Creating A Casual Living Room – When creating a design for your living room, keep in mind how the living room will be used. Consideration of furniture is important. A casual living room will not have stiff furniture that provides no comfort when sitting. That type of furniture should be reserved for waiting rooms at a doctor's office or school rooms. A comfortable living room's sofas and chairs will be made out of soft, perhaps plush fabrics that invite a person to relax on them. Their comfort will be further enhanced by soft, plush pillows of the same fabric. Some will even add pillows that contrast with the colors of the couches or chairs. This furniture is something that can be relaxed and socialized on in complete comfort of your living room.
Flooring is another important consideration for the living room. Hardwood floors are very popular right now, yet they do not have to be the only choice. Hardwood is pretty and easy to clean, but it's pretty cold. If your home is often cold and you're looking for economical ways to keep it warmer, carpeting is one way to do that. Carpeting will hold the heat in the living room better than hardwood flooring which will make the room warmer longer. However, if you have allergies to dust or other airborne particles, carpeting may not be a good choice. No matter how often you vacuum, it can be very difficult to get those allergens out of the air. For this type of person, a laminate flooring would probably be the better choice because there will be less fibers in the room to hold in those allergens.
Television and sound system would also be a consideration into your living room design. If your television is large, it will take a large portion of area in the living room. Alternately, if it is small it won't take up as much room. Either way, the seating and sound should be surrounding the viewing area at a reasonable distance for both sight and sound. If you have surround sound, you have the advantage of bringing the sound to the seating area. Otherwise, the seating should surround the television at a distance that makes listening happen easily.
Living rooms should be places of comfort and relaxation. They should be conducive to visiting and mingling with guests as well as watching television. With the listed tips above, your living room will bring comfort and joy to all of its inhabitants.


I have found my new favorite lipsticks - the Modern Matte line from Jordana! These are not the traditional flat matte-esque finish. It's actually closer to a vinyl finish, if you ask me, but that could be the "modern" part of the matte! Check out details after the cut!
As I mentioned, the finish on these isn't so much matte, but more a vinyl. They are more flat than shiny, however. They are so easy to apply and went on smoothly. In all honestly, these lipsticks went on the smoothest of any lipsticks I've tried to date. I'm usually not good with getting the lipstick in the perfect position on my lips haha (what a confession, right?) It's no secret, looking back on my previous posts - I still feel like a beginner :) These lipsticks, tho. They melted onto my lips easily.
At a price point of $2.49, these lipsticks are more than worth their money. I highly recommend them! I also hope that if you do buy them, that you have the same experience that I have with them. You can buy them wherever Jordana is sold or on their website.


kgdb kernel with write through policy on bf533 stamp would have dump info.
Breakpoint 1 at 0x8f9a: file arch/blackfin/kernel/kgdb_test.c, line 57.
Hardware assisted breakpoint 2 at 0x8fbc: file arch/blackfin/kernel/kgdb_test.c, line 58.
Hardware assisted breakpoint 3 at 0xffa003b8: file arch/blackfin/kernel/kgdb_test.c, line 30.
Breakpoint 4 at 0xffa0040c: file arch/blackfin/kernel/kgdb_test.c, line 33.
double fault on other bfin chips, it is safe not to do it.
needs to be added) it is something else).
be ifdef'ed so people understand what the cause is.
Are you running the trap_test with WT cache is selected on bf533 v0.3?
In addition, did you run trap_test on 2009R1 branch?


Officially it is best to wait until your new puppy is 8 weeks old, and can leave their mother before you consider getting them groomed. Once the puppy has been introduced to its new home and has established relations with the new owner they can think about getting the puppy groomed. That Groom Room recommends starting at 12 weeks of age. The very first grooming appointment is an introduction to the puppy and the owner to the world of grooming. The puppy with be introduced to a bath, blow drying, nail clipping, and slight trimming. We do not recommend having a puppy be given a full hair cut the first time being groomed. The reason behind this is you are forcing the puppy to stand still and be handled for 1.5 hours. This is a lot to ask of a puppy. It would be like asking a one year old child to sit without moving, going to the bathroom, or play with any toys for 45 minutes. That is why we only do the basics for puppies first groom. We bathe them, slowly dry them, trim the nails, trim the fur from around their eyes, pads, and around the sanitary area. This is about all they can handle. The puppy will be introduced to having scissors around the face, having to hold still while the pads on their feet are trimmed. Depending on how the puppy reacts to the first grooming we may recommend doing this type of trimming one more time before the full haircut. The more comfortable the puppy becomes with being handled by the groomer and being on a table, and in the tub the better the puppy will become as they grow up.


Team 4151 was 6-18-0 in official play in 2014.
As a member of the New England district, Team 4151 ranked 158 having earned 12 points.
No photos for team 4151 from 2014... Why not add one?
No CAD for team 4151 from 2014... Why not add some?


text:
Magazine / Features / Patagonia: the campaigns go on as company nears $1bn milestone
Patagonia: the campaigns go on as company nears $1bn milestone
Bob Smith, Editor
Monday 26 March 2018 01:39 PM GMT
Last updated at Monday 26 March 2018 01:41 PM GMT
Patagonia says quality leads to longevity. Photo: Bob Smith/grough
At the heart of our love of the outdoors is a conundrum.
Whether you're a walker, climber, mountain biker, paddler or ski-tourer, you want the best gear and clothing to keep you dry, warm and as comfortable as possible while on the hill or in the countryside.
But at what price to the planet? Those high-tech waterproofs, boots and all the other gear we pack in our rucksacks have an impact, whether it's through the use of chemical treatments, the microfibres that the clothes shed during washing or simply the carbon used by manufacturing them transporting them to the retail cathedrals gracing our high streets.
It's a question brought into focus by one of the top managers of outdoors brand Patagonia, who outlined the approach of his company, which has been at the forefront of ethical trading for decades.
Ryan Gellert is Patagonia's general manager for Europe, Middle East and Asia. The Amsterdam-based boss paid a visit to the UK to speak to industry representatives. The company famously ran a 'Don't buy this jacket' advert for Black Friday in the New York Times in 2011. "We ask you to buy less and to reflect before you spend a dime on this jacket or anything else," it said.
The ad went on to point out the environmental resources needed to produce the jacket. "As is true of all the things we can make and you can buy, this jacket comes with an environmental cost higher than its price.
"There is much to be done and plenty for us all to do. Don't buy what you don't need. Think twice before you buy anything."
We asked Mr Gellert about the apparent contradiction in Patagonia's approach. In some ways Patagonia's objectives seem counter-intuitive. In other words, most people would expect a company to sell as much as possible, keep the money coming in. How does that square with how you operate?
He said: "I think that, for us, that's probably a question that gets asked a lot and I think it's one of the great sort of puzzles that we continue to wrestle with at Patagonia and I think we've probably had a little bit of an evolving view on that one.
Ryan Gellert spoke to industry insiders during a recent visit. Photo: Bob Smith/grough
"At points I think we were really uncomfortable with just the concept of growth and I think, over time, what we've grown more comfortable with is not growth for growth's sake – I don't think we'll ever embrace that – but instead just using the growth that we have, whether it's the financial resources that come in as part of growing top-line business, or it's the impact we can have in greening progressively the supply chains or doing things like getting in front of people and trying to inspire them to think differently about the role of business and the role of all of us as individuals."
Patagonia founder Yvon Chouinard said he never saw a billion-dollar company he liked. How close to a billion dollars is Patagonia?
Mr Gellert said: "Very close. It has taken us 45 years to get there and I think one of the things that's a bit of a joke and bouncing around the halls of Patagonia for 30 of those 45 years if not all of them is: the only thing stopping Patagonia is Patagonia and I think there has been a lot more commercial opportunity, not for the whole 45-year history of the business but for a period. I think it has just been wrestling with: how can we justify growth and how do we use that growth to deliver on the key elements of our mission statement."
Mr Chouinard founded a company to make pitons for himself and fellow climbers. That company became Black Diamond. A six-month trip to Patagonia in 1969 during which he climbed Fitz Roy provided the inspiration and the logo for a new company. The 79-year-old still owns Patagonia and calls into its California office when he's in town.
Its mission statement is to build the best products possible, because durable products last longer and have a lot less environmental impact.
It should also cause no unnecessary harm and use business to inspire and implement solutions to the environmental crisis.
It's almost like an ecology company with a manufacturing company bolted on, grough said.
Ryan Gellert said: "It's funny; that's one of the other tension points within the business for new employees. It's: are we an NGO? Are we a for-profit business? And the reality is: we're both. And what I love about Patagonia today is that Yvon has set the philosophical foundations for the business and I think it continues to play such an important role in keeping us on track, but I think it's deeply institutionalised and I think with Rose [Marcario] as our CEO, what she does very well is create an environment where we all can really, I love working in business; I love the strategy of business; I love putting teams together; I love executing things and I absolutely love the reason that we exist in getting involved deeply with campaigns and issues and initiatives.
Patagonia chief executive Rose Marcario
"And the fact that as employees we can exercise both sides of your brain and not feel the need to say we're just this but not that or just that and not this. I think that makes it a really vibrant professional environment as well. So, personally, I think that can be very challenging, but I think it's such an interesting and dynamic environment as a result.
Would Patagonia's model work for UK brands? Is the model transferable to other companies and brands?
"I think that it always becomes a conversation about: what is our model? Is it Patagonia Action Works where we're supporting campaigns against new hydro-power developments in the Balkans? What I would say is, people can chose what issues are most important to them, where they think they can have the biggest impact.
"What I do think is universal, the reality is, if we don't get proactive about this, the world is going to force it back on us. We are headed towards a world that will not have the same amount of resources to supply the levels of consumption that we have today. Full stop. As populations grow, as we deplete everything from oil to arable farm land, they're just not going to exist. I think selfishly part of what we're doing is future-proofing our business for a world that's going to look very different in the future than it does today."
We asked about very particular environmental problems such as PFCs, the fluorcarbons used to provide waterproofing, and microplastics at the heart of the outdoors industry. How is Patagonia tackling those issues?
"Those issues are as important to us as any on a long list of others like them. I think on the PFC issue, we've been working on this for a bunch of years. One of the things we've been doing is making a financial investment in a Swiss company called Beyond Surface Technologies.
"We have an internal venture capital fund that invests in for-profit businesses that are working on ideas around sustainability. We've been looking well outside their supply chain to find alternatives. We are confident that we've got some in the short term, I think, and we'll be preparing to roll those out.
"One of the things we're doing, and I think this gets overlooked a lot, unfortunately even Greenpeace and their Detox campaign overlooks this and that is: let's be careful we're not swapping one problem for another.
"Where a lot of the state of the art is headed around alternatives for DWR [durable water-resistent treatment] is palm-oil based. If we pat ourselves on the back for swapping one problem for another, I'm not sure we've accomplished anything at all. And that's something we really challenge ourselves on.
"On microplastics, this one scares the hell out of me. As a human, as a father of two young kids, as someone who enjoys everything from eating fish to swimming in the water, and everything that's water-related in between, it's really, really frightening. Our role in it, we've done a study with the University of California Santa Barbara to try to quantify the impact of the issue with microfibres from our products. We published the results of that. Unfortunately, the results are that we are contributing to it, as expected. We did find through that study that quality of product does make a difference as to how much it sheds.
"I think we have a lot of work to do, how we minimise our role in this. We are actively participating in a couple of other studies we've funded. We're going to market a product from two entrepreneurs in Germany called Guppyfriend, which is a bag you can launder your synthetics in and it captures the microfibres, then you can dispose of them properly.
"But it's a Band-Aid solution to a very complex problem. We're under no illusion; we're not stopping there. We're lobbying with appliance manufacturers, trying to get them to think about better filtration in their systems. I think with climate change, these are the two most complex issues we're facing.
Patagonia's Worn Wear campaign urges outdoor fans to have their gear repaired
"Part of our responsibility and the part we really need to embrace is just talking to more people and being honest about our place in the world because, as I said earlier, we're a responsible company perhaps in that we ask and wrestle with these questions. We're not one to solve them all. I think people get intimidated by is thinking: I can't really talk about where we're at or what I aspire to do because then people realise how far we are from where we are and where we want to go.
"I think the reality is we've all just got to get comfortable with the fact that we've got some really big issues to solve and I do feel strongly that the luxury of being pessimistic – that's gone. Now it's time we all just figured how we can act and that is really, really important."
To that end, Patagonia has set up Patagonia Action Works. "Think of it as a dating service for environmental activists," it said. It connects those who want to get involved with projects that need help. "The inspiration for Action Works came from a question we hear regularly from our customers – 'what can I do to help save the planet?'"
It also puts its money where its mouth is. A founder of the One Percent for the Planet movement, it donates one per cent of its revenue to small organisations working on issues of sustainability. To date, it has given nearly $100m (£70.38m) to about 3,000 NGOs across 18 countries.
Save Our Rivers based in Snowdonia is one such group.
Patagonia said: "We've moved from supporting activism to becoming a more activist-oriented organisation ourselves.
"And so, on the heels of the last presidential election we decided to donate 100 per cent of our sales from Black Friday to grassroots environmental organisations. We expected this to total $2m-3m [£1.4m-£2.1m]; it ended up being $10.5m [£7.39m].
"It is why we have taken a very active position in seeking to prevent the Trump administration from reversing protections on public lands in the US under pressure from extractive industry. Along with indigenous groups and conservation organizations, we have filed a suit to block this decision."
Ryan Gellert: 'the microplastics issue scares the hell out of me.' Photo: Bob Smith/grough
Another scheme outdoor enthusiasts may be familiar with is the Worn Wear project, which encourages the repair of damaged outdoor clothing. "We have three mobile repair vehicles here in Europe that have made over 200 stops across a dozen countries repairing both Patagonia and other brands' broken but still serviceable garments."
A big focus for Patagonia at present is a campaign to conserve rivers in eastern Europe. "Between Slovenia and Albania, hydropower projects threaten to destroy the richly diverse ecology, culture and history of a region known as the Blue Heart of Europe.
"The Balkan peninsula has some of the last wild rivers in Europe including Albania's Vjosa River which runs unimpeded from source to sea. Unfortunately, there are nearly 3,000 hydropower projects currently under construction or planned – many of them in protected areas."
Patagonia has long had a leading reputation for its responsible approach to business. "Our goal is to be in business 100 years from now building the best product on a living planet with healthy customers.
"This means we need to get far closer to giving back to the planet as much as we take from it."
It says it wants to move from being a responsible company to a truly sustainable one.
"And that will require that in the future – however much we produce and however many more stores, offices, and warehouses we operate – our footprint must be lighter than it is today."
More information on Patagonia's campaigns is available on the company website.
Patagonia enters sleeping bag market, 45 years after founder's first model
Am impressed you got the interview. Turned up for my pre-booked one the day after ISPO & was told that it was not convenient to have one then (even though I had pre-submitted questions & had to travel to the venue). However the PR said that the questions would be answered & they would get back to me: that was 8 weeks ago & nothing received yet (& I have even prompted them!)
Interesting line of thought taken by Ryan. When BST reported 14 months ago they said no progress on oil repellent DWRs...
OutdoorsAndy
It appears to me, in the UK, we already have an outdoor clothing brand that has the Patagonia approach to environmental concerns, that has been PFC free for years, Paramo.
It is the only recyclable water-proof on the market and even has its own in house fixer and trade in scheme for old jackets.
Both these companies are an inspiration to retail, not perfect, but really trying to be the best they can. A lesson to us all.
Its such a shame that so many once great outdoor brands have gone down the pile it high sell it cheep, false price point for poor quality route.
At the end of the day, where you spend your money has one of the greatest influences on the human environment.

redpajama_set_name: RedPajamaCommonCrawl


A Top Pick two weeks ago. Bank stocks do well from mid-September until the last week in November. It is starting to go higher and about to test an all time high. There is a good reason to believe it will go above the previous all time high.
It has strong seasonality from now until early January. It is forming a trading range and is breaking above it. Stick with it or buy some more.
It has been one of the weakest golds on the TSX. We reached the end of the period of seasonal strength. It is on a distinct downward trend. We are heading down to support. Look at it in late December.
He does not know the seasonality. Utility stocks do well in the summer. We are in a trading range. We are testing close to the bottom. He would be a bit careful here. Utilities typically underperform the market about now. He is neutral.
It has not been around long enough to allow a seasonality study. It is in a long term upward trend, momentum is positive and it is outperforming the market. Retailing does well from the middle of September until the end of December.
Seasonal strength is from May until the end of September. It is an opportunity to take some money off the table.
Seasonally it is strong from the middle of October until January and then from the end of February until the end of May. It did not work last year. We are about to enter the period and it is in an upward trend, testing the all time high. If it breaks out it could go to the $75 level. Stick with it or buy some more.


text:
Polar Plunge goes virtual to fundraise for Alaska's athletes
GCI teams up with Special Olympics Alaska to present alternative to frozen Goose Lake jump
ANCHORAGE, Alaska — Special Olympics Alaska (SOAK) and GCI will open up the famous Polar Plunge to Alaskans across the state this fall – this year with a special twist. The event traditionally takes place at Goose Lake in Anchorage each December, but this year, the organizations encourage Alaskans statewide to take the "plunge" through virtual challenges. Special Olympics Alaska and GCI invite Alaskans to join them in "Freezin' for a Reason."
This year marks 12 years of the beloved Polar Plunge event to raise funds for SOAK. Each year, participants would fundraise a certain amount to take the plunge into frozen Goose Lake in Anchorage. This year, Alaskans who would like to help raise money for Alaska's athletes can take the "plunge" at home, and challenge their friends, family and neighbors to do the same.
"Special Olympics Alaska is an amazing organization that we've supported for many years. We've set our sights high this year – we're aiming to get 10,000 people statewide involved with the virtual Polar Plunge," said GCI Senior Vice President of Consumer Services Paul Landes. "We hope Alaskans join us in taking the plunge for the athletes."
SOAK and GCI are encouraging Alaskans to take part by registering for the 2020 Polar Plunge online, collecting pledges, and then taking the plunge by pouring a bucket of ice water over their head, jumping into a kiddie pool or wearing their clothes in a locker room shower—get creative! All of these challenges will be in place of jumping into Goose Lake in Anchorage. Should someone be nominated and choose to not take the Plunge, they are asked to donate to SOAK.
Those who accept the challenge are to follow these steps:
1. Register for the event;
2. Raise money for SOAK. Those who raise at least $125 will receive special swag;
3. Record and post their accepted challenge to social media using the hashtag #PolarPlungeAlaska;
4. Challenge three friends to do the same.
"While the traditional event will be missed this year, we're looking forward to reaching more Alaskans than ever by bringing the event to them. With the generous support from Alaskans, we are able to keep our doors open and athletes competing, developing new skills and making friendships," said Special Olympics Alaska CEO Sue Perles. "We're grateful to have partners like GCI who work alongside us as we navigate these tough times."
In addition to the Polar Plunge, GCI and SOAK executives are also announcing a Polar Un-Plunge challenge. GCI's Paul Landes and SOAK CEO Sue Perles will be staking the yards of businesses they would like to challenge to get their sign "un-plunged." When the signs are discovered, the recipient must make a donation to SOAK to "un-plunge" the sign from their yard and plunge it in another business yard, continuing the chain.
To donate to SOAK or to find more information about registering for the 2020 Polar Plunge, please visit https://specialolympicsalaska.org/events/polar-plunge/.
GCI is one of Alaska's leaders in corporate philanthropy, donating approximately $2 million each year in cash, products and connectivity to organizations across the state. GCI is committed to giving back to the communities it serves and provides employees with 16 hours of paid leave to volunteer with local organizations. In 2019, nearly 550 GCI employees volunteered more than 5,300 hours. GCI proudly joins Special Olympics Alaska in making community its focus and committing to healthy futures for all.
GCI provides data, mobile, video, voice and managed services to consumer, business, government, and carrier customers throughout Alaska, serving more than 200 communities. The company has invested substantially more than $3 billion in its Alaska network and facilities. Most recently, GCI launched true standards-based 5G NR service in Anchorage, now the nation's northernmost 5G service area.
Headquartered in Alaska, GCI has delivered services for more than 40 years to some of the most remote communities and in some of the most challenging conditions in North America. GCI employs nearly 2,000 Alaskans. Learn more about GCI at http://www.gci.com/ GCI is a wholly owned subsidiary of GCI Liberty, Inc. (Nasdaq: GLIBA, GLIBP). Learn more about GCI Liberty http://www.gciliberty.com/.
About Special Olympics Alaska
Special Olympics Alaska provides year-round sports training and athletic competition in a variety of Olympic-type sports for children and adults with intellectual disabilities, giving them continuing opportunities to develop physical fitness to demonstrate courage, to experience joy and to participate in a sharing of gifts, skills and friendship with their families, other Special Olympics athletes and the community.
Email: hhandyside@gci.com
Melissa Wolf, Special Olympics Alaska
Email: melissa@specialolympicsalaska.org


President Trump Donald John TrumpGrassroots America shows the people support Donald Trump Trump speaks to rebel Libyan general attacking Tripoli Dem lawmaker: Mueller report shows 'substantial body of evidence' on obstruction MORE cast uncertainty on the future of his chief strategist on Tuesday, even as he defended him from criticism.
"I like Mr. Bannon; he's a friend of mine. But Mr. Bannon came on very late, you know that," Trump said in a news conference in New York City.
"I like him. He's a good man. He's not a racist, I can tell you that. He's a good person. He actually gets a very unfair press in that regard.
"But we'll see what happens with Mr. Bannon," Trump added. "But he's a good person, and I think the press treats him frankly very unfairly."
Trump's comments came a day after The New York Times reported that Stephen Bannon's role in the White House is in limbo and that the president's advisers and confidants are urging him to fire the chief strategist.
Bannon, the former executive chair of Breitbart News, which he once described as the "platform for the alt-right," has also become the target of criticism from Democratic lawmakers and civil rights activists in recent days after violence erupted at a white supremacist rally in Charlottesville, Va.
House Minority Leader Nancy Pelosi (D-Calif.) stepped up her calls for Trump to fire Bannon. Pelosi on Monday called him a "white supremacist."
On Tuesday, leaders of several minority congressional caucuses joined in, demanding that Trump fire Bannon as well as senior White House adviser Stephen Miller and national security aide Sebastian Gorka.
A group of House Democrats also introduced a resolution urging Trump to remove from his administration any "who have supported or encouraged support for White supremacists."
This story was updated at 4:52 p.m.


text:
LA LIGA PRESENTATION + PITCH OLIVIA AND THE SHADOWS PROJECT
Monday, May 10th at 18:00 UTC / GMT + 1
The Ibero-American Animation Quirino Awards together with Animation! Ventana Sur (Argentina) and Pixelatl Festival (Mexico), joined forces to create La Liga, the Ibero-American Animation League. This alliance responds to the objective shared by the three events to promote the creation and development of audiovisual projects across the region, consolidating collaboration bonds among Ibero-American countries.
The first part will be a talk with the members of the Ibero-American Animation League, in which Silvina Cornillón (Animation! Ventana Sur), José Iñesta (Pixelatl) and Jose Luis Farias (Quirino Awards) will announce news about this alliance of events at the Ibero-American level.
In the second part, Juan Carve from the Uruguayan studio Chucho.tv will present "Olivia and the Shadows", a feature film project that won the award given by La Liga at Ventana Sur 2020, and which involves its participation in Pixelatl and Premios Quirino with the aim of accelerating its production and promote its internationalization.
WATCH CONFERENCE
10th – 23rd
QUIRINO AWARDS SPECIAL AT RETINA LATINA AND FILMIN
May 10th-23rd
From May 10th to 23rd, the finalists for best school short film and the finalists for best short film of this fourth edition of the Quirino Awards will be available on the Retina Latina and Filmin platforms: "Tie", directed by Alexandra Ramires and produced by Bando à Parte and Bap Animation Studios, co-production with Providences (Portugal, co-production with France); "Homeless Home", directed by Alberto Vázquez and produced by Uniko and Autour de Minuit (Spain, co-production with France); "Roberto", directed and produced by Carmen Córdoba González (Spain); "La Bestia", directed by Ram Tamez (Mexico), Alfredo Gerard Kuttikatt & Marlijn Van Nuenen. Gobelins l'Ecole de l'Image (France); "Memories for Sale", directed by Manuel Lopez. Veritas University (Costa Rica); "Le retour des vagues", directed by Alejandra Guevara Cervera (Mexico), Manon Cansell, Edward Kurchevsky, Francisco Moutinho de Magalhães (Portugal) & Hortense Mariano. Gobelins l'Ecole de l'Image (France).
*Retina Latina is a digital platform for viewing Latin American cinema, of a public nature, free and legal access for citizens of Latin America and the Caribbean, with part of its collection open to the world. The platform is made up of cinematographic entities from Bolivia, Ecuador, Mexico, Peru and Uruguay under the coordination of the Cinematography Directorate of the Ministry of Culture of Colombia. To watch the Quirino special you can register for free at retinalatina.org
*Filmin is an award-winning online cinema and series platform that has been operating in Spain since 2008 and in Portugal since 2016 with the support of MEDIA Creative Europe, being the first company to offer a flat-rate service in Spain. Filmin is currently also available in Mexico through FilminLatino, a platform created in collaboration with IMCINE. The Quirino Awards channel on filmin.es will be free for all its subscribers.
ROUND TABLE ON FINANCING ANIMATION PROJECTS
Martes 11 de mayo a las 17:00 UTC / GMT + 1
Among the activities planned for professionals, and within the commitment of the Quirino Awards to help strengthen and structure the sector, this round table will be organized. Christophe Vidal (deputy general director of Natixis Coficiné), Yago Fandiño (director of children's content of RTVE), Marta Hernández Calzada (financial director of the production company Tandem Films), and Pato Escala (executive producer of Punkrobot, studio member of the Latin American alliance Los Amigos) will ponder on the different ways of financing animation projects in a talk that will have the participation of Francisco Menéndez Nadal, from WELAW, as moderator.
Christophe Vidal holds a law degree from the Paris II University and the Institut d'Etudes Politiques in Paris. After working for two years at an international law firm in Paris, Christophe Vidal joined the film finance department in 1991. In 1996 he joined Natixis Coficiné (Coficiné) where he is currently the Deputy Chief Executive Officer in charge of international operations, in addition to managing a portfolio of French clients. Coficiné is a credit institution dedicated to film, television and entertainment, leader in Europe present in the US, Canada, Australia and Latin America.
Marta Hernández Calzada, with a Master in Auditing and Management Development and a degree in Business Administration and Management, began her professional career at Deloitte Spain as a financial auditor for IBEX 35 companies. After four years of professional development, she made a leap to the audiovisual sector as financial manager of audiovisual projects. She currently works as financial director for the production company Tandem Films, leading national and international productions of both real image and animation.
Pato Escala is a producer and founding partner of Punkrobot, an animation studio founded in 2010. He has produced the children's series "Flipos" (2010), "Las aventuras de Muelin y Perlita" (2013), "La leyenda de Zeta y Ozz" (2019), "Guitarra y Tambor" (2020) and the short films "I am little red" and "Historia de un Oso", the latter winner of more than 60 festivals in the world and recognized with the Academy Award. In 2020, Punkrobot (Chile) together with Hype (Brazil) and Red (Peru), created the alliance "Los Amigos", animation group focused on the development of high quality animated projects from Latin America to the world. He is founder of the Chilean Association of Animation and academic of the digital animation career in UDLA-Chile.
Yago Fandiño is the Director of Children's Content at RTVE. Coming from the digital world, where he accumulates more than 14 years of experience in integrated Web/TV projects, he has under his direction children's productions, interactive developments and children's co-productions of the Spanish Radio Television Corporation. During his professional career he has worked as editor for online and interactive areas of important audiovisual companies such as Fox Kids Europe and Jetix Entertainment Spain. He specializes in digital strategy and the transmedia approach to children's entertainment.
Francisco Menéndez. Welaw Consulting is a law firm specializing in entertainment law, especially in Spanish and international audiovisual law.Francisco is an advisor on international audiovisual law, international co-productions and administrative requirements, whether in Latin America, Anglo-Saxon, Europe and/or Asia, always taking into account the respective co-production agreements. He also advises on the legal aspects of the sources of financing of audiovisual projects including the so-called tax shelter and tax rebate structures. On the other hand, Francisco has been academic coordinator of the Master in Management of the Cinematographic Industry at the Carlos III University of Madrid and currently gives lectures at universities and/or film institutes such as the ESCAC of Catalonia.
IBERMEDIA AND SECTORAL ASSOCIATIONS MEETING
Wednesday, May 12th at 16:00 UTC / GMT + 1
Meeting with all the Ibero-American associations of animation production companies and creators and the Technical Unit of the Ibermedia Program.
Participating associations: Animar Cluster, Argentine cluster of animation, VFX and immersive technologies companies; APA, Córdoba Animation Producers Association; Bolivian Animation Network; ABCA, Associação Brasileira de Cinema de Animação; ANIMACHI Chile; GEMA Colombia, Animation Companies Group; Animation Costa Rica; Animation Group of Ecuador; DIBOOS; SAVE; Creative Jalisco; ACDMX, Association of Digital Creatives of Mexico; PIXELATL; Paraguay Animation; Peru Animation, Casa da Animaçao Portugal.
*closed activity
12th – 13th
WORKING TABLES NEW STIMULUS FOR DIGITAL CREATION IBERMEDIA PROGRAM
Thursday May 13th & Friday May 14th
Work tables in which institutions, professionals and training initiatives will talk about their own experience with the production of new technologies and formats in order to make useful proposals, learn from what has worked and has been successful and what has not, to analyze patterns for new possible lines of aid in Ibermedia.
SHORT FILM FINALISTS TALK
Thursday, May 13th at 18:00 UTC / GMT + 1
Interviews with the finalists for the best Ibero-American animation short film: "Tie" directed by Alexandra Ramires and produced by Bando à Parte and Bap Animation Studios, co-production with Providences (Portugal, co-production with France); "Homeless Home" directed by Alberto Vázquez and produced by Uniko and Autour de Minuit (Spain, co-production with France); and "Roberto" directed and produced by Carmen Córdoba González (Spain).
We speak with Alexandra Ramires, director of "Elo", Alberto Vázquez, director of "Homeless Home" and Carmen Córdoba, director of "Roberto".
VIDEO GAME FINALISTS TALK
Talk with the three finalists for best animation for video game: "Adore" by Cadabra Games (Brazil), "GYLT" by Tequila Works (Spain) and "El niño antimatter" by Cosmic Brew Studios (Argentina).
We speak live with Diogo de Barros, director of "Adore" by Cadabra Games, Arturo Paiva, animation director of the video game "GYLT" by Tequila Works, Maximiliano Monzon, director of "El niño antimatter" by Cosmic Brew Studio and Juanma Moreno, Director of Indiemad and Co-Creator of Hidden Level.
ROUND TABLE ON ANIMATION FEATURE FILMS DISTRIBUTION
Among the activities planned for professionals, and within the commitment of the Quirino Awards to help strengthen and structure the sector, this round table will be organized. Representatives of three international sales agencies will analyze the changes the sector is facing in terms of animation distribution. The activity will be moderated by Silvina Cornillón (Animation! Ventana Sur) nd will feature the participation of Juan Torres (international sales director of Latido Films), Florencia Gasparini (sales executive of Cinema Management Group (CMG) and Antunes João (CEO of Big Picture).
Antunes João is manager of Big Picture Films, a Madrid-based subsidiary of its Lisbon parent company. In Spain, Big Picture Films distributes animated films. Antunes João started in the cinema area at Kodak in Portugal and then he has been for 22 years manager of Lusomundo in Portugal. In 2011 he started with Big Picture in Portugal and in 2017 he started operating in Spain.
Florencia Gasparini s a graduate of the University of Buenos Aires in Image and Sound Design and brought her experience to feature films and short films for which she was awarded in the Official Competition at BAFICI. In 2012 she joined the FilmSharks team in acquisitions and sales of Latin American and Spanish films, for distribution and remake. In 2014 she was featured as "Future Leader" by Screen Daily during the Cannes Film Festival. After working as a sales consultant at Impacto Cine, she moved to Los Angeles to enroll in the Entertainment Business and Administration program at UCLA Extension. Meanwhile, he began working as a procurement intern with AMBI Distribution. She later joined Blue Fox Entertainment as a sales consultant for Latin America and Spain. In April 2019 she joined Cinema Management Group where she currently serves as a sales executive.
Juan Torres is an economist with a degree in Philosophy and a Master in Media Management from the Paris – EUROPE School of Commerce. After several years in acquisitions of independent and commercial cinema for various Spanish distributors, he is currently Director of International Sales of Latido Films, an agency specializing in Latin cinema and responsible for distributing films such as "El secreto de sus ojos", "Violeta se fue a los cielos", "El ciudadano ilustre", "Campeones" and recently "El Hoyo", the most watched non-English language film in the history of Netflix. He was a sales agent for the films of Paulo Branco (a Franco-Portuguese producer with a record number of selections at the Cannes and Venice Festivals). It was distributed worldwide by Wim Wenders, Paul Auster, Manoel de Oliveira, Christophe Honoré, André Téchiné, Raoul Ruiz, among others. He previously worked for two years at the Marché du Film at the Cannes Film Festival.
Silvina Cornillón is the coordinator of the industry section Animation! of the Latin American Window South Film Market, whose call for projects is made together with the MIFA market of the Annecy Film Festival. As a promoter of animation in the region, Silvina is Latin American Ambassador of the Quirino Awards and one of the creators of the Ibero-American Animation League. She has worked as an animation production company for more than 15 years. He has developed and produced commercials, series and independent shorts that have received international awards and participated in the official competition of prestigious festivals.
FORO DE COPRODUCCIÓN Y NEGOCIO
Meeting point for Ibero-American animation professionals that will be held in two phases, a first online and a second on-site in La Laguna. Animation producers, buyers, distributors, TV channels and investors will participate.
Among the participants who have already confirmed their presence for this new edition are Adult Swim, Discovery Kids, Filmin, RTVE, Pakapaka, KiKA, Indie Sales, Toonz Media Group, PGS, Dandelooo, El Reino Infantil andSola Media, among others.
The Quirino Awards Business and Co-production Forum has the collaboration of ICEX, Animation From Spain and PROEXCA.
SERIES FINALISTS TALK
Friday, May 21 at 18:00 UTC / GMT + 1
Interviews with the finalists for the best Ibero-American animation series: "Count on me", directed by Andrés Lieban & Alessandro Monnerat and produced by 2DLab (Brazil); "Petit 2nd Season", directed by Bernardita Ojeda, produced by Pájaro co-production with Pakapaka, Señal Colombia and Non Stop (Chile, co-production with Argentina and Colombia); "I, Elvis Riboldi", directed by Javier Galán & Raphaël Lamarque and produced by Peekaboo Animation, co-production with Watch Next Media, Wuji House, Insomne Animation Studio and Corporació Catalana de Mitjans Audiovisuals (Spain, co-production with France); "The Zurfs", directed by Alex Cervantes and produced by Hampa Studio and Gallego Bros, co-production with À Punt Mèdia (Spain).
21st – 23rd
FINALIST FEATURE FILMS SCREENING
May Friday 2st1 and Sunday 23rd. Espacio Cultural Aguere. Free entrance, until capacity is completed.
Friday May 21st 18:30-20:00. A Costume for Nicholas
Sunday May 23rd 12:00-13:30. Xico's Journey
Sunday May 23rd 16:00-17:30. Cranston Academy: Monster Zone
Sunday, May 23rd 18:30-20:00. Nahuel and the Magic Book
FEATURE FILM FINALISTS TALK
Interviews with the finalists for the best Ibero-American animation feature film: "Xico's Journey", directed by Eric Cabello Díaz and produced by Cristina Pineda Antúnez (Mexico); "A Costume for Nicholas", directed by Eduardo Rivero and produced by Fotosíntesis Media, co-production with Péek Paax (Mexico); "Cranston Academy: Monster Zone", directed by Leopoldo Aguilar and produced by Ánima (Mexico, co-production with the United Kingdom); and "Nahuel and the Magic Book", directed by Germán Acuña Delgadillo and produced by Carburadores, co-production with Levante Films and Punkrobot Animation Studio (Chile, co-production with Brazil).
CONCEPT ART FOR ANIMATION AND VIDEO GAMES MASTERCLASS
Wednesday May 26th at 18:00 UTC / GMT + 1. Bellas Artes ULL. Free entrance, until capacity is completed.
Igor Heras had it clear since he had his first comic: she wanted to dedicate herself to the art sector. He began his training in ESDIP, and there he discovered illustration and concept for video games, where he already has more than ten years of experience in the industry. He has worked on projects such as Castlevania Lords of Shadow II, Castlevania Mirror Of Fate and Runaway: A Twist of Fate. He currently runs Monsters Pit Studio, an illustration and concept art studio that offers outsourcing services in concept art, character design, visual development and art direction in the entertainment industries (video games, board games, film, advertising, publishing, etc.). He works with important companies such as Konami, Nintendo, Games Workshop, Social Point and Disney, taking part in the development of projects such as Castlevania Lords of Shadows, Monsters Legends and Toy Story 4. In addition, in the Monsters Pit studio, located in the Esdip facilities, conducts conferences and mentoring actions to students of the Master of Concept Art and Digital Production.
PRESENTATION JUAN PADRÓN
Thursday, May 27th at 16:45 UTC / GMT + 1. Antiguo Convento Santo Domingo. Free entry until full capacity and streaming
Tribute to Cuban illustrator, animator and film director Juan Padrón, creator of classic Ibero-American animations such as "Elpidio Valdés" and "Vampires in Havana". Silvia Padrón, his daughter, will be in charge of attending the tribute and presenting the initiatives that are being promoted for the conservation of her father's work, such as the La Manigua Cultural and Creative Center in Havana or the publication of "Mi vida en Cuba", autobiography that the artist himself drew until the end of his days.
CONCLUSIONS WORKING TABLES NEW STIMULUS FOR DIGITAL CREATION IBERMEDIA PROGRAM
Presentation of the conclusions of the working groups of institutions, professionals and training initiatives around the measures for the new stimulus for the digital creation of the Ibermedia Program.
PRESENTATION INDUSTRIAS CULTURALES
Presentation of the latest news regarding the grants promoted by Dirección General de Industrias Culturales, Propiedad Intelectual y Cooperación: Ayudas para la Acción y la Promoción Cultural, Ayudas para la Modernización e innovación de las industrias culturales y creativas through digital and technological projects. In addition, this year a new line of grants for video games and digital creation will be announced.
FINALIST SHORT FILMS SCREENING
Friday May 28th at 18:30 UTC / GMT + 1. Espacio Cultural Aguere. Free entrance, until capacity is completed.
"Tie", directed by Alexandra Ramires and produced by Bando à Parte and Bap Animation Studios, co-production with Providences (Portugal, co-production with France); "Homeless Home", directed by Alberto Vázquez and produced by Uniko and Autour de Minuit (Spain, co-production with France); "Roberto", directed and produced by Carmen Córdoba González (Spain); "La Bestia", directed by Ram Tamez (Mexico), Alfredo Gerard Kuttikatt & Marlijn Van Nuenen. Gobelins l'Ecole de l'Image (France); "Memories for Sale", directed by Manuel Lopez. Veritas University (Costa Rica); "Le retour des vagues", directed by Alejandra Guevara Cervera (Mexico), Manon Cansell, Edward Kurchevsky, Francisco Moutinho de Magalhães (Portugal) & Hortense Mariano. Gobelins l'Ecole de l'Image (France).
Saturday May 29th at 18:00 UTC / GMT + 1. Teatro Leal with invitation and streaming.
Awards ceremony for the 4th edition of the Ibero-American Animation Quirino Awards. The winners of the 9 categories will be announced: feature film, series, short film, school short film, animation commissioned film, animation for video game, visual development, animation design and sound design and original music.
FOLLETO GALA
Click on the image to see the calendar


I'd been wringing my hands together in the cab ride back home to his place. He looked at me seriously at the bar when I said I wasn't ready to go home from having drinks with friends and said, "I need to talk to you. We're going home now." Uh-oh. I felt like I'd been summoned to the principal's office.
"No. I want to have a private conversation with you at home." His eyes said it all. He was very upset.
I also had visions of Rihanna. I saw myself being dragged out of Dean's place.
Back at his place, door closed, he went on and on about how I'd embarrassed him.
We bantered back and forth. I was exhausted and like always, I was done. I didn't care that I had this amazing guy who was telling me he loved me, who was eager to meet my friends and family, who picks me up from work, who's agreed to walk my future puppy. I'd had it.
"It's not about that. You deserve better. You are such a nice guy. I'm sorry, I just can't deal with this right now. I can't." I completely broke down sobbing and he wrapped his arms around me and kissed my tears away.
first fight. what a … fun milestone. i used to get a funny-bone-type twinge in my neck whenever (my) dean was disappointed with something i had done.
this reminds me of something i'm working on with the little 'uns. i read this book called 'siblings without rivalry' and it's premise is quite applicable to all relationships in our lives. the authors point out that we always try to convince the other person why they shouldn't really be upset, and how doing this makes them feel even more frustrated & disregarded.
it's actually been quite a struggle for me to change the way i talk to the kids, to repeat and clarify why they're frustrated, rather than giving them explanations as to why they shouldn't feel the way they feel.


Each state and Washington, D.C. are summarized in a three-page mini-chapter which includes a fun, fact-filled passage containing little-known state trivia, a challenging questions page, and an engaging activity page. Organized alphabetically for easy reference. 176 pages.


text:
(function() {var implementors = {};
implementors['clippy'] = ["impl<T> Extend<T> for SmallVector<T>",];

            if (window.register_implementors) {
                window.register_implementors(implementors);
            } else {
                window.pending_implementors = implementors;
            }

})()

redpajama_set_name: RedPajamaGithub


Cascade Heights Veterinary Center was born out of a little kid's dream to take care of pets and their families. It's a simple dream we take very seriously. We work hard every day to make it come true by listening, offering guidance, and implementing a comprehensive approach to give each pet the best quality of life possible.
At Cascade Heights Veterinary Center our team members, clients, and pet patients make up our clinic community. We share a strong personal responsibility of making sure every pet patient is approached with the utmost respect, care, and patience. We lead with compassion by treating each person and pet that walks through our doors like they are family.
Cascade Heights Center recognizes each patient -client relationship is unique and special. We treat each case on an individual basis, being mindful of owner constraints and wishes. Communicating effectively with clients to make sure they feel comfortable understanding all medical, surgical, and holistic options allows us to fulfill our dream and give each pet the best quality of life possible.


The glaciers, considered to be the thermostat of the planet's climactic fluctuations, have dramatically diminished in size during the past 50 years. Following The International Panel on Climactic Change, an agency connected to the U.N. (United Nations), studies show in Antarctica alone the temperature rose 2.5 degrees Celsius (3.6 degrees Fahrenheit) and each year the region loses up to 12 thousand square kilometers (approximately 7 thousand square miles) of ice.
Since the 1960's, when the satellite monitoring of the climate began, it has been made possible to register a 10% reduction of the layer of ice that covers the Earth. The highlights of this are noticed in various corners of the planet; spring begins earlier and fall lasts longer. Furthermore peak temperatures are at the most crucial, the freezing records in winter and the explosions of heat in the summer will happen more frequently each year.
The world climate is suffering a sort of reversal. As each year passes, places considered to be hot are cooling more and more, as long as cooler places continue to warm. Meteorologists agree that temperature changes in rainy climates cause variations of snowstorms and the level of the oceans to rise, which are going to continue extending into the coming generations.
In a European summer of 2003 that was historic, the temperatures reached record highs that killed 20,000 people. According to data from the World Health Organization, between 2000 and 2003 the warming of the earth caused the deaths of approximately 150,000 people worldwide. In Brazil, since 2000,at the peak of summer, we see prolonged rains that results in thousands of homeless and hundreds of millions of dollars in damages.
All these natural disasters are currently happening because of the climate imbalance on the planet on which we all are living. Human beings have changed the chemical composition of the atmosphere. Sources from the Brazilian Foundation for Sustainable Development say that in the last 150 years, a 30% rise in the concentration of carbon gas occurred, of which the Earth's metabolism can only absorb half.
Scientists estimate that the average temperature of the planet will rise 4.5 degrees Celsius (9 degrees Fahrenheit) in the next few decades, and that the level of the ocean is rising between 70 and 80 centimeters (27.3 and 31.2 inches) per year which is due to the melting of the polar ice caps.
When the sun's rays fall upon the Earth, the heat is absorbed by the atmosphere and by the water in the oceans, and then it is emitted back into space in the form of radiation. The emission of polluting gasses, particularly carbon dioxide (CO2) released by factory smokestacks, car exhaust and by other human activities such as deforestation, drives up the concentration of pollution.
All this further worsens the green house effect, which functions as a veil that covers the Earth's atmosphere and alters the fluctuation of the radiation cast back out to space.From 1861 scientists began to measure the temperature on the planet and there have been considerable increases since 1990. The expectations of meteorologists are of continuous changes and new temperature records, which leaves scientists and the humanity of planet Earth worried.
The consequences of the Earth's imbalance, also means animal life cannot find refuge. Investigations led by The World Wildlife Federation (W.W.F.), indicate that countries such as Canada, Russia, Sweden and Finland, may lose more than two thirds of their native inhabitants. The situation may be even more terrifying if the promises, sealed into the Kyoto Protocol (the international accord that aims to insure a reduction of the toxic pollution and effects of toxic gases that are the results of human activities) don't come true.
*Marcia de Souza is a book and writing lover. She is Brazilian and lived in Los Angeles and Moscow. She speaks Russian, English, Spanish and Portuguese. Since 2015 she lives in Recife, Brazil and work as a secretary executive for a company in the alternative energy niche with base in Spain.


For all of you who like The Office and love seeing things you like destroyed, check out the NBC Pilot.
Also, I think that the guy playing the Gareth character is what's his name, the intern from Six Feet Under.
Also, it looks like NBC got that website first.


text:
Q: why won't this python program start? I copied the source code of a python program written by someone else on a tutorial forum and I have made a few modifications to it to match my own needs
the original was meant to run in the python shell i believe and i got it to run in the shell but I need to save it to python IDLE and run it from there
I am using python 3.2.3 IDLE btw
this is what I have written:
def fibonacci(previous=0,current=1):
    n = int(input("Calculate fibonacci sequence value up to: "))
    if previous > current:
        previous,current = current, previous
    yield previous
    yield current
    while True:
        current,previous = previous+current,current
        yield current

    x = fibonacci()
    for i in range(n):
        print(next(x))
fibonacci()

it doesn't run, like no errors pop up i just get the arrows: >>
that's it nothing happens.

A: The program does start and runs through. Unfortunately, by using yield in the function, you make it a generator, and the generator gets only constructed in the last line, but never evaluated.
Instead, you want to outdent the last four lines:
def fibonacci(previous=0,current=1):
    if previous > current:
        previous,current = current, previous
    yield previous
    yield current
    while True:
        current,previous = previous+current,current
        yield current

n = int(input("Calculate fibonacci sequence value up to: "))
x = fibonacci()
for i in range(n):
    print(next(x))

redpajama_set_name: RedPajamaStackExchange


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Copyright © Waterfront Centerset Bathroom Faucet By Premier Faucet in Bathroom Sink Faucets All right reserved.


text:
New research finds the biggest predictors of future wealth
According to new research, your planning capabilities and attitude towards money are two big drivers when it comes to accumulating wealth.
Report uncovers several areas that urgently need addressing in the investigations of rape and other sexual offences
Findings from Operation Soteria Bluestone, a report launched in 2021 as a response to the government End-to-End Rape Review, have revealed several areas that urgently need addressing in the investigations of rape and other sexual offences (RAOSO).
BBC/OU co-production: Faculty of Business and Law Showreel 2021/22
Over the past year, academics from the OU Business and Law Schools have acted as consultants to a range of fascinating shows, co-produced by The Open University and the BBC. Watch this short video which captures some of the collaborations between the BBC and FBL academics.
Jess Phillips MP is special guest at Violence Against Women and Girls event
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text:
Das Militär-Reitlehrer-Institut (auch k.u.k. Equitationsinstitut) war eine Ausbildungsstätte für Reitlehrer für die Armee, sowohl für das seit 1867 beiden Reichshälften gemeinsame Heer als auch die österreichische k.k. Landwehr. Es befand sich 1850 bis 1918 im 3. Wiener Gemeindebezirk, Landstraße, in der Ungargasse 60–62 und 69.

Das Institut nützte die Räumlichkeiten des 1968 größtenteils abgerissenen Gartenpalais Harrach (Ungargasse 69) und die gegenüber 1850 neu errichtete Reithalle mit Stallungen (Ungargasse 60–62), die teilweise heute noch besteht.

Von 1918 bis 1921 wurde die Reithalle zum "Eos Kino" ("Eos Lichtspieltheater"), einem der größten Kinos von Wien, umgebaut. Hier begleitete in den 1920er-Jahren ein 60-köpfiges Orchester die vor bis zu 1.000 Besuchern gespielten Stummfilme. 1930 wurde das Kino im Zuge der Tonfilmeinführung umgebaut und von 1931 bis zur Zerstörung bei einem Bombenangriff 1944 hieß das nun 1.200 Besucher fassende Kino, welches nun auch über Kopfhöreranschlüsse für Schwerhörige verfügte, "Sascha Filmpalast".

Die ehemalige Reitschule wurde 1986 abgerissen, ihr Hintertrakt (Stallgebäude) mit dem historischen Stiegenhaus wurde in das 1990 gebaute Hotel integriert. Eine Figurengruppe, die sich ursprünglich auf dem Giebel der Reithalle befand, steht jetzt im Gastgarten des Hotels. Historische Reitergemälde sind im Stiegenhaus zu sehen. Der benachbarte, 1908 erbaute Fußgängersteg über die heutige S-Bahn-Stammstrecke wurde 1920 zur Erinnerung an die Reitschule als Reitschulsteg benannt.

Literatur
 Felix Czeike: Historisches Lexikon Wien, Band 4, Kremayr und Scheriau, Wien 1995, ISBN 3-218-00546-9, S. 268

Weblinks

Ehemalige militärische Einrichtung (Wien)
Militärische Ausbildung (Österreich-Ungarn)
Landstraße (Wien)
Kavallerie
Bildung im Kaisertum Österreich
Tierhaltung (Österreich)
Gegründet 1850
Aufgelöst 1918
Kino in Wien
Umgenutztes Bauwerk in Wien
Zerstört in den 1980er Jahren
Neuromanisches Bauwerk in Wien
Historische Bildungseinrichtung

redpajama_set_name: RedPajamaWikipedia


text:
Silvio Cinquini (Pavia,  – Pavia, ) foi um matemático italiano.

Biografia
Em 1929 formou-se em Bolonha, onde foi aluno de Leonida Tonelli. Obteve o diploma em análise superior na Escola Normal Superior de Pisa, onde foi assistente de Leonida Tonelli e onde começou a lecionar. Em 1938 casou-se com a matemática Maria Cibrario Cinquini. Em 1939 foi para a Universidade de Pavia, onde foi professor de análise e permaneceu até 1976. De 1957 a 1969 ocupou o prestigioso cargo de diretor na Faculdade de Ciências. Aposentou-se em 1981.

Era principalmente interessado em cálculo variacional e equações diferenciais parciais não lineares. Foi autor de cerca de 130 publicações científicas.

Foi palestrante convidado do Congresso Internacional de Matemáticos em Zurique (1932). Foi membro de várias academias.

Matemáticos da Itália do século XX
Naturais de Pavia


If you try your best to eat healthy, then chances are that you try to eat fish at least twice per week. However, when you read about the contamination of our oceans and fresh water fish, it's hard to know which fish would be the best choice.
Turn your printer on because you will want to print out this list and keep it in your purse or pocket. We are going to nail down the 5 least contaminated fish you should choose for your weekly meals and 5 of the worst offenders that should never grace your plate.
Ready? Keep reading so you can feel good about your Sunday fish fry!
Although many types of tuna are high in mercury, tuna from the U.S. or Canadian waters (which is the most common kind of white albacore tuna you find in cans) is still safe to eat. The trick here is to make sure that it says "poll or troll caught". This is because pole-caught tuna generally weighs no more than 20 pounds. Younger fish have lower contaminant ratings. One quick way to tell is to look for the MSC (Marine Stewardship Council) blue colored eco-label.
Wild Alaskan salmon are well managed and have strict quotas on how many can be caught. Biologists also monitor the water quality, which means these fish are not only super tasty, but super healthy fish that are high in those omega-3s everyone wants.
Unfortunately, wild caught lake trout are super high in contaminates. This is why almost all the rainbow trout sold in the U.S. are farmed in freshwater ponds. You might think farmed fish is a bad thing, and it sometimes is, but not these little beauties. If you aren't a fan of the "fishy" taste of ocean fish, try rainbow trout!
Tiny and inexpensive, sardines are one of the best sources of calcium. Omega 3s, and one of the very rare foods that have vitamin D. You will find that many herrings are called sardines. These tiny fish are quick to reproduce and appear to have avoided contamination from the Fukushima disaster.
You should read labels carefully before you buy this kind of salmon. Be sure that it is Coho salmon that is farmed in the U.S.A. While many farms in other countries are overcrowded and, therefore, need to use antibiotics, not to mention most are contaminated with parasites, American farmed Coho salmon are raised in roomy, freshwater pens that are sealed off. This means they can't pick up germs and parasites from wild fish.
Its real name is the Patagonian Toothfish, but those smooth marketers found out that people would eat it if you called it Chilean Sea Bass. These fish have been nearly fished into extinction and the methods used to catch them not only ruin the sea floor, but they tend to catch seabirds as well. Leave these fish alone until they can repopulate or until they can be successfully farmed.
First, Bluefin tuna is so high in mercury and PCBs that most environmental groups won't recommend eating this fish even once per month. Second, this type of tuna has been so overfished that the World Wildlife Fund wants it put on the endangered species list.
A long -time favorite, Orange Roughy is slow to reproduce, which has left it very vulnerable to overfishing. With life spans of about 100 years, these fish have tons of time to pick up every contaminant in the ocean several times over. These fish have high levels of mercury and, therefore, are not recommended for eating in any amount at this time.
Like Orange Roughy, groupers have high levels of mercury that make them unsafe for human consumption at this time. They are very slow to reproduce, also, which has made them vulnerable to overfishing. Make another choice if you are offered grouper.
Unfortunately, these fish, which are commonly found around piers, have very high levels of mercury. King Mackerels like to migrate and is often found right off the coast of Florida, the Carolinas, and Georgia.


As the decals and instructions are the same in each set, except the scale of course, all my thoughts and conclusions refers to both of these sets until it is stated otherwise.
In 1/72 scale the decal sheet has the size of 9x13cm. For the 1/48 scale the size is 13x18cm.
The instructions are printed on A4 paper for the 1/72 set and A3 for the 1/48 set.
Each set is doubled which means it can be used on two models.
As the title says the set is dedicated for a wide range of Spitfire variants, from Mk.I do Mk.XVI.
Techmod has divided the instruction into two sections, each printed on the separate page of instruction. One section is dedicated to the Mk.I – V variants, section two for the Mk.VIII – XVI.
Many stencils, if not most, are replicated in at least two (sometimes four or even eight!) variants depending on the factory where the particular Spitfire was built. They differ a bit with the font, size, colour or spacing between letters.
Let's focus on the first section with Mk.I – V stencils.
Techmod has shown the Spitfire from every side but the lower surface is given in two combinations: one is all grey (or sky) and half-black. For the half-black there are white stencils to be applied. The Spitfire replicated in the diagrams has the B type wing but I think that the stencils were the same even for the A wing version.
We can also find here the propeller diagrams for the Rotol and de Havilland logotypes application and three versions of the the cockpit door stencils. Unfortunately the decal no.69 is printed with error. Techmod has changed the lines in the stencil "Make sure door is locked before flight". On the decal we have "locked before flight" in the upper line and in the bottom line "Make sure door is" what obviously looks unnatural and odd. We can fix it by cutting the decal into two halves and change the lines configuration. It shouldn't be a big problem in the 1/48 decal but in the 1/72 scale it will surely require a good eyes and firm hand armed with the new scalpel blade.
Ok, now let's look at the Mk. VIII-XVI section.
We have a bit more drawings here. The upper surface is shown in three different variants of the stencils and long black stripes marking out the walking sections on the wing. There are also decals with the red stripes seen around the wheel bulges on the upper surface of the late wings.
For the propeller we have a much wider choice of decals to be used for the Jablo wood or hollow steel blades. There are eight different markings to be used here so we have to carefully study our references for the particular machine to avoid use of the wrong marking.
There are also the drawings of the cockpit door but the decal no.69 also should be used here. What's surprising this stencil is printed correct in the instruction. The pictures shows only the C wing Spitfires so I assume there were no differences between C and E variants (except wheel bulges).
Instruction sheet shows also the position of the roundels and fin flashes. These decals are not attached to the set but roundels are useful points of orientation for the other markings. As the upper wings roundels were overlapping the black stripes running along the wings (decals 78 or 79) the stencils have to be placed before applying roundels. It is clearly visible in the instructions of these sets so please keep it in mind: first stencils, then roundels.
The quality of the decals is as usual very good. Carrier film is thin and subtle, sticks close to the replicated inscriptions. Well, it looks like Techmod has once again did a good job. Although placing all these stencils and markings may be a long and boring job to do it will pay of with the final look of your model. It's a very good rate between price of the set and final effect it gives to more than just one of your models.
The review sample was provided by Techmod Decals. Thank you!
Lows: Error in the print of one decal.
Verdict: Recommended to all Spitfire enthusiasts, highly pays off the effort.
Oops! Someone at Techmod needs new glasses. According to these stencils Spitfires were painted with Material Specification DTD 305 - 30 ton steel tubes (suitable for welding). At the beginning of the war there were two finishes used for camouflage, DTD 308 - matt cellulose and DTD 314 matt synthetic. The two finishes were not to be mixed together or applied over each other. That is, DTD 308 could only be painted over with a cellulose paint and DTD 314 with a synthetic paint. For this reason all components were required to have the material specification of the paint stenciled on them in Night (black). Underneath the letter 'C' if it was a cellulose paint or 'S' if it was a synthetic paint. DTD 517 was synthetic, quick drying, paint introduced later in the war. You would not have found it on Mk I and II Spitfires during the Battle of Britain for example. Because fabric areas (elevators, rudders etc.) were painted with cellulose dope DTD 308 was still used on these components and they were stenciled accordingly. Personally, they are too small for me to care very much but some people are sticklers for such small details. Gas patches were either painted on (no red boarder) or came as a square of material that was stuck down with red doped tape.


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Features Places To See
10 Creepy Things to See at the Louvre That Are Better Than the Mona Lisa
by Sandra Alvarez
I went to the Louvre on Wednesday, and as every tourist does, I did the rounds. i.e., the Mona Lisa and the Venus de Milo. I have to say, all the hubbub over these two items left me scratching my head. To get to the Mona Lisa, you have to go into the Italian Painting section, pass by a few Botticelli's, Giotto, Cimabue, and some of Leonardo's better work (in my opinion) like St. John the Baptist. People just blast by these incredible pieces of art as if they were post it notes just to cram into a room to see a painting of a rather plain, barely smiling girl. It boggles my mind. I have been to the Louvre before, when I was in university years ago, in a galaxy far, far away. I thought maybe I hadn't given it a fair shake in my early 20s, so I'd diligently try again and attempt to see what others see in these two items. And…nothing. I was rather unimpressed. It was impossible to get a close look at the Mona Lisa and when I finally did, she just didn't do it for me. Same with the Venus de Milo. It was in a room full of incredible sculptures and I thought, "Why all the flap about this armless wonder?" If you're an ancient historian, a medievalist, or early modernist, there are so many other amazing pieces and works of art a the Louvre other than these two tourist staples. Here is my list of cool, creepy, unusual and better than the Mona Lisa at the Louvre in Paris.
The Creepy Tomb of Philippe Pot: (1428-1493), Grand Sénéchal of Burgundy, Knight of the Golden Fleece
Grandson of a Crusader, diplomat, and astute politician. Philippe Pot made his mark on the French monarchy throughout the 15th century. He helped arrange several strategic marriage alliances and obtained the release of Charles, Duke of Orléans (1394 – 1465) from captivity in London. He was known as a powerful statesman and eloquent speaker, earning him the nickname "the mouth of Cicero". His striking effigy can be found in the Louvre's medieval section. It's quite creepy to be honest, but remarkable for its vivd colour and haunting imagery. Dementors, Ringwraiths or Jawas – you decide…
Statue of Death from Saint Innocents Cemetery – Île-de-France (circa 1530)
This frightening image of Death found at the Louvre once stood at the centre Saint Innocents cemetery in Paris. The cemetery was known for housing mass graves and was in use from the High Middle Ages until 1780, when it was closed due to overuse. In 1786, the bones were moved to the Catacombs in Montparnasse. I visited the Catacombs while I was in Paris and was able to see why why they had to move the remains – there are so many bones it's unbelievable!
The Ruthless Regent: Catherine de Medici (Catherine de Médicis)
Catherine de Medicine – Louvre
Catherine de Medici (1519 – 1589) was the wife of King Henry II of France (1519 – 1559). She was born into the powerful Florentine Medici banking family and married Henry at the age of fourteen. Her marriage was quite the sham; Henry openly took a mistress early on, Diane de Poitiers, a woman almost twenty years his senior. Catherine was forced to sit on the sidelines until Henry's accidental death at a jousting tourney in 1559. Catherine promptly banished Diane de Poitiers after his death and began her career as a ruthless regent for her three sons, all of whom died young: Francis II (1544 – 1560), Charles IX (1550 – 1574) and Henry III (1551 – 1589). She was blamed some of their actions, like the infamous Bartholomew's Day Massacre in 1572. She survived two of her sons and died 8 months before Henry III's death at the hands of an assassin. Although she died in 1589, she commissioned this impressive funerary statue of herself in 1565 by Italian artist, Girolamo della Robbia (1488-1566). The statue now sits in the Louvre's medieval section.
The Creepy Corpse of Joanna of Bourbon a.k.a. Jeanne de Bourbon-Vendôme, contesse de Boulogne et d'Auvergne (1465-1521)
Here we have Catherine de Medici's grandmother! It looks like not only Catherine got a raw deal in the marriage department – Joanna was 22 when she married 61 year old John II, Duke of Bourbon (1426 – 1488) in 1487! He died the following year and a still young Joanna remarried at age 30 to John III, Duke of Auvergne (1467 – 1501) on January 11 1495. Their daughter Madeleine (1498 – 1519) was Catherine de Medici's mother. Her tomb caught my eye with its grotesque depiction of death. Joanna looks serene while her entrails are worms spill out of her desiccated body. Disturbing, yet lovely at the same time. Worth seeing while you visit the Louvre.
Headless Hagiography: St. Valerie of Limoges (Sainte Valérie)
It's not every day you see someone carrying their head, so this statue made me do a double take. Who was St. Valerie? She was a Roman period martyr since headless saints were "a thing" then. The story is that she was forced to marry a Pagan and when she refused, she was beheaded. That's a pretty harsh way to take rejection. She then carried her head before the bishop who converted her. Head carrying saints were common in France, most notably, France's patron, Saint Denis was part of this cephalophoric club. This alarming statue at the Louvre depicts St. Valerie holding her head accompanied by two angels.
St. Francis Receiving the Stigmata – Giotto (1295-1300)
En route to the Mona Lisa, you pass by this amazing painting from the Life of St. Francis by Florentine master, Giotto di Bondone (1266 – 1337). Sadly, too many people pass right by it in their rush to the Mona Lisa room. I noticed it right away as Giotto's work was something I enjoyed studying in back in university. Giotto was a student of famed Italian artist Cimabue (1240 – 1302), who discovered him drawing pictures of sheep. He took Giotto under his wing and became his teacher. Giotto supposedly painted the frescoes in the Upper Church of St. Francis of Assisi but the controversy surrounding this has been raging for many years. Did he? Didn't he? Hopefully, one day we will know. Until then, this painting by Giotto, depicts St. Francis receiving the stigmata from Christ at Mount Alverno.
A Medieval Mystery at the Louvre: The Children of Edward – Paul Delaroche
What medievalist doesn't know this story? The sad tale of the two Princes, Edward V and the Duke of York, aged 12 and 9, possibly murdered by their insidious uncle, Richard III. Richard III usurped the throne from Edward V in 1483 and had him and his brother declared illegitimate. I spotted this immediately – once again, few people did. It's one of the great medieval mysteries. Although the painting itself isn't medieval, as it was painted by French historical artist Paul Delaroche (1797 – 1856), it's a medieval topic that has been hotly debated by scholars for many years. Was it Richard III? Were their bodies found at the Tower of London in 1674? Or were their bodies really found in Windsor Castle in 1789? So many questions left unanswered. A fascinating picture well worth a history buff's time at the Louvre.
Angry Angels: The Master of the Angels Rebels (Maitre des Anges Rebelles), second half of the 14th century
This small, but incredible painting is easily missed if you don't keep an eye out for it. It depicts the rebellion of Lucifer and the fall of the angels from Heaven. This painting has some pretty stunning detail, colour and imagery. It was a popular topic to depict in art during the Middle Ages.
Jail break! Saint Ranierius – il Sassetta, a.k.a Stefano di Giovanni
George Jetson? A ghost? No. It's Saint Ranierius painted by famous medieval Sienese artist il Sassetta (1392-1450). While this is neither scary or macabre – it's definitely weird looking. So what's going on here? My French isn't great and at first glance I thought these folks were fleeing a ghost or a monk with a jet pack. It's actually Saint Ranierius freeing 90 poor people from a Florentine prison after they had written to him for aid. He appears to be flying and he's definitely missing half his body. Sassetta painted this piece in Siena in 1426. It's a curious painting and worth a second glance if you're in the Italian section of the Louvre.
Knife in the Head Guy, a.k.a St. Peter of Verona, Saint Peter the Martyr
Macabre much? Saint Peter was a celebrated Dominican Inquisitor who preached extensively throughout Italy against the Cathars. He was apparently very good at his job because he managed to covert many Cathars back to the Catholic fold. So why is this saint repeatedly depicted with an axe in his head? Well, after poaching a lot of their followers, the Cathars weren't too happy with Peter so they hired an assassin, Carino of Balsamo, to kill him. On April 6, 1252, just outside Milan, Carino split Peter's head with an axe. Peter, being the dedicated guy that he was, managed to recite the Apostle's Creed and write the first parts of the Nicene Creed in his blood, before dying. Carino then fled to a Dominican monastery repenting his evil deed and eventually becoming a lay Dominican brother. It appears he was never punished for the crime and eventually, given even a feast day!
TagsArt in the Middle Ages • Catherine de Medici • Cimabue • Dominican • Early Modern • Fifteenth Century • Florence • Franciscan • Giotto • Italian • Late Middle Ages • Leonardo da Vinci • Louvre • Medici • Medieval burials • Medieval France • Medieval Italy • Medieval Monasticism • Medieval Religious Life • Mendicant Orders • Museums • Paris • Places to See • Renaissance • Sixteenth Century • St. Francis of Assisi • Thirteenth century


What a delightful place is Munich. No building in the historic area can be taller than the cathedral spires, eliminating tall skyscrapers for office or residential use, eliminating the typical urban crunch of people.
Add in the large percentage of people who commute by bike, and the city becomes very livable. It feels like a smaller town, but with an urban sophistication.
As soon as we walked into town the first night, we encountered a great music scene. An acoustic rag-tag band was playing classic pop numbers in English and the whole crowd was singing along.
They seamlessly transitioned between Michael Jackson, Earth Wind and Fire, Beach Boys and the Beatles. For percussion they beat an old string-less cello that had been duct taped together. They flowed, the crowd sang and we were hooked on the joyous scene.
We were so enchanted with the Bavarian charm, the beer gardens, the easy style, the homey Airbnb apartment, that we immediately extended our five-day stay to seven days. It was a great place to settle for a while.
Beer gardens abounded and we quickly learned that joining the crowd in drinking beer at lunch often led to some very dull and sleepy afternoons.
So we resolved to wait until later in the day, and we had the same steadfast dedication that most folks have with their New Year's resolutions.
Munich's English Garden (Englischer Garten) is larger than New York's Central Park. It includes a series of channels from a fast moving river that the locals float down, climb out, walk back to the top and float down again.
In a couple of spots, the water was slightly diverted with a trough. This trough was meant to slow the river down, but it also created a continual wave action.
Years ago a visiting Californian surfed the fast flowing water and now it is all the rage among locals. Surfers line the river at these spots and wait until the current surfer falls, then the next jumps in. It was all great fun.
To exit the fast flowing current and to avoid colliding with the surfers downstream, the floaters grab a cable stretched across the river to stop. They then can continue down the river between the surfers, or work their way to the side and climb out using a ladder.
We rented bikes one day and rode up and down the full length of the beautiful park. It is called English Garden because it is designed in an intentionally random way. Trees are not in rows but scattered throughout the park. With Munich's regular rain, the rivers were flowing and the grass was a beautiful and lush green. On a warm Sunday afternoon, the crowds headed to the park.
Munich's Deutsches Museum is one of the world's largest museums dedicated to science and technology. It takes at least a full-day to visit and could easily consume several days if one wanted to go in-depth with their 50 different exhibits. They include ships, steam engines, electricity, renewable energy, windmills, all types of machine tools, mechanical toys, paper, musical instruments, etc, etc, etc.
Together we enjoyed strolling a couple of hours. Then Frank went home for a nap and Brian continued on for four more hours until closing time at 5 PM.
For Brian, a guy who at home eagerly looked forward to the arrival of his monthly Family Handyman magazine, it was a bit of a dream to geek-out at a technology museum like the Deutsches Museum.
There were a couple of rooms dedicated to the evolution of ships, including actual, huge, old ships and submarines. For these they would cut open the sides to show the internal workings of the vessels.
Brian's grandmother, at the age of 12, came over from Norway by ship sometime in the late 1890's. It was fascinating to see the many model ships on display from that period. Seeing the types of combination sail and steam powered ocean vessels used in that time really brought to life the relatively primitive transportation used in his grandmother's transatlantic journey.
The museum covered the evolution of technology and tools over time. For instance, there were numerous scale models of windmills showing their advancing technology over 1,000 years.
For many of the tools, they had actual working machines from the period. The steam engines filled a couple of rooms. Most of them were in working condition and the museum hosts a rotating schedule of live demonstrations of the ancient equipment.
For other tools they had fantastic models showing the evolution. For instance, with wheel-powered tools they displayed models for hand-cranked lathes, to human treadmills and even wheels powered by oxen continuously walking up an inclined wheel.
The picture below showing prisoners walking up a wheel of steps was they type of hard labor imposed upon Oscar Wilde during his two years of imprisonment for being gay. When people talk about how their work is a real treadmill, they have absolutely no idea how bad it used to be.
Munich was a charming, friendly, beautiful and easy-going city. There's just something about that Bavarian charm.