband George's studio Detail of Courtyard: Dusk, 2016, in Betty's studio
SELVA BARNI — When did your shift from craftsperson to artist happen?
BETTY WOODMAN — It was a gradual evolution. Instead of seeing my work as simply functional, I started to see it conceptually, as an image of function. This has become more clear quite recently, with my shows at Museo Marino Marini here in Florence and at the ICA [Institute of Contemporary Arts in London], and before with the show I did at David Kordansky Gallery in LA. I titled the museum shows "Theatre of the Domestic." The domestic object is something I have always been in love with, but while the older works were actual teapots, boilers, or casseroles, my new works are paintings that incorporate teapots or casseroles as illusions of a subject matter, so that you can still perceive the domestic.
SELVA BARNI — In one of your recent catalogues, there is a dedication to your mother in which you thank her for teaching you that "domesticity can be combined with ambition and other interests in a woman's life."
BETTY WOODMAN — I am happy with that dedication! I had interesting parents. My mother always worked, as we didn't have enough money. They got married during the Depression, and my father had to stop university and get a job in a grocery store. They were very free-thinking, anti-religious Jews. I was brought up with a great deal of prejudice against religion. Interestingly enough, coming to Italy and seeing all the art that would not be here if it was not for the Church made me think that you cannot just wipe religion out.
SELVA BARNI — Did you consciously transmit the same values to your children? Do you think your approach to life influenced them, as they both became artists?
BETTY WOODMAN — I don't know. I think, with Francesca, she just was an artist, that's all; she couldn't get away from it. As for Charlie, although he was initially doing something else, film and politics, one day he came back from university and said he was going to major in art because that was the only thing he knew anything about. So he started working with video, becoming a sort of pioneer of that medium.
SELVA BARNI — Have you always been aware of the fact that the domesticity of your work would be considered as a feminist act?
BETTY WOODMAN — It's complicated. By the time the wave of feminism rose in the '60s and '70s, those working with clay were excluded from the art world. You were just not considered an artist, and you were not invited to shows. Then something changed: we met critic and activist Lucy Lippard in Colorado, and we had our consciousness raised while discussing with a group of academics and artists. I was older and already a rather successful potter, and I started to be invited to shows. Looking back, artists have always been accepting and instigating social change before other people. The world of ceramics in the US was totally dominated by men, but as their consciousness was raised, they realized there were no women. The first to be invited was me. They responded to what I was doing. Hopefully it was not just a political choice. This question made me feel uncomfortable. I said to a friend, "I don't need this," and she replied, "But they need you." That's why in the mid-'70s I joined the Front Range: Women in the Visual Arts, a name that referred to both the front of the mountains in Colorado and to the burner of the stove. I was probably involved in thinking about feminist issues because of my mother, who taught me to never back off. Also, in my relationship with George, I was never expected to back off because I was a woman or somebody's wife. I was not a militant feminist, but the issues raised by my work were. For me, it was not just about making the work — it was about using it; it was as much about putting the food on the table in those dishes as it was about making the dishes. In order to be successful, I didn't have to adapt to male goals.
Pictures in her husband George's studio
SELVA BARNI — Were the first shows mainly in museums dedicated to handcraft?
BETTY WOODMAN — Yes, in university museums or in the decorative arts sections of museums. I did many, and became well known, and museums started to acquire my work.
SELVA BARNI — In the 20 years since I have known you, your objects have turned into sculptures and compositions that increasingly occupy the space, playing with illusions, while the use of the word "theater" in your titles also suggests the idea of a mise-en-scène.
BETTY WOODMAN — I think this was also influenced by my life in Italy, which is more theatrical than in America. Crime writer Andrea Camilleri often uses the expression "fare teatro," "make theater," which means making a drama on purpose to take the attention away from something and shift it to something else. Italy in a sense turns up this. After all these years, this is who I became. It is just part of me. Living here has also given me a keen sense of how American I am, too.
SELVA BARNI — You have probably taken the best of the two cultures.
BETTY WOODMAN — Or the worst.
SELVA BARNI — I opt for the best. How did you end up in Florence?
BETTY WOODMAN — I came with George for the first time in 1960. Five years later, we came back and stayed for one year. I had a Fulbright, and he had a fellowship. We found this farmhouse for almost nothing. George had a grant from the government, and with that money, we just bought it, in 1968. We wanted to be in Florence because it was intensely urban. Colorado wasn't at all. But I needed a kiln, so it could not be in the city center. The house was 30 minutes away. It was amazingly ugly, completely different from now. People stared at us like we were from outer space. But it had light and water, so we could move in right away, and little by little, when we had the money, we changed it.
SELVA BARNI — At the beginning, you made pottery, and George painted it.
BETTY WOODMAN — That was a period we went through because I didn't know how to paint my things. But then he grew resentful of how much time it would take him, and I grew resentful because he didn't want to do it. We had a big fight, and I told him I never wanted him to paint another of my things again. I regret what I said, but I couldn't go back and found myself making bad copies of his. So I started to do ceramics that didn't need to be painted. Then we came to Italy with the kids for a year in 1976, during the oil crisis, and I had no fuel to do stoneware, so I started to work at low temperature, a new technique, with no history of the work made with George, and I started to paint.
SELVA BARNI — And color became very important…
BETTY WOODMAN — Yes, it's something I hope I do well. In the past few years, my main interest has been painting. The ceramics are a very important part of it, and I think they give me the permission to make the paintings. In a sense, what I'm doing fits into the discourse of painting today, which is often not done with paint. In many ways, too, rather than me leading my work someplace, my work has led me.
Pictures in George's studio
SELVA BARNI — In a very spontaneous way, you challenged the idea that a potter can't be an artist, and a mother can't be serious about work.
BETTY WOODMAN — Right, or be trapped in your own intellectual ideas and feel you cannot get out of them. It's fine to say something, but once you have said it, it is important to be able to throw it away. George and I never thought too much, notwithstanding the fact that he was such an intellectual. We just did things.
SELVA BARNI — Thinking is overrated.
BETTY WOODMAN — I come from a family that never had money to pay bills. My mother worked, my father worked, and every time they had a little money, they spent it. Their attitude was shaped by a Jewish society involved with socialism and fresh ideas. They were very open, even about my relationship with George, and I think I learned this from them. George's family had more wealth, not a lot, but enough for him to go to Harvard and have a car and an allowance. Maybe this combination of very different social backgrounds, which often doesn't work, made it richer for us. I was always learning from him and he from me. Our behavior was very different, and that made us attractive to each other. Also, he was so beautiful! Which helps.
SELVA BARNI — Why did you want to go and live in New York?
BETTY WOODMAN — The reason was George and his career as a painter. In the late '70s, there was a movement called Pattern and Decoration, and its main critic was Amy Goldin. George had been making pattern paintings for many years, way before the movement was created, so when she discovered his work, Goldin was very excited and suggested we come to New York. Colorado was like Italy: a very good place to make art, but not a very good place to be an artist. So we moved. We were 50 years old at the time, and we thought rather than be comfortable in Colorado we should try to be artists living in New York. This is when we were not timid, again. Charlie and Francesca had finished school and moved out, so we sold his studio in Colorado to buy a place in New York. Francesca, who was living there at the time, went and looked at real estate and came up with this loft, which we ended up buying. It was easier for me, somehow, because I joined Max Protetch Gallery. It was an art, not clay, gallery, and Max thought he would like to be the first to deal with pottery. I might have been called for the wrong reasons, but I stayed there for 25 years, and that was the right way to present my work: in the context of other art. Max's gallery was on 57th Street, then moved to Broadway in SoHo and then to Chelsea. He [Protetch] was very successful at selling my work. He also liked that the decorative arts collectors came to his gallery. New York also meant that we started to have conversations with other artists. I started to have a dialogue with other women artists. For the first time, I knew women who were serious, dedicated artists. I did a collaborative piece with Joyce Kozloff!
SELVA BARNI — In that period you also started to occupy the walls.
BETTY WOODMAN — I did a wonderful installation with Cynthia Carlson around 1979 at the Fashion Institute of Technology gallery. She was extruding paint on the wall, and I extruded clay, turning it into a kind of tapestry. And we decided we would copy each other and not make it clear which was Cynthia's and which was mine. By the time we finished, we weren't speaking anymore. It took 10 years before we became friends again.
SELVA BARNI — What other artists were you hanging out with at the time?
BETTY WOODMAN — Joyce, Cynthia, Michelle Stuart, Kiki Smith — we are still very close — Richard Tuttle, John Newman, Bob Kushner, and many more. At the time it was SoHo, and then it became Chelsea, where we were living already.
SELVA BARNI — When did pottery start becoming accepted in the art world?
BETTY WOODMAN — The art world always needs something new, a bit like the fashion world. Photography began to be recognized as an art form. Somehow, ceramics was the next thing, and something new to sell to collectors.
SELVA BARNI — A lot of artists had made clay before — Gauguin, Picasso, Fontana… But they were legitimized by other media.
BETTY WOODMAN — Yes, artists have always understood that clay is a fascinating material. It was the critics and historians who didn't.
SELVA BARNI — Did you ever feel you wanted to "betray" clay?
BETTY WOODMAN — No. I think a lot of artists did, and they moved away from it. They found other materials or realized that the art world was never going to look at clay, so they switched. For me, it offers so many possibilities: different kinds of clay, different temperatures, different atmospheres in the kiln. That somehow has satisfied all my desires to experiment. There is always something else to try, so I never gave up. And suddenly, in the past four or five years, every gallery is showing clay. It came into fashion; maybe it is already out of fashion! What happened, though, is that it often came with a disclaimer, such as, "I don't know anything about this material… Look, I am doing it." It is a difficult material to learn how to master.
SELVA BARNI — Pottery has always been marginal. But now there are more crossovers as the boundaries between fine arts and crafts dissolve.
BETTY WOODMAN — Now it is fiber, fiber art. Every month there is a new show about tapestry, about carpets.
SELVA BARNI — So how did you merge painting and ceramics?
BETTY WOODMAN — I became interested in painting and the space that painting takes up. Then I started painting on canvas and having the ceramics become part of that. But it was usually a backdrop, a colored surface. Then I became interested in the kind of perspective I could play with by looking at Indian and Japanese paintings.
SELVA BARNI — The references to Indian, Japanese, and Korean visual cultures add a special layer to your references to Renaissance perspective.
BETTY WOODMAN — Right. I have been interested in all kinds of other art. One of my recent series is called Courtyards and is inspired by a Beato Angelico painting from the San Marco Museum in Florence. It's a small painting where there is a building, and you are looking through that building into another space. Last summer I did seven or eight new paintings, which all have something at the front and then a space within them and maybe a vase sitting in front, as a kind of metaphorical figure. Within that "courtyard" there are ceramic figures, again vases, which I see as a sort of population living in that space.
SELVA BARNI — How do you choose the titles of your works?
BETTY WOODMAN — It depends. Sometimes it's places like Arezzo, Sansepolcro, or Orvieto. Sometimes it's roses or other plants. Sometimes it's just Wallpaper Number 1, 2, 3, etc. Most recently, I've taken my titles from poetry. George really loved Rilke — I was reading him one of his poems when he died — so I have been taking titles from Rilke. The most recent one, for my next piece, is Be All the More Consoled by What You See.
SELVA BARNI — Your later works have used the canvas and expanded even more, creating windows and views. It's like you're reproducing the place where we are now: a table looking at two arches that frame a view of the Tuscan landscape.
BETTY WOODMAN — It absolutely is! It also comes from looking a lot at Bonnard.
SELVA BARNI — With the foreground tables and objects as protagonists?
BETTY WOODMAN — The domestic objects, like the bowls of fruit or a bottle, take center stage, and then you see that there is a woman, but you see her later. I make a lot of work that seems arbitrary, but as I make them they come together. I've been making sketches. When I paint, I try out the colors on a big piece of paper. I used to throw these tests away, but I finally looked at them and found them beautiful, so I started drawings on them, with brushed India ink. I showed a bunch of them in the show in London and at Salon 94 in New York.
SELVA BARNI — What about these pieces you call Wallpaper?
BETTY WOODMAN — They came about through another series, Carpets. In my studio in New York, I had boxes of pieces of clay. I asked my assistant to place the pieces of white clay on brown paper and draw around them and take a picture, so we would have a record of what's in each box. While we were doing it, I thought it looked like a rug; I found it very beautiful. So I started to make more of them, then everybody who came into my studio said, "But you can't walk on them!" and I said, "No, of course you can't walk on them! It's not a real rug, it's an image of a rug!" Then I was showing these carpet pieces in an exhibition and decided I wanted to give something away, so I saved one wall and glazed a bunch of these pieces and laid them out on the wall, and told everybody who came to the show, "You can take one." In 20 minutes they were all gone. I found these new wall pieces made of fragments beautiful, so I started making some. I made one for Jeanne [Greenberg Rohatyn, owner of Salon 94], but they are not easy to sell.
SELVA BARNI — I'm fascinated by the way the vases expand onto the wall, and how the handles are placed in front of them. Is it a playful approach to illusion?
BETTY WOODMAN — It evolved from observing my process. With clay, you make parts, you make a vase. If you want handles, you make them and stick them to the vase. So instead of putting handles on the vase, I put them on the wall. Then I had to make a shelf, so I made one in ceramic. This came from a visit to my friend Nino Caruso, a wonderful ceramic sculptor. In his house, he had a traditional piece of a shelf made out of clay and something sitting on it, so I thought, "That's what I'll do." Living with a painter and having been very fortunate to travel the world looking at art in museums, I started thinking about the space, and became interested in the way a painting can create a fictional space. Like in Matisse's paintings of the French Riviera. It is fascinating to see how far away I can take something very realistic, but still have the suggestion of it. The vase has always been a metaphor for a woman, a container. And it is also something easily recognizable and familiar.
SELVA BARNI — Your show at The Met in New York in 2006 had vases at the entrance with beautiful flowers arranged in them.
BETTY WOODMAN — That was an actual political statement on my part: using something does not make it not art. You can use art. This is a statement that the art world finds very difficult to swallow. Because if you use it, it's not art; it puts it someplace else — curators and people in the art world learned that when they went to school.
SELVA BARNI — Well, everybody tries to define things. But I think it's very hard defining art today. And also, the very definition of what is "functional" and what is "useful" is extremely ambiguous, as especially in our world they refer to things that are of no practical use, but rather of conceptual use. Needs are taken for granted, and we fully concentrate on desire.
BETTY WOODMAN — What's interesting here is that I feel I am old and conservative. My art is made to be looked at, not just to be talked about as a concept, and when I say "to be looked at" I am pretty much a formalist, because that's the way I was brought up. Today, it's more about issues than about what you are seeing. Do you find that true?
Betty in her studio with Courtyard: Pontormo, 2016
SELVA BARNI — We were brought up and live with the idea that questions are more important than answers and that the work of artists is important when it poses questions in the most persuasive, pensive, and sophisticated way. How would you like your work to be seen?
BETTY WOODMAN — Yes, no… I contradict myself all the time. If you cannot contradict yourself, who can? I am interested in showing formal issues of painting, while some of the people I work with are not interested in them at all. Gallerists don't always see my work the way I want it to be seen. I think young people have a different aesthetic from mine, and I suddenly look old.
SELVA BARNI — But your work is generating a lot of interest from younger people, and galleries are extremely excited about it.
BETTY WOODMAN — That's true, and I am very appreciative; it's nice.
SELVA BARNI — Do you think there is a reason why that's true now more than a few years ago?
BETTY WOODMAN — I don't know! I wish it had happened before! [Laughs] You know, George's death has made me very aware of age. I never thought of myself as being old. I think he felt old more than I did. His death made me very aware of how, you know, I am not just going on forever, while I thought I was just marching along… I certainly had friends die. Francesca died. But this time it has been like, "Wait a minute, this is not going on forever, and it can just end like that." That is sort of what happened with George; he just died. And he was younger than me.
SELVA BARNI — Does this make you feel the urge to produce and accomplish more?
BETTY WOODMAN — Yes, it does. I said to Dave [Kordansky], "I want to have another show," and he replied, "Oh well, in a few years," and I said, "Hey, you know, I am 87." Anyway…
SELVA BARNI — I've always thought you give daily life the dignity it deserves.
BETTY WOODMAN — I guess it's true! It's very curious to have three people observe this in my surroundings within two days. I just received an email from Saskia and Matthew Spender, who are staying in my apartment in New York, saying exactly this: "Nothing in the house is unnecessary."
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text:
Q: GCP Cloud Storage - Bucket Permission Accidentally I deleted a project owner from Bucket(Cloud storage) permissions.
So I can not do any operation like delete.
Any solutions to solve this problem?

A: Tried to recreate your issue using below steps.
In Case of account:

*

*Removed my account(owner) from IAM Cloud Console

*IAM & Admin page click +ADD

*New Principal and type/readd your old account

*Select Role:
Basic > Owner or
Cloud Storage > Storage Admin
You can add both by +ADD ANOTHER ROLE
5. Save
In Case of Service Account:
Service account will remain up to 30 days.

*

*Removed my service account(Storage Admin) from IAM Cloud Console

*Under IAM & Admin I can still see my Service Account

*IAM & Admin page click +ADD

*Add the deleted Service Account

*Select Role > Cloud Storage > Storage Admin

*Save

Just make sure you have enough Access to configure IAM.
See below other docs for reference:

*

*Manage access to projects, folders, and organizations

*Creating and managing custom roles

*Manage access to service accounts

*Understanding roles

redpajama_set_name: RedPajamaStackExchange


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2019-04-06 5G may have stronger 4G signals closer than previously allowed.
1) A repeat about children and teachers suffering from cancers after a cell tower is erected on a school in California. This is to a new audience, and is expanded to include additional information about the general topic of EMR. It's time that we put pressure on telecoms to remove their radiation-emitting devices from schools, hospitals and senior citizens' homes. Telecoms focus on places like these for their transmitters, knowing that they always need money.
Parents demand removal of cell tower from elementary school after four students and three teachers develop cancer
– Warning: EMF radiation is being linked to genetic damage, birth defects plus many other health issues
– Study links cell phone towers with higher rates of cancer
– Reduce EMF exposure with common-sense techniques
https://www.naturalhealth365.com/cell-tower-5g-cancer-2928.html
2) There are some in the industry who believe the milliwave technology that requires microcells is not likely to be available for a long time, and now we are faced with microcells emitting "jazzed-up" 4G, using lower frequencies which we know to be extremely harmful. Now the cell towers, instead of being blocks or kilometers away, are only feet or meters away where before, telecoms had to apply to local Councils, negotiate with and pay landowners, notify public before putting up cell towers, they have no restrictions re. microcells. Telecoms have a free hand to put stronger cell transmitters anywhere they want, for virtually nothing. Was this just a ploy?
mmWave Challenges May Lead to More 5G at Lower Frequencies
BY ERNEST WORTHMAN, AWT EXECUTIVE EDITOR AND IEEE SENIOR MEMBER
"One of the things I have been writing about quite a bit is the challenges to 5G in the mmWave bands. This seems to be bubbling to the top, more and more, as carriers are under pressure to roll out 5G. The hype is that it is the silver bullet for densification. However, using mmWave >6 GHz is problematic, especially for mobile wireless, for a number of reasons…
However, this may not be much more than a slightly jazzed-up version of 4G performance. While new bandwidth manipulation technologies have emerged, they are a bit more limited at lower bands than mmWave, where large chunks of spectrum are available, offering hundreds of megahertz of bandwidth. At low band, bandwidth is in the 10s of megahertz."
https://www.aglmediagroup.com/mmwave-challenges-may-lead-to-more-5g-at-lower-frequencies/
3) The clamor for fiber optic cable to provide faster internet service is getting louder. Many cities across the US are beginning to look at providing their own service instead of waiting for the industry to do so. This allows flexibility and economic control rather than being subject to the whims of the telecoms.
Cabled Municipal Broadband–a solution to 5G and everything else
"Tired of your lack of connectivity? Embarrassed that South Korea has internet speeds 200 times faster than we do? There are 800 cities across the nation that are building their own municipal wired fiber-optic networks to bring lightning-fast connections straight to their homes. With their city-owned cabled system, Chatanooga, Tennesse provides internet access to the underserved for $10 a month that at outclasses and outpaces any wireless system. China plans to wire their country ensuring fiber-optic connections to 80 percent of the homes in the country."
https://thriveglobal.com/stories/cabled-municipal-broadband-a-solution-to-5g-and-everything-else/
4) It seems that every government and every agency that has the responsibility to protect the public is aligned with the telecoms, providing misleading info, ignoring science, and promoting the industry that is polluting our environment with electrosmog. The panels and agencies themselves are loaded with bent scientists and people with blatant conflicts of interest. Example: James McNamee, head of the department of Health Canada responsible for Safety Code 6, has been closely aligned with and has done research for Motorola even while being employed by Health Canada and paid by us.
This article pertains to the UK and also gives a very interesting history from pre-electricity to the world of virtual reality where people may not know to which world they belong. :
5G: The Big Picture:
The Un-reassuring Assurances of Government and Industry
"The Government body charged with protecting public health, Public Health England, advises us that there is no convincing evidence that Radio Frequency radiation (which radio, television, mobile phones, smartphones and 5G all use) has any adverse health effects on either adults or children.
This advice is based on the recommendations of a supposedly independent body called AGNIR (Advisory Group on Non-Ionising Radiation), which produced a report in 2012 on the safety of Radio Frequency radiation. The report stated that there was a lack of "convincing" and "conclusive" evidence for any adverse health effects.9 It was like giving a blank cheque to the telecommunications industry to move on into the higher frequencies, without any heed for the consequences.
It turns out that far from being independent, AGNIR has a high proportion of members with blatant conflicts of interests, and their report distorted or simply left out of account evidence that should have compelled them to reach the opposite conclusion to the one they arrived at. In a forensic analysis of the report, the environmental health researcher, Sarah Starkey, makes it clear that only a wilful disregard of the available scientific evidence could explain its internal contradictions and apparent incompetence.
And yet it is the basis of current UK Government policy, allowing government to roll out 5G without so much as even a nod towards the need for prior health and safety assessment. Health and safety simply do not feature in Government thinking, despite a veritable mountain of literally thousands of research papers demonstrating adverse health effects, which continues to grow at the rate of roughly 350 per year, on average practically one every day."
https://takebackyourpower.net/5g-the-big-picture/
From: Rafe Sunshine (name given with permission)
Sent: March 29, 2019
Subject: Re: Huawai cellular phone offer through Telus = Inappropriate
I have contacted Telus re: their promotional offer of a Huawai cellphone (P 30 Pro) as being inappropriate for a Canadian telecommunications company to promote this Chinese corporations product. The following reasons were given:
Huawai is a Chinese corporation directly supported by the government of China;
The Chinese government can demand access to any information gleaned by Huawai and by its products;
The Chinese government is involved in the incarceration of Canadians as a result of detaining a Huawai executive (Meng Wanzhou) on an American extradition order for corporate fraud;
There are many other phone companies that Telus could promote other than the Huawai product because cyber-security has still not been assured by the Canadian government for the Canadian public;
The Chinese government has become an "economic bully" when it deems its interests are being flouted by any country as in Canadian canola shipments (and potentially other products) contracts have been cancelled because they demand the release of their Huawai executive – not as part of the "rule of law", but as an economic undermining of Canada's justice system.
I encourage all those Canadians that feel that Telus is wrong in the promotion of any Huawai product should contact Telus to rescind this promotion as not being in accord with Canadian values.
Sincerely –
Rafe Sunshine
"The absence of evidence of hazard is not proof of safety" — says Dr. Devra Davis

redpajama_set_name: RedPajamaCommonCrawl


Middleton rebounds against the Hornets last season. AP photo. License: Standard non-commercial use.
Middleton had 9 boards in Orlando, all of them on the defensive end, a couple of them big in the 4th quarter. He also made a lot of other plays, like the beautiful half-fast break he ran to set up Jason Terry for a three as the Bucks edged ahead in the 3rd quarter. Khris had 7 assists on the night to go with the 9 rebounds and 21 points. It was only the 8th time in 325 games as a Buck that Middleton alone has led the team in rebounding.
And it was quite a difference from the night before in Miami, when nobody on the Bucks side had a good game, including coach Joe Prunty, whose rotations had Giannis Antetokounmpo on the bench for 4 minutes when Heat center Hassan Whiteside picked up his 4th foul in the 3rd Quarter.*² You can get away with mismanaging your star player's minutes against Brooklyn, but Miami took advantage. Jabari Parker played tentatively and appeared to bothered by the aggressive energy of the game. Giannis thrives under those conditions, as does Eric Bledsoe, and they led the Bucks back in the 4th but ran out of game clock. They had finally become ticked off enough about what was going on to take over.
Middleton shot 5 for 14 and had one lonely rebound as the Bucks got worked by the Heat on the glass, 51-37, a glaring example of when rebounding beats better shooting. The Bucks checked the Heat to 42% EFG%.
The concern of many who follow the Bucks is that, right now, they look like one of those mediocre 46- or 47-win teams, great at padding their stats when beating up on the bad teams, but continually falling short against the good teams. Since Jan. 1, the Bucks record against teams currently in playoff spots is 3-and-9, and Prunty is 0-and-2. (No, I'm not counting the victory over the Embiid-less Sixers as a win against a playoff team). Miami beat the Bucks three times in that period, which is why Friday's game mattered — it was the Bucks last chance during the regular season to take a game from the Heat.
Chalk it up to the evil genius of coach Erik Spoelstra and the dominating, intimidating presence of Whiteside, who averaged 18 pts, 13.3 rebs and 3.67 blocked shots vs. the Bucks. In the wake of Whiteside's eight offensive rebounds in game 3, Bucks center John Henson missed the Orlando game and will probably be out of action until after the All-Star break, nursing a bum hamstring and what's left of his pride. (Bucks have until March 1 to sign some free agent big man help).
Are the Bucks a good team, or are they Giannis Antetokounmpo and a bunch of future trades who helped get their coach fired last month? I guess we'll find out over the next two-and-a-half months.
Middleton leading the Bucks in rebounding in Orlando was a lot more interesting when I didn't realize he had but one lonely defensive rebound in Miami. Five or six defensive rebounds a game by the small forward used to be business as usual around here (Luc Mbah a Moute, Glenn Robinson et al., going all the way back to Marques Johnson and Bobby Dandridge). The idea is to get 5 or 6 D-rebs every game and hit the offensive glass for one or two possession-saving rebounds. The latter has happened less and less for the Bucks this season. Friday in Miami, they had all of two offensive rebounds in the game. Two. The Heat had 13.
The Bucks D-rebounding has improved this season, up to 17th in the NBA from 25th last season. But if not for Dallas, the Bucks would be dead last in offensive rebounding in the league, with an OREB% of 19.2 (Dallas is at 17.9). Cleveland is 28th at 19.3%, a function of Kevin Love playing center, Tristan Thompson's playing time being cut, Love breaking his hand and Lebron James either playing on the perimeter or simply electing to not rebound. Lebron has always been a disinterested rebounder, in contrast to Kevin Durant or Giannis, who lead their teams on the boards.
Michael Beasley, currently leading the Knicks in scoring off the bench, has been missed. NY Times photo. License: Standard non-commercial use.
The Bucks have similar personnel issues — they traded their best rebounder, Greg Monroe, were unable to resign Michael Beasley over the summer and Jabari Parker missed the first 50 games rehabbing from knee surgery. Beasley and Parker are small forwards in the classic sense — natural scorers with sweet shooting touch and instinctual drives for the ball on offense. They'll hit the offensive glass even as the coaches are yelling at them to get back on defense, defense being something that neither is good at, but neither was the Big Dog or any number of good and great small forwards in NBA history. Dr. J didn't care much about D until he realized he might never win a title if he didn't pick it up, which he did.
Middleton's no shutdown defender either, and he's played most of his career with better rebounders — Giannis, Greg Monroe, Parker — so, like Lebron, he's content to stay on the perimeter and take what rebounds come his way. To be fair (and the editorial board here at Bob Boozer Jinx does insist on fairness), part of it is a matter of coaching, and part the changing NBA game. Offensive rebounding is at an all-time low in the league at 22.3%. Small forwards don't crash for rebounds like they used to, especially if they're setting up at the 3-point line much of the game; and coaches often demand that they "get back" to defend against the fast break.
Yet neither changes in the game nor coaching mores have prevented the OKC Thunder from leading the NBA in OREB% by a mile at 28.1% while also rating 5th in defense. Russell Westbrook simply wants the rebounds more than his opponents do. His center, Steven Adams, is having a great year, emerging as one of the Top 5 impact centers in the league and leading the NBA in individual OREB% at 17.3%. Henson's actually 18th in the league (9.5%) which isn't so bad for J-Hook. It's almost stunning to think that over the course of 100 missed shots on offense, OKC's Adams will get to eight more rebounds than Henson, and six more than Dwight Howard or LaMarcus Aldridge. Westbrook and Adams are clearly reading from the same page in OKC.
Unlike Henson, who's doing all he can, truly, and deserves at least some merit for having his best season as a pro, Middleton can hunt rebounds whenever he wants to, or when called upon to do so. The nine rebounds he pulled down in Orlando were well short of his career high of 14, set last month in Philly, and was the 3rd time this season Middleton has led the Bucks in rebounding. The Orlando game was the first time this season Middleton led the Bucks on the boards in a game where Giannis played. Here's a look at the other two.
01/20/18 vs. the Sixers in Philly. A dreadful loss as the Bucks played without Antetokounmpo, who stayed in Milwaukee to rest recurring soreness in his right knee — also the last Bucks game coached by Jason Kidd. Middleton posted the first triple double of his career AND his career high in rebounds — 14 — to go with 23 points and 10 assists. (There's an irony in there, to Middleton's first triple double being Kidd's last game, if only because there isn't another word to aptly describe it. Giannis not playing in the game might qualify it as one of those rare double ironies.) The Sixers blew the Bucks out, 116-94. The Bucks fired Kidd two days later. Here are Middleton's ironic highlights.
11/22/2017, Bucks vs. the Suns in Phoenix Giannis sat out to rest his knee and Middleton dropped 40 points on the Suns and led the Bucks with 9 rebs. The Bucks won this sloppy, turnover-riddled game in overtime, 113-107.
Giannis has missed four games so far this season, all due to soreness in his right knee, a problem that cropped up over the summer and forced him to drop out of international play with Team Greece. The Bucks split those four games (they lost in Charlotte 12/23/17 and beat the Suns in Milwaukee Jan. 22). Middleton put up some superstar per game numbers, 32.3 pts – 8.2 rebs – 5 assists – 2 steals. He shot a ton — 89 times in the four games — and made 53%, hitting 10 of 28 from 3-point-land.
I'm beginning to get a better sense of how Middleton arrived at the rather off-the-wall idea that the Bucks should have two All-Stars this year, and maybe he did get a vote or two. I'm also reminded that his 18.2 pts per game led the Bucks in scoring in the 2016-17 season. Over the 17 games Prunty coached that season while Kidd was recovering from back surgery, Middleton scored more, at a clip of 22.7 ppg.
Had the Bucks been winning (they won only 33 games), Middleton might have earned an All-Star nod with stats like those above — he was shooting close to 50-40-90. Middleton's a bargain now and is due $13 million next season, and can (and almost surely will) opt out of the final year of his contract 2019-20. Sooner than later, the Bucks will be paying Giannis, Bledsoe and Parker more than Middleton, assuming the Bucks are able to resign Parker, which GM Jon Horst says he plans to do.
In 322 games as a Buck, Middleton has led the team in rebounding a total of eight times. The three games this season were noted above. Here are the box scores from the other five, starting with the most recent first, in chronological order back to 2014.
03/11/17 vs. the T-Wolves in Milwaukee. Karl-Anthony Towns had a big game but Monroe and Henson battled him well off the bench. Middleton led with 9 rebounds. Giannis played 40 mins yet somehow got to only 4 rebounds. Bucks won 102-95.
11/07/15 vs. the Nets in Milwaukee. Middleton took only six shots in the Bucks 94-86 win, but led with 9 rebounds and 7 assists.
03/07/2015 vs the Wizards in Milwaukee. Middleton led in scoring (30) and rebounding (9) as the Bucks won a close one to pull within a game-and-a-half of WAS in the East standings. Giannis, Middleton and Henson are the only current Bucks in the box score. Parker was out rehabbing from his first ACL surgery.
01/04/14 vs. the Suns in Phoenix. The Bucks shot 54% but turned it over 25 times to lose 116-100. Middleton came off the bench to score 7 and pull down 8 defensive boards in 22 minutes.
*¹ Referee Tyler Ford (he's on pg. 42 of the 2017-18 Officials Guide), in his 3rd NBA season, is a former Big Ten ref from that part of west Ohio that's more like Indiana and Ford is every bit that fresh faced Midwestern kid with big ears who's in every Hollywood army unit. Ford called 23 fouls — 11 in the 4th quarter, of the Bucks-Heat game Friday. The Heat actually got the worst of it, but not until after the Bucks fell behind by 18 in the 4th after consecutive Wayne Ellington threes. The Heat could do little wrong for the first 15 minutes of the 2nd half, despite hacking at Bucks anytime the drove near the basket. I suppose by the 4th quarter Ford had realized that Aaron Smith, the ref under the Heat basket, wasn't going to police the Heat defense, so he took it upon himself to make Smith's calls for him, apparently unconcerned that his hyper-active whistle made him appear insane – on TV no less. I'll salute anybody willing and unafraid to appear insane in the course of righting wrongs being committed all around him in Miami on Friday. Here's to Tyler Ford.
*² Prunty tied to trick the rotations by pulling Giannis out of any 3rd quarter after just 4:34. If the justification is to get the rotations started early, around the 5 minute mark, Giannis is the last guy you want coming out of the game. Add to this the fact that the game was close, 53-50, and Miami center Whiteside had three fouls when Prunty sent Giannis to the bench, and picked up his 4th a minute later and was taken out of the game. Giannis was not in the game to take advantage of Whiteside's absence, obviously, and the deficit was 12 by the time Prunty subbed Giannis back in with about 3:40 left in the quarter. The Bucks scored a measly 8 pts in the quarter.
*² The tried and true strategy is to have the superstar play continuously for about 10 minutes in the 3rd quarter, then pull him inside of 2 minutes to go to steal some extra rest over the quarter change. Here's a Pelicans – Pistons play-by-play from Monday night where coach Alvin Gentry manages to do exactly this with Anthony Davis' minutes. The Pelicans won by 15.
This entry was posted in Bucks Weekend, The Jinx and tagged Eric Bledsoe, Erik Spoelstra, Giannis Antetokounmpo, Hassan Whiteside, Jason Thompson, Joe Prunty, John Henson, Khris Middleton, Miami Heat, Michael Beasley, Milwaukee Bucks, Orlando Magic, Referee Tyler Ford on February 12, 2018 by J.D. Mo.


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Origins of the Stoney Family
The Stoney Family Coat of Arms
This family is of Danish origin, the first recorded spelling of the surname being Stanehow or Stonehow, meaning stone height. The first record of a member of this family is of one Baldwin de Stonow, who was a rector of Kettlewell, Yorkshire, in the time of Edward I (1272-1307). In 1379, we see records of Henricus and Willemus de Stanehow paying poll tax at Buckden, just three miles from Kettlewell. These two were presumably brothers.
Over two-hundred years on and in virtually the same location, we come to the first traceable Stoney family member without gaps. This is George Stoney, Esquire of Rylstone (or Rilston) who married, on 06/01/1675, Mary (20/06/1655-), the daughter of Thomas Moorhouse of Rilston and Abigail Windle. George was almost certainly born in Kettlewell, less than ten miles from Rilston, but we cannot see his birth-date as early parish records from Kettlewell are lost.
George was probably the son of John Stoney of Kettlewell and his wife Isabella. We can guess this because of the following record: 'Isabell Stoney, late wife of John Stoney, late of Ketlewell, buried the 1st of May,1690.' This possible relationship is backed up by the fact that two of George's children were called John and Isabella.
George and his family left for Ireland in 1691 or 1692 and settled at Knockshegowna, Co. Tipperary.
The Stoney family motto is 'nunquam non paratus', meaning 'never unprepared.'
George Stoney and his wife Mary had issue:
1. Thomas Stoney (17/12/1675-18/08/1726) m. (1712), Sarah Robinson (1693-19/08/1748), daughter of Thomas Robinson of Knockshegowna and his wife Mary Armstrong, the daughter of Robert Armstrong of Gallen Priory and Lydia Harward (Howard)
2. John Stoney (1678-)
3. James Stoney (1679-)
4. Isabell Stoney (1682-)
5. George Stoney (1684-)
6. Robert Stoney (1685-)
7. Abigail Stoney (1688-)
8. Leonard Stoney (1691-)
The eldest son Thomas Stoney of Greyfort, Co. Tipperary died suddenly in 1726, but left three sons by his wife:
1. George Stoney (11/08/1713-19/03/1787) m. (14/01/1745), Elizabeth (-1808), daughter of James Johnston of Rath, King's County
2. Thomas Stoney (02/04/1715-1764), ancestor to the Stoneys of Frankford, King's Co. m. Mary, daughter of Isaac Humphreys
3. Andrew Stoney (13/07/1717-)
George Stoney of Greyfort and Portland's wife Elizabeth, sometimes Eliza, was of the Johnston family of Rath and Emell Castle. Her father, James Johnston, is sometimes listed as a Captain and of Ballyknockane. We know though, from 'Some old annals of the Stoney family', that in reality James Johnston was a Lieutenant and his brother Robert the Captain. George and Eliza had numerous:
1. Andrew Robinson Stoney (19/06/1747-16/01/1810), the infamous adventurer whose deeds are well accounted on Wikipedia
m. (Sept.1769), Hannah, the daughter of William Newton
m. (17/01/1777), Mary Eleanor, daughter of George Bowes and widow of John Bowes, the 9th Earl of Strathmore
2. Thomas Stoney (20/07/1748-20/10/1826) m. (5th or 6th/05/1773), Ruth, daughter of Richard Falkiner of Mount Falcon
3. Rebecca Stoney (29/10/1750-) m. Robert Palmer of Shrule, Queen's County
4. Elizabeth Stoney (04/04/1753-1829) m. (02/02/1772), Ralph Smith or Smyth of Milford House, Co. Tipperary
5. Sarah Stoney (29/04/1754-1810) m. William Smith of Gurteen Co. Tipperary (William was brother to the above Ralph)
6. Mary Stoney (23/12/1757-) m. Edward Laurenson or Lawrenson of Capponellan, Queen's County
7. James Johnston Stoney (23/04/1759-1824) m. Catherine, daughter of William Baker of Lismacue, and Elizabeth Massy
8. Bigoe Armstrong Stoney (26/03/1762-13/03/1827) m. Mary, daughter of ___ Kyffin
9. Catherine Stoney (16/09/1764-) m. Bladen Swiney
10. Frances Stoney (-1854) m. (August 1791), Right Hon. Arthur Moore of Lamberton
11. George Robert Stoney (1775-08/10/1808) m. (1801), Johanna Ellis
James Johnston Stoney resided at Oakley Park (formerly Ballymoney) in the County of Offaly (formerly King's County). He is said to have been granted the lands of Ballymoney by his father when he was young. The story goes: 'It is told of James Johnston Stoney that when quite a boy he was sent by his father to Ballymoney, to look after the steward, who was suspected of dishonesty. At the time, the old castle there was used as a dwelling, but was supposed to be haunted by the ghost of a medieval chieftain. In the middle of the night James was awoke by the clanking of someone in armour coming up the winding stairs to his bed-room; but, nothing daunted, he lighted a lamp, seized a pistol, and confronted the ghost, who fled to the steward's room, closely pursued by James, who there discovered that it was none other than the steward himself, encased in a sheet and encircled with plough chains. James's father was so pleased with his brave conduct that he promised to leave him Ballymoney, which he did.' James and his wife had four sons and four daughters:
1. George Stoney (1792-1835?) m. (1821), Anne (04/06/1801-29/10/1883) daughter of Bindon Blood of Cranagher by his first wife Anne Burton
2. Robert Johnstone Stoney of Parsonstown (1802-1887) m. (1831), Ann Smithwick
3. Rev. William Baker Stoney of Castlebar (c.1795-1874) m. Fanny, daughter of the Rev. John Going
4. James Stoney M.D. of Borrisokane m. Helen, the daughter of Captain Luke Dillon
5. Eliza Stoney m. Captain Richard Rathbourne of Ballymore, Co. Galway
6. Letitta Stoney m. (18/02/1839), Charles Walter Going (brother to the above Fanny Going)
7. Sarah Stoney m. (1828), Samuel Cusack M.D., D.D
8. Catherine Stoney m. James Sayers of Limerick
George Johnstone Stoney
George Stoney inherited Oakley Park from his father. George may have died in 1835, when there is a will of a George Stoney of Oakley Park. The property had to be sold in the Irish Famine and George's widow and children moved to Dublin, where their two sons excelled. His four children were:
1. Anne Frances Stoney (16/11/1822-20/10/1859) m. (23/04/1846), her relation, the Right Rev. Bishop William FitzGerald
2. Katherine Harriet Stoney (05/02/1824-1887)
3. George Johnstone Stoney F.R.S., who coined the term electron, (15/02/1826-05/07/1911) m. (1863), his cousin, Margaret Sophia, daughter of the above Robert Johnstone Stoney and Ann Smithwick
Bindon Blood Stoney
4. Bindon Blood Stoney F.R.S., an engineer who helped design Dublin port (13/06/1828-05/05/1909) m. (1879), Susannah Frances, daughter of John Walker of Grangemore
Streets in Dublin and Dover are named after Bindon Stoney. Craters on the Moon and Mars are named after George Stoney.
Several other members of the Stoney family achieved academic recognition, including three of George Johnstones Stoney's children: Edith Anne Stoney, a medical physicist; Florence Ada Stoney, a radiologist; and George Gerald Stoney F.R.S.
Both Edith and Florence Stoney are considered to be the first of their fields in the UK.
Anne Frances Stoney was mother to George and Maurice FitzGerald. See the FitzGerald page.
Some old annals of the Stoney family
Burke's Family Records


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Michigan Labor & Employment Law Blog
Recent Changes to Michigan's Paid Medical Leave Requirements
On December 14, 2018, Governor Snyder signed into law the Paid Medical Leave Act ("PMLA"), which requires certain Michigan employers to provide paid medical leave to eligible employees.
The PMLA will become effective at the end of March 2019. The PMLA made substantial changes to the Earned Sick Time Act ("ESTA"), which was enacted in September 2018. The PMLA requirements are less onerous on employers than the requirements of the ESTA.
Some of the major provisions of the PMLA are summarized below.
Employers with fewer than 50 employees are exempt from the PMLA.
The PMLA provides that an eligible employee must accrue paid medical leave at a rate of at least one hour for every 35 hours worked. Previously, the ESTA provided that employees would accrue one hour of paid medical leave for every 30 hours worked.
As an alternative, an employer may comply with the PMLA by using a "frontloading" approach. Under this approach, the employer may provide at least 40 hours of paid medical leave to eligible employees at the beginning of each benefit year. For eligible employees hired during a benefit year, an employer may prorate paid medical leave. If an employer elects to provide paid medical leave to an eligible employee using this approach, the employer may prohibit an eligible employee from carrying over paid medical leave from one benefit year to the next benefit year.
An employer may limit an eligible employee's accrual of paid medical leave to 40 hours per benefit year (reduced from 72 hours under the ESTA). An employer may prohibit an eligible employee from carrying over more than 40 hours of unused paid medical leave from one benefit year to another benefit year, and an employer may prohibit an eligible employee from using more than 40 hours of paid medical leave in a single benefit year.
The PMLA narrowed the scope of individuals who are eligible to accrue paid medical leave by excluding certain categories of individuals from the definition of an "eligible employee." Those exclusions include the following:
individuals who worked, on average, fewer than 25 hours per week during the immediately preceding calendar year;
individuals who are considered to be variable hour employees under federal tax regulations;
individuals whose primary work location is not in Michigan;
seasonal employees who are employed by an employer for 25 weeks or fewer in a calendar year for a job scheduled for 25 weeks or fewer;
individuals who are exempt from overtime requirements under the Fair Labor Standards Act;
private sector employees who are covered by a collective bargaining agreement; and
certain temporary help firm employees who are disqualified from receiving benefits under the Michigan Employment Security Act.
Eligible employees must begin to accrue paid medical leave on the later of (1) the effective date of the PMLA; or (2) the commencement date of the employee's employment. However, an employer may require an employee to wait until the 90th day after commencing employment before using accrued paid medical leave.
Accrued paid medical leave must be paid at the employee's normal hourly rate of pay or base wage. An employer is not required to include overtime pay, holiday pay, bonuses, commissions, supplemental pay, piece-rate pay, or gratuities in the calculation of an eligible employee's normal hourly wage or base wage.
The PMLA provides that an eligible employee must, when requesting to use paid medical leave, comply with his or her employer's usual and customary notice, procedural, and documentation requirements for requesting leave. An employer must give an eligible employee at least 3 days to provide the employer with documentation. The PMLA does not prohibit an employer from disciplining or discharging an eligible employee for failing to comply with the employer's usual and customary notice, procedural, and documentation requirements for requesting leave
Paid medical leave may be used in one hour increments, unless the employer has a different policy concerning incremental leave usage and the policy is in writing in an employee handbook or other employee benefits document.
An employer that is subject to the PMLA must display a poster in a conspicuous place at its place of business that contains certain information regarding employees' rights under the PMLA.
If you have any questions regarding the PMLA and how it relates to employee benefits, please contact Mindi Johnson or Julie Hamlet. If you are an employer and have further concerns about how these changes may affect your policies, contact a member of our employment law practice group.
Categories: Employee Benefits, Employee Handbook
Julie LaVille Hamlet Associate
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With a business-minded approach, and service-oriented delivery, Mindi helps clients navigate challenges and solve problems in the areas of employee benefits law and health care law. Mindi has spoken and written extensively on employee benefits, health care reform, and health care law topics, and is actively involved in a number of legal, professional and industry organizations focused on these issues.
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text:
Itching to code? These are the best games to learn programming skills
1. CodinGame
2. Gladiabots – AI Combat arena
3. CheckiO
4. Human Resource machine
5. Codewars
6. CodeCombat
7. Shenzhen I/O
8. General Assembly – Dash
9. Duskers
10. TIS-100 – (Tessellated Intelligence System)
Many of us would like to learn to program, but are daunted. It turns out programming is not really difficult at all once you've got the trick of it (really!).
But, there's a lot of knowledge to gain before you, the student, can be anything but utterly confused. It can be painful. If only there existed some gentler way to smuggle programming knowledge into your head.
Thankfully, there are some great games out there that can teach you how to code, while also being fun. Read on to find out our pick. Also, make sure you check out our guide on the best laptops for programming on for some great choices to help you code.
(Image credit: CodinGame)
CodinGame has a very special place in our hearts because not only is it free and ridiculously fun, it actually helps you to build up a profile and get hired in a relevant field. In this it's similar to well-known sites like Leetcode and HackerRank, except a lot more effort has been put into presenting the education as a game.
Create your developer profile, which fills out the more you code and play. When you're ready, you can open it up to companies of your choice and perhaps get hired doing what you love.
So, try out CodinGame, you won't regret it.
(Image credit: WhisperGames)
Ah, strategy and programming; what more could you ask for? Developed by GFX47 and published by WhisperGames, Gladiabots is an award-winning robot combat strategy game.
In it, you fight robots with robots. Instead of controlling them directly, however, you program their AI and let them fight by themselves. Debug, improve and fix your AI 'till it's able to outsmart your enemies in three unique game modes, Elimination, Domination and Collection.
There's a single-player campaign, online multiplayer with ranked/unranked modes and an asynchronous multiplayer mode for offline play with friends. There's also a sandbox mode, where you can control both teams.
Grab a copy on Steam for $14.99 (around £13, AU$20) or get 20% off the Optimized Edition, which includes the Optimization Pack for $23 (around £17, AU$31).
(Image credit: CheckiO)
Working with the Javascript and Python programming languages, CheckiO helps you to improve your coding skills through fun tasks, games and challenges.
A similar offering to CodinGame, CheckiO supports everyone from beginner to advanced-level programmers. You must make your way through a series of islands, beginning with "initiation" (very easy challenges). When you beat one, you unlock the next.
While CheckiO is mostly free, it offers a membership package called "Awesome Member". You can pay monthly for $2.99 (around £2, AU$4) 6-monthly for $14.99 (around £11, AU$20), annually for $24.99 (around £18, AU$34).
Hop on to CheckiO now to learn or improve your coding skills.
(Image credit: Tomorrow Corporation)
Developed and published by Tomorrow Corporation, Human Resource Machine is a programming puzzle game.
In HRM you have to program office workers to carry out jobs for your boss. Now, while this is a great game for people learning to code, you'll need a little familiarity with assembly language to make it through alone, otherwise you'll need to regularly check in with Uncle Google.
Grab your copy for $14.99 (around £11, AU$20) on Steam or spend $26.50 (around £19, AU$36) on the Tomorrow Corporation Puzzle Pack, which is currently 15% off and includes the sequel, 7 Billion Humans
(Image credit: Codewars)
With more than 20 different programming languages to choose from, Codewars helps you to become a master in coding by solving "code katas".
Code katas are small programming exercises you repeat regularly to help improve your coding skills. It's like karate, except instead of exercising you sit unmoving in your chair.
Solving katas will earn you points and move you up in rank. You can compare your solutions to those of other code warriors and create your own katas if you feel confident enough.
So, go take your rank from beginner to expert in Code Wars.
(Image credit: CodeCombat Inc)
While it's mainly targeted at children, CodeCombat is the type of game that gamers of all ages learning to code would happily play. It looks like a real RPG, where you can pick a character and program moving them through each level.
Choose from Python (the default language), Lua, Javascript, and CoffeeScript. If you're a subscriber you can use Java, or brave C++.
It even has its own competitive league with CodeCombat AI League, which is a game engine and "AI battle simulator" for learning Javascript and Python.
Code warrior, go forth and do CodeCombat!
(Image credit: Zachtronics)
Developed and published by Zachtronics, SHENZHEN I/O is a programming, puzzle and automation game.
You're an employee at Shenzhen Longteng Electronics Co., Ltd tasked with building circuits. To do this you must use the various components provided to you and execute all your instructions in assembly language used for writing code. Oh, and please RTFM!
There's a sandbox mode where you can build and test your own device and games. And, being familiar with the hard facts of programming, Zachtronics has kindly included in the game its take on Solitaire.
You can procure a physical copy of the manual for $5 (around £4, AU$5) including shipping. SHENZEN I/O is available on Steam for $15 (around £11.40, AU$20).
(Image credit: General Assembly)
General Assembly is a company that provides training in tech, business, design, data and much more. Among the many products GA offers is an online learn-to-code app called Dash.
The app has five different projects for you to create: a personal website, a "responsive blog theme", a small business website, a CSS robot (a picture of one, at least), and a Madlibs game.
Learn about JavaScript, CSS, HTML and much more. It's fun, informative and a great place to start if you're a beginner.
Check out the many courses online and in your area on the GA website and learn to code through Dash.
(Image credit: Misfits Attic)
Duskers is our wild card of the list, as it's not quite a programming game, but hear us out.
Developed and published by Misfits Attic, Duskers is an award-winning exploration, realtime tactics game. You have to explore, adapt and survive, using drones to scavenge procedurally-generated spaceships and find ship logs.
So, why is it on our list? It has a command line interface. Yep, that's it. No, really, that's it.
A big part of coding – even in the current year – is using a terminal, so this is a great way to familiarize yourself with one. And it's fun!
Duskers is available on Steam for $20 (around £15 AU$27).
While this is a great game for learning to code, it's hard. So, keep all breakables out of reach; channel your fury into the game, OK?
TIS-100 is another great offering from Zachtronics. Decipher and rewrite corrupted code to repair the titular TIS-100, a fictional ancient computer. Create your own games in the visual console, or design your own challenges. Compete with friends and players around the world solving over 45 puzzles. And, of course, make sure you Read the Fine Manual.
TIS-100 is available on Steam, GOG, and itch.io for $6.99 (Around £5, AU$10) and IOS for $3.99 (around £3, AU$5).
Programmingcode, games, Itching, learn, programming, skills
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It's a Chinese technology company. It is best known for developing in-home robotic appliances. The company was founded in 1998 by Qian Dongqi and is headquartered in Suzhou, China. According to Global Asia, Ecovacs Robotics had more than 60% of the Chinese market for robots by 2013.


Tareador provides a very intuitive approach to visualize different parallelization strategies and understand their implications. The programmer needs to use simple code annotations to identify tasks and Tareador will dynamically build the computation task graph, identifying all data-dependencies among the annotated tasks. Tareador also feeds Dimemas, a simulator to predict the potential of the proposed strategy and visualize an execution timeline (Paraver).
Using the environment, a top-down approach can be followed that leads to appropriate parallelization strategies (task decomposition and granularity) and helps to identify tasks interactions that need to be guaranteed when coding the application in parallel.
OmpSs is a task based programming model, which can be seen as an extension of the OpenMP model. Unlike OpenMP, however, task dependencies are determined at runtime thanks to the directionality of data arguments. The OmpSs runtime supports asynchronous execution of tasks on heterogeneous systems such as SMPs, GPUs and clusters thereof. Also, the integration of OmpSs with MPI facilitates the migration of current MPI applications and improves, automatically, the performance of these applications by overlapping computation with communication between tasks on remote nodes.
Finally, the student will be able to use the performance analysis tool Paraver to detect application bottlenecks and improve them.
The student will learn to use different tools to identify potential parallelism, program parallel programming applications and to do performance analysis of parallel applications.


Bestselling author and Certified Dare to Lead™ Facilitator (based on the research of Brené Brown) Justine Froelker talks how she must live out the calling in John 15 to ABIDE in Christ during this time of great risk, accepting the unknowns of her career and acting in accordance with God's Word - even when no one else understands her current 'job'.
Abide in Me, and I will abide in you. A branch cannot bear fruit if it is disconnected from the vine, and neither will you if you are not connected to Me.


Join us for as much gaming fun as you can handle: 4 hours, 8 hours, 16 hours, or the whole 24 hour marathon of gaming in Spokane, Washington, for the Extra-life.org fundraiser, raising funds for children's hospitals.
Our team is on a mission to save kids through gaming, and we need your help. Each of us has chosen our local Children's Miracle Network Hospital where thousands of children are treated each year, regardless of their family's ability to pay. These kids are facing scary stuff like cancer, cystic fibrosis, and injuries from accidents to name just a few.
We'll be part of a huge international celebration of the social impact of gamers with Extra Life and it's our sincere hope that you'll find it in your heart to support us with a monthly pledge or one-time gift that will go directly to that team member's chosen hospital.Your donation is tax-deductible and ALL PROCEEDS go to help kids. Last year, Extra Life raised more than 6 million dollars to save kids, but in 2015 our goals, just like the needs of the kids we serve, are much, much higher. We can't do this without your help. Donating online is safe and easy! To make an online donation please click a participant's name and then click the "Support This Participant" button on this page. Thank you for caring for our kids!
Below is the schedule for various game sessions, as well as information for attending and/or watching the broadcast. Keep in mind, there is only 1 table being broadcast, there is some exclusive early preview content available only to those that attend in person.
Details coming shortly, check back in a few hours.
7:00 am Arrival time for Game Masters and volunteers, and players for the 8:00 am sessions.
Begin Pre-game broadcast at 7:30 am.
Players may participate in any as many or as few 4 hour segments as desired.
Game Table #1 (Broadcast Table) - 1 Ongoing Campaign: "Lost Mine of Phandelver"
Game Table #2 - GM's Bill, Alexis, Zen.
8:00 am to 9:00 am.
Those particular postings are a bit dated, some groups have moved days/times/locations.
If you alternate between http://spokanerpg.com and the meetup site, it should give you pretty good coverage on what groups are available. Meetup is good for finding/starting groups, http://spokanerpg.org is good for getting updates and more details about specific campaigns.
Also, there is a special 24 hour gaming event coming up November 7th, as a fund raiser for local children's hospitals, being hosted at my house (a couple of tables, with a number of GM's and players rotating). If you wanted to join any individual sessions, or go for the whole marathon, there are still seats available.
Hawke's House. Please call/text (509) 481-5437 for directions and parking information.
The general location is near Whitworth and North Five Mile Prairie area of Spokane, Washington.


text:
Q: Window not displaying SDL2 I am using SDL2 for the first time, and when I try to create a window, it's not displaying. The only sight of the window is an icon spawning in my dock (Image of the icon, SDLTest.out is the name of my executable file). I found out that it spawned when SDL_INIT()was called.
I tried updating the window, changing its color and adding the flag SDL_WINDOW_SHOWN, but none of these solutions worked. I even pasted a code from the Internet, but it didn't work better.
Here is the code that I pasted:
#include <SDL2/SDL.h>
#include <stdio.h>
#include <stdlib.h>

int main(int argc, char *argv[])
{
    SDL_Window *window = NULL;
    SDL_Renderer *renderer = NULL;
    int status = EXIT_FAILURE;
    SDL_Color orange = {255, 127, 40, 255};

    if(0 != SDL_Init(SDL_INIT_VIDEO))
    {
        fprintf(stderr, "Error SDL_Init : %s", SDL_GetError());
        goto Quit;
    }
    window = SDL_CreateWindow("SDL2", SDL_WINDOWPOS_CENTERED, SDL_WINDOWPOS_CENTERED,
                              640, 480, SDL_WINDOW_SHOWN);
    if(NULL == window)
    {
        fprintf(stderr, "Error SDL_CreateWindow : %s", SDL_GetError());
        goto Quit;
    }
    renderer = SDL_CreateRenderer(window, -1, SDL_RENDERER_ACCELERATED);
    if(NULL == renderer)
    {
        fprintf(stderr, "Error SDL_CreateRenderer : %s", SDL_GetError());
        goto Quit;
    }

    if(0 != SDL_SetRenderDrawColor(renderer, orange.r, orange.g, orange.b, orange.a))
    {
        fprintf(stderr, "Error SDL_SetRenderDrawColor : %s", SDL_GetError());
        goto Quit;
    }

    if(0 != SDL_RenderClear(renderer))
    {
        fprintf(stderr, "Error SDL_SetRenderDrawColor : %s", SDL_GetError());
        goto Quit;
    }

    SDL_Delay(500);
    SDL_RenderPresent(renderer);
    SDL_Delay(500);

    status = EXIT_SUCCESS;

Quit:
    if(NULL != renderer)
        SDL_DestroyRenderer(renderer);
    if(NULL != window)
        SDL_DestroyWindow(window);
    SDL_Quit();
    return status;
}

My OS is MacOS 11.6, my compiler GCC, my computer has a graphic card Intel Iris Pro Graphics 6200, and I installed SDL2 using Homebrew.
Can someone help me?

A: I just needed an event loop. I added this code and it worked:
    SDL_bool quit = SDL_FALSE;
    while(!quit)
    {
        SDL_RenderPresent(renderer);
        SDL_WaitEvent(&event);
        if(event.type == SDL_QUIT)
            quit = SDL_TRUE;
    }

Thank you to HolyBlackCat for your comment!


text:
Download DEATH TRASH Pc
March 6, 2018 RPG Games
Death-Trash is an RPG game, for the development of which is the independent development studio of Legends of Berlin. The title appeared on the Windows PC platform, and a source of inspiration for its creators have cult-type representatives, led by Ultimą VII: The Black Gate and Plan escape Torment.
The plot of the Action of Death Trash Free Download takes place in a groove of the universe, connecting the characteristics of the currents postapo and cyberpunk. The title takes us on a journey to the planet Tavrida, whose population began to defend after the Great Galactic War.
Unfortunately, soon thereafter again controversy between factions, demolitions, resources, influence and persuasion. To top it all, the case began to intervene mysterious creatures called by the elders, released from their prison. At the height of the conflict is the player, depends only on him, it eventually complete, or even cause escalation.
The mechanics of the game released on the Windows PC platform Death Trash Download Skidrow starts with the choice of heroes and bring the statistics of individual preferences. The gameplay scheme is no different from what we are accustomed to us other RPG games,
So as part of the fight, we observe an action in isometric view, to catch up, first, Presbyterianism dark places , the execution of project work on neutral characters (during dialogues, there is the possibility of care of a person at any time) and the development of a hero.
DEATH TRASH
Also play an important role of collision with opponents who led us in real time using standard and psionic weapons of power; on our way to become like people, and mutated monsters. What is interesting, during the adventure, we can not only kill the opponents, but the heroes are friendly to heroes.
The game contains a craft system, with which we create inventory items. The game modes Despite the fact that the pillar of Death Trash Download PC Game mode single player, the game is also a multiplayer module that allows to play accompanied by a second person on a screen.
Technical issues two-dimensional graphics Death Trash Download PC Game There was in plasterwork stylistic on this idea of the first and second Fallout. Characteristic of the game is the highest level of cruelty and foul language.
DECAY OF LOGOS Free Download Pc Game
DUSTWIND Pc Download


Although Beyonce's birthday was a few months back, the singer has recently shared brand new photos of the intimate celebration on her infamous Tumblr page. The private singer appears to have kept things quiet on a yacht with her husband Jay-Z and baby daughter Blue Ivy.
The singer is shown cutting her birthday cake and lounging in some swimwear. She also posts snaps of their dinner, some delicious looking strawberries and a fine vintage of wine. Queen Bey has it good!
Beyonce's new foray into social media has been turning heads, most recently her Instagram account where she's been posting photos of herself back in the studio. The "Run The World (Girls)" singer is also gearing up for her Superbowl Halftime performance early next year, which is sure to be a television spectacle.
For now, take a gander at her elegant yacht birthday photos below and dream of the next Beyonce album!


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Amelie van der Aa blogs about health-related topics that are relevant to health-minded busy parents.
In recent years bread has been increasingly demonized and linked to digestive issues, sensitivities, and chronic diseases, making people completely ban bread from their diet.
But is bread really the devil? Should you avoid it even if you don't have any digestive issues? And does bread really make you fat?
Whether you or your child suffers from acute or chronic diarrhea, fortunately there are different remedies to naturally deal with it.
Why do you or your child have diarrhea? What to eat in case of diarrhea? Find the answers below!
Every single night while I'm preparing dinner, hungry little dwarfs are circling around my legs in search for something to eat (like right now or I'll die!).
Often this goes hand in hand with whining sounds that will only stop as bellies are getting fuelled.
Kids don't necessarily eat a lot, but they do eat OFTEN. Very often.
Once you become a parent of toddlers you soon realise "snacks" becomes a major item on your weekly shopping list.
But what makes a balanced snack?


Turners and Moore, located in the northern part of Norwich, offers a wide selection of services, from wood machining, bespoke furniture making, one off productions and spraying and finishing. We deliver the full package, always ensuring the highest quality.
The team is happy to take on the most simplest of jobs, even if its fixing a broken hammer handle, or cutting to size a piece of wood , these are jobs we have done in the past.
Our customers come to us for a wide range of things, not just turnings or furniture making.
Turners and Moore is very versatile, and can help you with anything to do with wood.


text:
Attila Decker (born 25 August 1987) is a  Hungarian male water polo player. He is part of the Hungary men's national water polo team. He won a gold medal at the 2013 World Championships. He is the younger brother of Ádám Decker water polo player.

Honours

National
 World Championships:  Gold medal - 2013;  Silver medal - 2017
 European Championship:  Gold medal - 2020;  Silver medal - 2014;  Bronze medal - 2008, 2016
 FINA World Cup:  Silver medal - 2014
 FINA World League:  Silver medal - 2013, 2014

Club
Eger (Brendon-Fenstherm-ZF-Eger)
 Hungarian Cup (1x): 2007
 LEN Cup runners-up: 2007–08

Szolnok (Szolnoki Dózsa-KÖZGÉP)
 Hungarian Championship (2x): 2014–15, 2015–16
 Hungarian Cup (1x): 2014

See also
 Hungary men's Olympic water polo team records and statistics
 List of men's Olympic water polo tournament goalkeepers
 List of world champions in men's water polo
 List of World Aquatics Championships medalists in water polo

References

External links

1987 births
Living people
Hungarian male water polo players
Water polo goalkeepers
Olympic water polo players of Hungary
Water polo players at the 2016 Summer Olympics
World Aquatics Championships medalists in water polo
Water polo players from Budapest

redpajama_set_name: RedPajamaWikipedia


Sailing at clapham on the 7th March.
The weather was beautiful with brilliant sunshine all day, but a cold wind. The wind was a problem for some of us, ranging from hard gusts that almost overwhelmed the boats to no wind at all which left us drifting. Having said that it was a good day for all. Attendance was good, nine members and six boats of varying designs. We also had a film crew from the Media Studies Group at the University of Westminster who had asked if they might come and film the activities on the Common. They kept out of our way, although I was asked to give a brief interview on the history of the Club. I doubt though if we shall ever see the result of the filming.
What with one thing and another we started late, something that is getting to be the usual thing these days I regret to say, and we only got five races completed. Hugh,s WIDGET design being well to the fore in the hands of both Hugh and Leslie. Grant,s new purchase, one of the Club,s original fleet of COMICK,s, did well giving its owner great delight. Jim, with his somewhat older design, did well, as always, proving that the skipper has as much, or possibly more, influence on the outcome of a race than the design of the boat he is sailing.
Race 1. Leslie, Grant, Jim.
Race 4. Grant, Jim, Leslie.
Race 5. Jim, Grant, Leslie.
We had a fairly early close to the meeting, no one going out again after the lunch break. A good day,s racing in spite of a not very helpful wind.
NOTE. The Vintage Club will be at the pond on the 14th March.
As Chairman I am concerned about the point mentioned above. We are becoming a bit of a "laid back" Club were there is a seeming lack of commitment to getting to the Club at a reasonable time on a Sunday morning and getting down to racing, which after all is the main purpose of the Club. It was noticeable on Sunday the 7th that racing did not commence untill almost midday, members having drifted into the Clubhouse from times varying from 10.15 to past 11.30. When racing did eventually get under way there was no overall direction and the few races that followed were very leisurely. I feel members must decide what they want frrom the Club. Is it to be a racing Club with a bit of social chit chat at times, or a social club with time for a bit of racing. If it is to be the former then it is becoming obvious that there needs to be someone who will take on the task of a "racing secretary", one who will stir people up to get their boats on the water and start racing, and once started keep the races following on with a minimum of delay. Sunday was a case in point. Jim put the buoys out and the starter box, but from then on no-one seemed keen to take control, although there were a few members who were not racing who could have taken that control. No-one seemed keen to record the finishers in order and put them down on the score sheet, and in case the point is made that there was no score sheet initially, surely a bit of initiative could have solved the problem, as in fact I did. Even when the score sheet was available it was still left to me to record the scores, even though other members were standing by the finish line and could well have done it.
If the Club is to continue to flourish I feel that more of the members must become involved, and take some responsibility for doing the few jobs that are neccessary, such as putting out the buoys, the starter box (after checking the batteries are OK) and, if nor racing themselves, stand by the finish line and record the finishers in order. There is also a problem in the turning off of the starter box when the countdown is finished, a job which I did on several occasions at risk of losing control of my boat, untill I did ask a non racing member to do it.
These are all such simple things but they will go some considerable way to making the meetings more enjoyable for all, and I ask that all members make an effort to get involved and take some responsibility in the runing of the Club. The Chairman.